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By Sandra Hindman, Mirella Levi D'Ancona, Pia Palladino, Maria Francesca Saffiotti

The miniatures and cuttings from medieval and Renaissance manuscripts within the Robert Lehman assortment signify the most important colleges of illumination that flourished in Europe from the fourteenth to the 16th century. Robert Lehman should have thought of illuminations exceptionally an extension of his nice number of Italian, French, German, and Netherlandish work. In a broader feel, they manifested another part of the curiosity in early ecu paintings that led him additionally to gather unparalleled Netherlandish and German drawings of the 15th and early 16th centuries

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B et w een A rt H ist o r y and M edia H ist o r y: A B rie f I ntr o d u c ti o n t o M edia A rt | 49 3. 50 | Surveillance/Control This introduces an additional aspect into our discussion of body images in video art. According to Harun Farocki, one of the first shots of film history, La sortie des usines Lumière (1895), is a predecessor of the images produced by contemporary surveillance cameras (Elsaesser, 2004: 238). Since then a number of films have explored the topics of surveillance and voyeurism, among them such prominent films as Rear Window (1954) by Alfred Hitchcock, Peeping Tom (1960) by Michael Powell, and Krótki film o milosci / A Short Film About Love (1988) by Krzysztof Kieslowski, with the telephoto lens of a camera, a film camera, and a pair of binoculars respectively functioning as instruments of surveillance.

This interest in the relationship between language, writing and perception is manifest in works such as Happenstance (Part One of Many Parts) (1982-1983) and Primarily Speaking (1983), Ura Aru (1986) or Remarks on Color (1994). The latter is a recording of his daughter reading Wittgenstein aloud; occasionally she makes mistakes because she does not understand the text. The noncomprehension of a foreign language (rather than the non-comprehension of a complex and semantically challenging text) and its resulting transformation into either music or noise are the subject of Anri Sala’s Làkkat (1994).

For Hitchcock Trilogy: Vertigo, Psycho, Torn Curtain (1987), the artist Rea Tajiri used standard photographs, newsreels and television shows and set them against scores by Bernard Hermann, thus in some sense anticipating the predilection for Alfred Hitchcock’s films among artists in the 1990s (Rush, PRESERVING AND EXHIBITING MEDIA ART 2007: 173). These included not only the above-mentioned Douglas Gordon but also Christoph Girardet and Matthias Müller who in their Phoenix Tapes (1999) presented six thematically arranged sequences from 40 Hitchcock films which they edited from VHS carrier material (Blümlinger, 2009: 108).

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