īeginning in Chicago during the 1970s, there was a surge of artists experimenting with video art and combining recent computer technology with their traditional mediums, including sculpture, photography, and graphic design. Vostell's work influenced Nam June Paik, who created sculptural installations featuring hundreds of television sets that displayed distorted and abstract footage.
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German artist Wolf Vostell experimented with television sets in his (1958) installation TV De-collages. Robert Rauschenberg's piece Broadcast (1959), composed of three interactive re-tunable radios and a painting, is considered one of the first examples of interactive art. By the 1920s many Cabaret acts began incorporating film projection into performances.
Cartoonist Winsor McCay performed in sync with an animated Gertie the Dinosaur on tour in 1914. Some early examples of performance artists who experimented with then state-of-the-art lighting, film, and projection include dancers Loïe Fuller and Valentine de Saint-Point. Steve Dixon in his book Digital Performance: New Technologies in Theatre, Dance and Performance Art argues that the early twentieth century avant-garde art movement Futurism was the birthplace of the merging of technology and performance art. From the 1900s through the 1960s, various forms of kinetic and light art, from Thomas Wilfred's 'Lumia' (1919) and 'Clavilux' light organs to Jean Tinguely's self-destructing sculpture Homage to New York (1960) can be seen as progenitors of new media art. The origins of new media art can be traced to the moving image inventions of the 19th century such as the phenakistiscope (1833), the praxinoscope (1877) and Eadweard Muybridge's zoopraxiscope (1879). ( September 2015) ( Learn how and when to remove this template message) Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This section needs additional citations for verification. Many cultural centers and museums have been established to cater to the advanced needs of new media art.
New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. New Media art has origins in the worlds of science, art, and performance. architecture, painting, sculpture, etc.). The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts (i.e. New media art includes artworks designed and produced by means of electronic media technologies, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, and cyborg art. 10.000 moving cities, Marc Lee, 2013, National Museum of Modern and Contemporary Art Seoul, Korea
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