Editing Video art (section)

==1980s–1990s==
[[File:Video by Glib Viches. Reconstructions.1995.jpg|thumb| From [[Ukraine|Ukrainian]] video by  [[Glib Viches]]. Reconstructions.1995]]

As the prices of editing software decreased, the access the general public had to utilize these technologies increased. Video editing software became so readily available that it changed the way artists worked with the medium. Simulteanously, with the arrival of independent televisions in Europe and the emergence of video clips, artists also used the potential of special effects, high quality images and sophisticated editing ([[Gary Hill]], [[Bill Viola]]). Festivals dedicated to video art such as the World Wide Video festival in The Hague, the Biennale de l'Image in Geneva or [[Ars Electronica]] in Linz developed and underlined the importance of creation in this field.

From the beginning of the 90's, [[contemporary art]] exhibitions integrate artists' videos among other works and installations. This is the case of the [[Venice Biennale]] (Aperto 93) and of NowHere at the [[Louisiana Museum of Modern Art|Louisiana Museum]], but also of art galleries where a new generation of artists for whom the arrival of lighter equipment such as [[Handycam]]s favored a more direct expression. Artists such as [[Pipilotti Rist]], [[Tony Oursler]], [[Carsten Höller]], Cheryl Donegan, Nelson Sullivan were able, as others in the 1960s, to leave their studios easily to film by hand without sophistication, sometimes mixing found images with their own ([[Douglas Gordon]], [[Pierre Bismuth]], [[Sylvie Fleury]], Johan Grimonprez, [[Claude Closky]]) and using a present but simple post-production. 
The presentation of the works was also simplified with the arrival of monitors in the exhibition rooms and distribution in [[VHS]]. The arrival of this younger generation announced the feminist and gender issues to come, but also the increasingly hybrid use of different media (transferred super 8 films, 16mm, digital editing, TV show excerpts, sounds from different sources, etc).
 
At the same time, museums and institutions more specialized in video art were integrating digital technology, such as the [[ZKM]] in Karlsruhe, directed by [[Peter Weibel]], with numerous thematic exhibitions, or the [[Centre pour l'Image Contemporaine]] with its biennial Version (1994-2004) directed by [[Simon Lamunière]].

With the arrival of digital technology and the Internet, some museums have federated their databases such as New Media Art produced by the [[Centre Georges Pompidou]] in Paris, the [[Museum Ludwig]] in Cologne and the Centre pour l'Image Contemporaine (Center for Contemporary Images) in Geneva.

By the end of the century, institutions and artists worked on the expanding spectrum of the media, 3d imagery, interactivity, cd-roms, Internet, digital post production etc. Different themes emerged such as interactivity and nonlinearity. Some artists combined physical and digital techniques, such as [[Jeffrey Shaw]]'s "Legible City" (1988–91). Others by using Low-Tech interactivity such as Claude Closky's online "+1" or "Do you want Love or Lust" in 1996 coproduced by the [[Dia Art Foundation]]. But these steps start to move away from the so called video art towards the [[New media art]] and [[Internet art]].