Marque Cornblatt’s robots, sculptures and videos have been exhibited at SFMOMA, San Jose Museum of Art, di Rosa Preserve, and throughout California and New York.  Marque is currently producing and hosting "Gomi Style," a web-based DIY design show.  He has a BFA from NYU and MFA from SFSU.

 
Overview
For a long time video art was the step-child of the visual arts.  It’s not film, because there doesn’t have to be plot or narrative.  Many artists who work in this genre are still just trying to figure it out themselves and are filming whatever- because they can.   

Is it art?
As with any media, the intent and determination of the artist combined with the perception of the viewer determine the artistic merit of a work.

The Beginning
Arguably the first piece of video art was filmed by Nam June Paik in1965 when he used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City, then played the film later that day in a Greenwich Village café.  Fast forward to today.  Biggies in the field are Bill Viola and Matthew Barney.   

Street Cred
Video art went legit when Bay Area high tech venture capital titan Dick Kramlich and his wife Pamela began to collect in the 80s.  They saw white space in the collecting market and went after it because of the synergy with Kramlich’s business.  

Going Mainstream
After several decades of mixed responses, video and digital art are now fully embraced by major museums.  The Metropolitan Museum of Art officially began collecting video art in 2001.

What am I actually buying?
Generally a collector will receive a signed archival DVD or videotape, as well as an unsigned display copy of the work.  As with other artworks, the artist retains copyright to the work, as well as the right to display the work in the future.   In some cases the collector acquires an installation or sculptural work that includes monitors, electronic components, and other elements that may require periodic maintenance or even replacement.  Sometimes you are buying the actual software used in the creation of the work.   Video or digital works should be accompanied by a certificate of authenticity signed by the artist, confirming the edition and terms of the work.

Honey, can you plug it in for me?
Exhibition formats include projection, freestanding video monitors, and Internet access. Issues to consider include preservation and stewardship of the work, whether the work is “always on” or only exhibited on occasion, does the work require a dedicated display device, or can it be shown on a shared monitor or home theater system?

How are editions determined for video art?
Like other genres such as photography and printmaking, editions control supply.  Younger artists may produce larger editions to help make their work accessible, while established artists may choose limited editions (less than 10) to increase the value of a work.  Un-editioned works may have no limit to the number of copies that exist, however there still may be restrictions on how and when copies are made, distributed, or exhibited.
 
Legalese
There are a variety issues surrounding preservation, editions, and rights.  Because video and digital artworks are easily reproducible, it is a common practice to request that collectors enter into a licensing agreement, which defines the terms, conditions, and rights extended to exhibition and reproduction. Terms cover public exhibitions, touring, and Internet reproduction.  The right to exhibit will vary greatly based upon the edition, the collection, and the artist’s wishes.  It is generally assumed that any public exhibition, distribution, or presentation is forbidden without explicit consent.  These agreements vary depending on the type of collection (museum, private collection, library, etc…).

Do You Know of a Good Betamax Repair Shop?
Any institution or private collector interested in video and digital artwork should be aware of the technical requirements of the archival and exhibition formats.