X Art Videos Online
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X Art Videos Online
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More stories to check out before you go
She’s known for flaunting her enviable figure, but Kim Kardashian-West’s latest video is perhaps her most revealing and risqué yet.
After combing through Kim Kardashian-West’s vast library of hot body photos, we can safely confirm her latest post is one of her most revealing yet.
The 40-year-old reality star and business mogul released a Valentine’s Day collection for her shapewear label, Skims, with a bevy of photos of herself modelling the garments alongside sisters Kendall and Kylie Jenner to front the campaign.
Kim also shared some behind-the-scenes videos from the saucy shoot, including a video she shot herself as an assistant wrote ‘Skims’ on her stomach in whipped cream.
The mother-of-four told fans the red and pink collection sold out one minute after going live at the weekend.
Stream the latest season of Keeping Up With The Kardashians on Foxtel Now. Get your 10-day free trial. Sign up at foxtel.com.au
When she launched Skims in 2019, Kim’s debut collection made $2 million ($A2.58 million) in minutes.
Kim, who is worth around $US900 million ($A1.16 billion), recently wrapped shooting of the final season of Keeping Up With The Kardashians .
The hugely anticipated series will debut on Foxtel’s E! channel on March 19, and is expected to address the ongoing divorce rumours between Kim and her rapper husband Kanye West .
Despite quitting the reality show that made them famous, which first aired back in 2007, Kim has her hands full with her businesses including Skims and KKW Beauty, and is also studying a law degree.
In September, the family announced that they would be ending their show after 14 years on the air.
“After what will be 14 years, 20 seasons, hundreds of episodes and numerous spin-off shows, we are beyond grateful to all of you who’ve watched us for all of these years – through the good times, the bad times, the happiness, the tears, and the many relationships and children. We’ll forever cherish the wonderful memories and countless people we’ve met along the way,” Kim wrote at the time.
Keeping Up With The Kardashians S20 premieres on E! on Foxtel or Fetch on Friday, March 19 at 11am simulcast with 8.30pm encore or stream on hayu
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Troubled NRL star George Burgess has been photographed ‘back on the field’ after apparently completing his stint in rehab.
Former Baywatch star Donna D’Errico is now on OnlyFans – despite backlash from trolls telling her she was “too old” for her racy pics.
Ben Affleck and Jennifer Lopez have stepped out with his kids ahead of the couple’s star-studded, second wedding this weekend.
A NOTE ABOUT RELEVANT ADVERTISING: We collect information about the content (including ads) you use across this site and use it to make both advertising and content more relevant to you on our network and other sites. Find out more about our policy and your choices, including how to opt-out. Sometimes our articles will try to help you find the right product at the right price. We may receive revenue from affiliate and advertising partnerships for publishing this content or when you make a purchase.
Nationwide News Pty Ltd © 2022. All times AEST (GMT +10). Powered by WordPress.com VIP
More stories to check out before you go
She’s known for flaunting her enviable figure, but Kim Kardashian-West’s latest video is perhaps her most revealing and risqué yet.
After combing through Kim Kardashian-West’s vast library of hot body photos, we can safely confirm her latest post is one of her most revealing yet.
The 40-year-old reality star and business mogul released a Valentine’s Day collection for her shapewear label, Skims, with a bevy of photos of herself modelling the garments alongside sisters Kendall and Kylie Jenner to front the campaign.
Kim also shared some behind-the-scenes videos from the saucy shoot, including a video she shot herself as an assistant wrote ‘Skims’ on her stomach in whipped cream.
The mother-of-four told fans the red and pink collection sold out one minute after going live at the weekend.
Stream the latest season of Keeping Up With The Kardashians on Foxtel Now. Get your 10-day free trial. Sign up at foxtel.com.au
When she launched Skims in 2019, Kim’s debut collection made $2 million ($A2.58 million) in minutes.
Kim, who is worth around $US900 million ($A1.16 billion), recently wrapped shooting of the final season of Keeping Up With The Kardashians .
The hugely anticipated series will debut on Foxtel’s E! channel on March 19, and is expected to address the ongoing divorce rumours between Kim and her rapper husband Kanye West .
