Video spaces : eight installations By Barbara London

Author London, Barbara J., 1946-

Date 1995

Publisher The Museum of Modern Art: Distributed by H.N. Abrams

ISBN 0870706462, 0810961466

Exhibition URL www.moma.org/calendar/exhibitions/462

The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The Museum of Modern Art *» Video m Spaces: Eight Installations

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Video Spaces The Museum of Modern Art Distributed by Harry N. Abrams, Inc., New York 1

Video Spaces: Eight Installations

by Barbara London Published on the occasion of the exhibition Video Spaces: Eight Installations, organized by Barbara London, Associate Curator, Department of Film and Video, The Museum of Modern Art, New York, June 22-September 12, 1995.

This exhibition is supported in part by grants from The Japan Foundation, individual members of The Contemporary Arts Council of The Museum of Modern Art, and the Canadian Consulate General, New York.

Transportation assistance has been provided in part by Japan Airlines.

Copyright © 1995 by The Museumof Modern Art, New York

Certain illustrations are covered by claims to copyright cited in the Photograph Credits. All rights reserved.

Library of CongressCatalogue Card Number 94-073386

ISBN0-87070-646-2 (MoMA/T&H) ISBN0-8109-6146-6 (Abrams)

Produced by the Department of Publications The Museum of ModernArt, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warrenand Barbara Ross Geiger Designed by Emsworth Design, NewYork Production by Marc Sapir Published by The Museumof ModernArt Printed by Meridian Printing, East Greenwich, 11 West 53 Street, New York, New York 10019 Rhode Island Bound by MuellerTrade Bindery, Middletown, Distributed in the United States and Canada Connecticut by Harry N. Abrams, Inc., New York, A Times Mirror Company

Distributed outside the United States and Canada by Thames and Hudson, Ltd., London

Printed in the United States

Cover:Background, Tony Oursler,System for Dramatic Feedback, 1994. Insets, photographic details of other installations in the exhibition. Contents Acknowledgments Introduction by Samuel R. Delany "Video Spaces" by Barbara London "3

Judith Barry/Brad Miskell

Stan Douglas

Teiji Furuhashi

Gary Hill

Chris Marker

Marcel Odenbach

Tony Oursler

Bill Viola

Photograph Credits 78 Bibliography 79

Acknowledgments

In recent years video has merged with such Peggy Gale, Mona Hatoum, Ralph Hocking, fields as architecture, sculpture, and perfor Mary Milton, Nam June Paik, Tom Wolf, and mance to create a dynamic new art form: video Henry Zemel. installation. Video Spaces: Eight Installations is A collegial team within the Museum has the first exhibition at The Museum of Modern made Video Spaces possible. Sally Berger, work Art to feature some of the world's most recog ing with the Video Program's committed group nized innovators in this area. of interns, perceptively and efficiently oversaw The organization of this exhibition has myriad details, including the compilation of been a stimulating and rewarding experience, biographical material for the catalogue. Daniel enriched by the wit of the artists themselves. Vecchitto and John L. Wielk helped secure I would like to thank Judith Barry and Brad funding for the exhibition. James S. Snyder Miskell, Stan Douglas, Teiji Furuhashi, Gary and Eleni Cocordas coordinated complex logis Hill, Chris Marker, Marcel Odenbach, Tony tics, and Jerome Neuner devised the innovative Oursler, and Bill Viola, who have been involved installation design, which was carried out by in every phase of the project. Not only is their Peter Omlor and the exhibition production work visually and conceptually insightful but staff. Projectionist Charles Kalinowski capably they are congenial collaborators as well. guided us through the complex technical The contributions of numerous colleagues aspects of the individual installations. Nancy have insured the project's success. While I am Henriksson of the Registrar's office oversaw unable to acknowledge all of them here, I want shipping arrangements, and Elizabeth Tweedy to mention several key people. The exhibition Streibert brilliantly conceived the tour. I appre has been generously supported by the ciate the assistance of Daniel Starr and Eumie Museum's Video Advisory Committee and mem Imm, of the Museum Library, and of Jessica bers of the Contemporary Arts Council, which Schwartz and Samantha Graham, who have have graciously given their time, expertise, enthusiastically publicized the exhibition. and financial assistance. I especially thank The Department of Publications was Margot Ernst, Barbara Foshay-Miller, Joyce and responsible for the production of the cata George Moss, Patricia Orden, Barbara Pine, and logue; I want to thank Osa Brown, Nancy Barbara Wise. The assistance of colleagues at Kranz, and Harriet Schoenholz Bee, as well as The Japan Foundation and the Canadian Con editors Alexandra Bonfante-Warren and Barbara sulate in New York has also been greatly appre Ross Geiger for their clarity, and Marc Sapir for ciated. skillfully finding "electronic" solutions to the The artists' dealers and their staffs were production process. For the innovative book exceptionally helpful: Nicole Klagsbrun, Janelle design, I am indebted to Tony Drobinski, who Reiring and Helen Weiner of Metro Pictures, once again rose to the challenge of portraying Jim Cohan of Anthony D'Offay Gallery, Donald video art on the printed page; to Devika Young, and David Zwirner. I also want to thank Khanna; and to Jody Hanson, who supervised Susanne Ghez of the Renaissance Society, the design of both the catalogue and the Yukiko Shikata and Kazunao Abe of Canon installation graphics. ARTLAB,Sherri Geldin and Bill Horrigan of the I particularly want to thank Richard E. Wexner Center for the Visual Arts, Edith Oldenburg, Director Emeritus; Glenn D. Lowry, Kramer of the Pacific film Archive, James Director Designate; Mary Lea Bandy and Lau Quandt of the Cinematheque Ontario, Carlota rence Kardish, of the Department of Film and Alvarez Basso of the Museo Nacional Centro de Video; Kirk Varnedoe and Robert Storr, of the Arte Reina Sofia, Rolf Lauter of the Museum Department of Painting and Sculpture; and fur Moderne Kunst (Frankfurt-am-Main), Kira Riva Castleman, of the Department of Prints Perov and Dianna Pescar of Bill Viola Studios, and Illustrated Books. Their dedication to this and Lori Zippay and Stephen Vitiello of Elec project transformed an idea into reality. tronic Arts Intermix. For their input of various kinds, I want to recognize Paola Antonelli, Deirdre Boyle, Sheryl Conkelton, John Coplans, —B.L.

