I have came in contact with video art through multiple venues during the past several years. At first, it didn't interest me at all because of its ‘lack of materiality’, or so I believed. However, as my experience with this genre increased, I have not only became fascinated with it, but also started to bring up some questions.
<How collectible is video art?>
Video art only exists in digital formats. Unlike traditional works that are stable in its materiality, videos and films always bond with the notion of time. We can never stop the video at one frame and visualize the whole of it. Does this duration of video art influence its collectibility?
<Should we let the work die?>
The ability to archive objects have increased dramatically in recent years. However, the ability to evaluate the value of an art work has not. If we cannot put everything into the archive, should we re-evaluate the old works as well as the new? (i.e. some vinyls are only compatible with old box televisions, which are disappearing.)
These thoughts came from practical engagement such as writing condition reports for sixteen century Hungarian photographies and videos during my internship at Elizabeth Dee, as well as, theoretical experiences such as interpreting an exhibition of film-based works of Africa artists titled ‘Senses of Time’ as student docent at Hamilton’s Wellin Museum.