Despite quitting the reality show that made them famous, which first aired back in 2007, Kim has her hands full with her businesses including Skims and KKW Beauty, and is also studying a law degree.
In September, the family announced that they would be ending their show after 14 years on the air.
“After what will be 14 years, 20 seasons, hundreds of episodes and numerous spin-off shows, we are beyond grateful to all of you who’ve watched us for all of these years – through the good times, the bad times, the happiness, the tears, and the many relationships and children. We’ll forever cherish the wonderful memories and countless people we’ve met along the way,” Kim wrote at the time.
Keeping Up With The Kardashians S20 premieres on E! on Foxtel or Fetch on Friday, March 19 at 11am simulcast with 8.30pm encore or stream on hayu
To join the conversation, please
log in. Don't have an account?
Register
Join the conversation, you are commenting as Logout
Troubled NRL star George Burgess has been photographed ‘back on the field’ after apparently completing his stint in rehab.
Former Baywatch star Donna D’Errico is now on OnlyFans – despite backlash from trolls telling her she was “too old” for her racy pics.
Ben Affleck and Jennifer Lopez have stepped out with his kids ahead of the couple’s star-studded, second wedding this weekend.
There are several reasons why video art is underexposed. Part of it has to do with the hard-to-shake reputation that video art is just too campy and esoteric — an opinion espoused by Jack Donaghy and anyone else who believes that art is exclusively paintings of men on horses. Another reason is the attitude that of a lot of influential, opinionated video artists share: they simply aren’t comfortable offering their wares to just anyone, and would rather sell the things they’ve made on glitzy-looking DVDs to a few collectors and museums, as they would a painting or a sculpture.
Still other video artists are concerned that their work might be misidentified as films. This anxiety leads them to seek out venues for their work (warehouse art galleries and hard-to-find back-room viewing rooms) that will grant them the power to have it appreciated on its own terms. Artists may care about a disembodied feel of a projected work in a more open-air setting, or they may want to take advantage of the sculptural qualities of placing one or many TV monitors in the gallery space. For genuine aesthetic reasons, many great works of video art are not meant to be seen on someone’s TV or laptop at home.
But a lot of them can be. For anyone who is enamored with film or remains a devotee of performance, video art can be like a happy marriage between the two. The great works of video art that are available to watch online are like a never-ending museum that is always growing and never closes. This collection should serve as a compact introduction to video art for anyone who’s uninitiated or a handy compilation for anyone who loves the medium but has some trouble finding the good stuff online. Enjoy!
One of the most fascinating video artists working today is Gillian Wearing, whose trademark approach involves creating hyper-realistic masks for her subjects, often shuffling them so that their voices and mannerisms take on antithetical identities to the people we see on the screen. People are really honest when they speak to Wearing and her camera, and in the above example, the resulting anecdotes about filial cruelty can be as heartbreaking as they are weird and original.
Wolf Vostell, Sun in Your Head , 1963
Vostell, like a lot of video art pioneers, came from performance and installation movements, including Fluxus. His is possibly the single earliest work of video art on YouTube, and among the earliest works in the genre ever.
Many people forget that many of the effects that were appropriated by mainstream television (e.g. cuts, titling, and graphic animation), came from the minds of video artists like Peter Campus, who developed distortion and layering effects for this early video.
When presenting ANIMAL’s Vine festival , Marina Galperina aptly explained that the first thing people do when they discover a new technology is put their dick on it. Warhol’s capture of la petite mort , from 1964, is further proof of this.
Pipilotti Rist, I Couldn’t Agree with You More , 1999
While in the more recent past, Rist has been known for her room-size projections of organic blobs, which she hoped would massage the world’s eyeballs , in the past, the Swiss artist tried her hand at more intimate, humanistic ways of looking at the world.
Part of what video art made possible was the intimate observation of human activity. In much of Nauman’s work, watching that activity closely — even if it was banal — has been a exceedingly rich source of meaning and drama.
