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Video Free America Presents

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Video Free America Presents VIDEO FREE AMERICA PRESENTS The NCET gave Beck the freedom to develop and Comments on Video A Blade of Grass : build 10s direct video synthesizer . Recently, he has expanded to design and build prototype electronic toys GRASS GROWING UP "VIDEO ART IS THE BLADE OF for manufacturers . Roarty presented his collaborations THE CEMENT OF THE BETWEEN THE CRACKS IN with graphic artist Bernard Blake. Roarty has become INDUSTRY ." Jerry Mander, BROADCAST TELEVISION interested in freezing a single abstract video image and Elimination of Tele- author of "Four Arguments for the transferring it to the print medium . vision" . The beginnings of San Francisco video art was in the hands of NCET artists as well as Video Free America our weekly video showing In 1978 . we presented in feedback artist, Skip Sweeney . These artists were included i n this book . From the series the videornakers drawn to understanding and exploring the possibilities should reflect a broad range start, I felt that the series of the technology and had a strong technical grasp of abstract video imagery, art- of video styles, including alternative uses of the video circuitry. If they wanted to video and documen- ists' videvapes, performance flip or color an image; they had to design and build a San Francisco videomakers as taries . We presented tool to make that happen . This was also true of the east who live in other well as hosting several videomakers coast video art in the late 60's and early 70's . Nam June and breadth of the pats of the county . The depth Paik built his synthesizer, as did Bill and Louise Etra. amazement to me . The showing series has remained an The Etras now live in the day Area . Presently, they are and screenings of year has been full of appointments researching the posliblities of interfacing computer me regarding ail new works that continue to surprise and video technology. Some of their new tools will be . From seeing all this the possible uses of the medium unveiled at the 1979 Video Expo in San Francisco . about the state of the work, I have some strong feelings Other east coast pioneers whose work we have pre- here . art and would like to share them sented this past year include Woody and Steina examining abstract video The best place to start is Vasulka, the founders of the Kitchen in New York . They Francisco at the National imagery . It all began in San (as well as the Etras) have been researching computer- Television at KQED-TV in Center for Experiments in video interfacing . They have been experimenting pri- sponsored by the Rock- the 0s . The NICET project was marily at Media Study in Buffalo, New York . At their the direction of Brice Howard efeller Foundation under VFA showing they explained with charts and tapes the Texas) and Paul Kaufman (now at a PBS station in recent direction of their experimental work. The works Stanford University) . The idea (now doing research at of these artists was the first "video art". It was identi- of people the freedom to experi- was to give a number fiable to a broad audience as "art" because the shapes, context and see what could ment within a television designs and patterns were clearly very different from NCET broadcast a series of ab- evolve out of that . The what was seen on TV. stract video imagery called "Electronic Notebooks" . Since these first explorations this form of video art - published books such as "Videospace" . held confer- of a great ences/workshops and presented a huge unique instal- abstract video imagery has been the recipient video wallpaper, lation called "Videola- at the San Francisco Museum of deal of criticism . It is referred to as . It is criticized for never Modern Art, as well as showing tapes at other closed i .e. just designs and patterns anywhere, for lacking content, for merely being a circuit showings, including one at Video Free America . going pretty pictures . Often these criticisms This year, more than a decade since NCET was succession of justified . Because of this, electronic video image- founded, we showed the works of Stephen Beck and were has been utilized primarily to create more sophis- BillRoady . ry 2 ticated title graphics for television series and station yawning gap between intention and actualization . If we identification and/or by the feature him industry to ex- all simply didn't have broadcast television in our minds pand the vocabulary of special effects . Ron Haves is as a reference analogy the problems of duration and perhaps the best example of an artist who has done technical quality might not exist . But, television this kind of crossover with his work from PBS-TV art permeates our entire culture down to the preschooler effects tapes to special for science fiction feature singing commercial jingles like a nursery rhyme . films. Artists simply can't escape the broadcast television re- It seems to me that electronic video imagery has yet ference their work implies when it is shown on the to hit its stride and that instead of a withdrawal of same type of box that brings us "Charlie's Angels" and interest and funding it needs a shove over the edge . "The Brady Bunch" . This has been an almost insur- into an identity . Electronic video imagery makers need mountable problem in appreciating the intention of to be given a chance to make and broadcast works that artists' videotapes . are more than graphic dazzle spots in the middle of Some artists who have shown at VFA, such as somebody's documentary or situation comedy . Iron- Suzanne Lacy, and to a certain extent Howard Fried ically, in the past year these opportunities in the Bay and Paul Kos, choose the option of hiring or collabo- Area have been coming from commercial stations . rating with a video engineer to avoid technical limita- KPIX-TV's Burt Arnowitz interviewed Stephen Beck on tions to the appreciation of the content of their work . his works and aired his tapes, as did KGO-TVs Ken Suzanne Lacy is perhaps the extreme example of th! El I i s on Skip Sweeney's abstract video imagery . These She creates events/ performances that the news media are encouraging signs, yet we wait for a program man- tapes and edits for broadcast . This kind of collective ager willing to dare to make a lager, consistent com- authorship of an artist's videotape is often the most mitment to abstract video imagery . fruitful in closing the gap between the artist's intention We also have shown tapes made by artists who don't and actualization of the work . work exclusively with video . These artists such as Char- For some artists collective authorship is totally un- lemagne Palestine, Paul Kos, Suzanne Lacy and acceptable . They feel a need to work privately on the Howard Fried have established their original voice in actualization of a concept or impression . The most en- music, sculpture or performance . Their videotapes are gagingly successful of these simple black & white often a video treatment of concepts and vocabulary videotapes is when they are presented in a multi- that have established them in other media . Artists' monitor installation . In an installation of several moni- videotapes face a whole realm of new problems and tors, with different pre-recorded channels we can begin possibilities. Since these artists for the most part do to escape from the ingrained expectations of broadcast not have an everyday working vocabulary established television and give the video work space to reveal to us with video ; they have two choices. One is that they can the intention of the artist . In this mufti-channel genre make simple unedited black and white low resolution the Video Free America showing of Max Almy's tapes video works . The other choice is to collaborate with a was particularly evocative . Her use of the different video engineer on the hooting and editing of a more monitors/channels to portray different people at dif- complex tape . For the most part, artists' tapes over the ferent points in time, gave this half-inch black & white past few years have fallen into the first category . They tape depth of interest, intelligence and a kind of simple have often been boringly long and full of sync and elegance of design . other problems that distract the viewer from the inten- Another way of escaping the expectations of broad- tion of the taps. Artists' videotapes have a history of a cast television is by creating video performance works. 3 'Some people confuse documenting a performance for feeling of actually being at the convention in the case video performance work, that is not what I am referring of "Four More Years" ; or in the White House as in to here by video performance works. The distinction i s "Gerald Ford's America" . They dispensed with the for- probably best explained by Darryl Sapien's Video Free mal distance, asserted a point of view with the editing America screening . Sapien performed "Within the and dropped the dry narration . Television audiences Nucleus" at the SFMMA in which he built a tall struc- across the country woke up . Secondly, there is an ture while wearing a video camera harnessed to his increasing loss of appeal for the "variety show" format body . The performance of "Within the Nucleus" was a and networks are scrambling to try to replace it . The video performance, but the tape he presented at VFA of docu-drama is the likely hybrid, trying out its wings . the performance was not a work of art in itself . If was But with the excellent ratings "60 Minutes" has been an archival document of the event .
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