For some, video art is a natural—a way to situate people and images within real time and space. For others, it is a way to mix things up, thanks to no end of editing tools.
For still others, it is a way to root art in a culture of images. For some of its pioneers, though, all it takes is the camera to disorient its subject and viewer. For Peter Campus, it scrutinizes real people and places, but at a cost to both.