Nam Jun Paik, TV Bra for Living Sculpture , 1969
While a lot of what we think about video art involves putting art on television, many of the genre’s pioneers built art with televisions, arranging them like sculpture and toying with their effects with magnets and other manipulatives.
Joseph Beuys, Sonne statt Reagan , 1982
Performance art messiah Joseph Beuys was not uninterested in politics. He actually ran for a seat in the German parliament as a Green Party candidate. For Sonne statt Reagan (a play on regen , the German word for rain) he and his fellow musicians made a cheerful call for nuclear disarmament, with the lyrics: “Sun! Instead of Reagan, to live without weapons! Whether West, whether East, let missiles rust!”
Chantal Akerman, Saute ma ville , 1968
For this work, Chantal Akerman filmed herself doing a series of chores and household tasks around her apartment, joining the many video and performance artists who yearned to use the medium to re-visit the drama of quotidian life.
All you need to know about this seminal work of video performance, in which artist Chris Burden arranged to have a friend shoot him in the arm, comes from this interview with Regis Philbin, unearthed by blogger William Poundstone :
PHILBIN: Why did you allow yourself to get shot?
BURDEN: It was a piece of sculpture, and it was the best thing I could think of doing at that time. That’s why I did it.
PHILBIN: [laughs] Chris has got me here. We’re gonna — hang in there Chris, and we’re gonna solve this together. As a piece of sculpture…
PHILBIN: You allowed someone to shoot you?
PHILBIN: And in your mind, that was the sculpture, the result of you being shot.
BURDEN: No, just the moment when I was getting shot was the sculpture, just that instant when the bullet traveled from the gun into my arm. And then after that, it’s all over. That was the sculpture; it was less than a second.
Vito Acconci, Seedbed , 1971 [NSFW]
The preference for alternately randy and disoriented cavorting characters in video art (seen, most recently, in the work of Paul McCarthy) was foreshadowed in pushy, confrontational work of Vito Acconci.
Christian Marclay, Telephones , 1995
The most famous work of video art in the world right now is Marclay’s The Clock (2010), a montage of recognizable moments from TV and movies that feature clocks or watches, which Marclay and his assistants pasted together to create a fairly accurate timepiece that could run continuously for 24 hours. Many historians have read Telephones as a harbinger of this kind of a supercut tribute to the history of cinema.
John Baldessari, I Am Making Art , 1971
I Am Making Art is an exemplary work by Conceptualist John Baldessari, who has specialized in works of art that were completed when the work was simply named or announced. This has taken form in painting and sculpture, but Baldessari has also engaged the potential of video art to create these radically self-contained art objects.
Visual effects employed by video-art experimenters have often been used to turn on its head the sexualized surveillance of women. This can often mean “deconstructing” the male heteronormative gaze with abrupt cuts, pans, or rolls.
Peter Campus, Three Transitions , 1973
Still other effects have been put to use to make art that breaks down the sense of corporeality that binds sculpture and performance. It can be an empowering thing, as this work shows, to make oneself melt or disappear, which of course isn’t possible in other media.
Chris Burden, Through the Night Softly , 1973
Burden’s rougher edge (and tolerance for self-abuse) has come up more than once. This performance, arranged at a less inhibited point in his career, involved dragging himself across the floor (in another version it was outdoor pavement) through a scattering of broken glass.
Cory Arcangel, Paganini’s 5th Caprice , 2011
Demonstrating his characteristic use of the super-fast-paced spirit of contemporary media, Arcangel devised this supercut from videos of amateur guitar players, which he pasted together to form a single performance of the famously chaotic solo composed, originally for the violin, by the early-19th-century composer Niccolò Paganini.
Burden’s deadpan monologue about his love affair with an out-of-production cargo truck comes from a point in his career when he came to exploit the narrative aspects of film, using the affection for a rig called “Big Job” as a metaphor for his flirtation with madness.
Matthew Barney, Cremaster Cycle , 1994-2002
During the eight years that Barney was composing and producing his five-part epic Cremaster Cycle , critic Michael Kimmelman called him the “most important artist in the world.” DVD editions, sold as individual works of art, carried a price tag of at least $100,000. On one occasion , a single DVD of Cremaster 2 reportedly sold for $571,000.
