Chapter 1 traces the early development of Forest’s artistic vocation beginning with his production as a self-taught painter while still working for the French postal service in Algeria and focuses on his work in the 1970s. It places particular emphasis on projects undertaken in the name of Sociological Art (defined as “sociological praxis in the guise of art”) using video, the press, and different modes of public intervention. Works discussed in Chapter 1 include Family Portrait (1967), Senior Citizen Video (1973), Electronic Investigation of Rue Guénégaud (1974), Video Portrait of a Collector in Real Time (1974), Biennial of the Year 2000 (1975), and The Video Family (1976). Chapter 1 also examines different categories of Forest’s diverse work in video and discusses the aesthetic and epistemological ramifications of Sociological Art as theorized by Forest and Vilém Flusser.
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