Pipilotti Rist, Ever Is Over All , 1997
Over the course of her career, Rist’s work has been defined less by small, single-screen works than by giant, room-sized installations. The immersive effect is designed to overwhelm the viewer, which can be hard to reproduce on a computer screen. This is nevertheless a decent-quality example.
Bill Viola, The Quintet of the Astonished , 2000
Viola grew up looking closely at ecclesiastical painting from the Renaissance. As you can see in this video, he has remained enraptured with the medium’s power to observe human facial expressions with the same overwhelming attention and care practiced by the Old Masters.
Marina Abramovic and Ulay, AAA AAA , 1978
While other performance and video artists have sought to capture the sentimental beauty of previously banal objects and situations, artists like Abramovic (here, with her old collaborator Ulay) focused more on tension and distress.
Marina Abramovic and Ulay, The Other: Rest Energy , 1980
This obsession with tension of Abramovic’s and Ulay’s regularly spilled over into a preoccupation with pain and endurance. More than a few of Abramovic’s performances involved her sitting or standing in place, for hours, until her body ached. Still others, like this example, involved the artist exposing herself to theatrically contrived (or even genuine) physical danger.
Bruce Nauman stands out among artists for his willingness to adapt a willfully opaque persona or character in his video work — most famously, as the title character in Clown Torture (1987). But the very act of transforming into these characters has also been a subject, as in this piece, in which Nauman covers his head and torso in white makeup.
John Baldessari, John Baldessari Sings LeWitt , 1972
This homage to the father of Conceptualism involved Baldessari reciting LeWitt’s instruction-based Sentences on Conceptual Art , adding humanity and idiosyncrasy to the otherwise austerely presented list of rules.
Dan Graham, Performer/Audience/Mirror , 1975
Influenced by philosophic writings of Jacques Lacan, Graham sought the verbal, self-completing approaches of Lewitt and Baldessari with the added dimension of self-portraiture, as in this work, in which he narrates his posture, movements, and appearance while standing in front of the gallery audience.
Omer Fast, 5,000 Feet Is Best , 2011
Drawing on interviews from former drone operators in the US military, Israeli artist Omer Fast paired a documentary comment on the rising use of unmanned drones with a theatrical piece of narrative about a group of civilian victims, which he cast using white actors. This is one of my personal favorite Fast videos.
Martha Rosler, Vital Statistics of a Citizen, Simply Obtained , 1977
Portraits examining the alienated gaze of video surveillance, experimented with formally in Joan Jonas’s Vertical Roll (above), were given an additional dose of intensity in this work, in which one subject offers a physical profile to two women wearing lab coats. Much of this work has to do with the severity and plain candor of the patient-doctor-nurse relationship, typifying the “disciplinary society,” with characteristic notions of observation and control, described by French historian Michel Foucault.
William Wegman, Selected Works , 1972
Applying some of the earliest, most innovative visual magic tricks to his video work (many of which had not yet been mastered by the television industry), Wegman created videos that starred his two Weimaraners in dynamic speaking roles. Not surprisingly, Wegman has made at least one contribution to an episode of Sesame Street .
For this text-and-image work, the rigidly minimal effect of a rotating bar across the video screen is endowed with newfound flexibility and dynamism. Hill recites a narrative whose setting — flipping between the horizontality of a landscape and the verticality of a mountain cliff — is dynamic, and even with very little to go on, the moving imagery keeps up with the pace of his reading.
The alternative stories and modes of self-presentation offered by the video medium have often been ideal for marginalized groups, including the LGBTQ community. This tradition has been carried on fruitfully by artists like Cory Arcangel and Wu Tsang. Campbell, who identified as bisexual and “bigendered,” was one of the first.
Miranda July, Getting Stronger Every Day , 2001
The woman who directed and played the quirky video artist in Me and You and Everyone You Know is, in real life, an artist who makes quirky videos, endowed with the same idiosyncratic humanism as her features. Video art is often indistinguishable from “art house” cinema, and many people, like July, have one foot in each arena.
David Hall, TV Interruptions: Tap piece , 1971
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