Introduction by Samuel R. Delany

I began reading science fiction well back CordwainerSmith, AlfredBester, Theodore in elementary school, toward the start of Sturgeon, Joanna Russ, and ThomasM. the 1950s. An experienceI connect with Disch. Secondis the visual form—com that early reading is a visit to The mercial comicsand films—in which any Museumof Modernart in the seventh or concern for clear observation of the world eighth grade. The piece in the Museum is lost to the overwhelmingfear of plac that struck me most forcefullyas a child ing any intellectual strain on the audi (a child who had been reading science ence. Fromtime to time the visual form fiction stories for a year or two) was does produce an interesting surface—for ThomasWilfred's Vertical Sequence, Op. example,in comic-bookillustrator Alex 137 (1941), one of a series of works he Raymond'sFlash Gordonseries, or in called Lumiacompositions. filmmakerGeorge Lucas's Star Warstril VerticalSequence stood in the middle ogy. What keeps this surface from amass of one of the side galleries—a small box, ing any substantial conceptual weight is on one side of which was a translucent its producers'fear of the audience's glass screen. On this surface, propelledby response should that surface ever display hidden mirrors, lenses, lights, and any identifiable ideas. mechanicalmotors within the box, colors The popular notions connected with swirled, drifted, vanished, and reappeared science fiction—the special effects of "sci in syrupy, attenuated slow motion. Verti fi"—come almost entirely from this sec cal Sequencewas the piece I and my ond form. The worth and significanceof classmatestalked about after we left the the field come entirely from the first, Museum,the piece we urged all our even when the occasionalreader, excited friends to see. It wasn't quite a painting. by ideas generated by the written form, It didn't hang on a wall. Thoughit stood applies them in interesting ways to some free in the center of a room, it wasn't a of the visual surfaces produced by the sculpture: the part you paid attention to second. It is worth noting, then, that the comprisedimages on a flat surface. For a young people who were excited by Verti long time VerticalSequence had its own cal Sequencewere science fiction readers, small, darkened gallery—like a contem not viewers. (The real descendants of Wil porary installation. Although clearly the fred's Lumiacompositions are the "light movementon the screen was created by shows"that accompaniedrock concerts mechanicalmeans (if you put your ear throughout the 1960s and 1970s. Though against it, you could just make out the many of these are now computerized— whirrr of rotors), rather than electronic and video has certainly made its inroads circuitry,it seemed—at least to the here as well—most of the effects, like child's eye—to have something to do those of VerticalSequence, are still largely with television, which had only recently created using mechanicalmeans.) become widely available. In John Varley'sfine science fiction Sciencefiction has always come to us story ThePhantom Kansas (1976), in two forms. The first and more signifi weather sculptors create marvelous cant is the written form, which ranges weather "symphonies,"using computers, from the swashbucklingadventures of dry ice, and explosionsto create torna "Doc"Smith and the semiliterate Colonel does, lightning bolts, and cloud forma S. P. Meek,to the sophisticated and ver tions that move back and forth across the bally rich work of Stanley G. Weinbaum, sun over the course of a few hours or 10

even days. In this story of a murder vic way up out of necessity, so that nothing tim brought back to life to seek out her is missed. killer, these meteorologicalprogressions In many homes the television set are the topic of much critical scrutiny. dominates the room it occupies, often Thousandsof people emerge from indoors droning from morning till night, in the to watch them, and experiencethem same way that the computer—with its when they involve rain and wind. But all-important monitor—dominates our from J. G. Ballard'sThe Cloud Sculptors of workspaces.In the earlier days, video and Corral-D(1968), in which pilots sheer computer artists were comfortableletting away bits of cloud with the wings of their their technical apparatuses overwhelm biplanes to create shapes in the sky, to the architectural spaces in which their Spider and Jean Robinson'sStardance work appeared, creating an analogue of (1977), in which a dance companyper our lives even as the images and form of forms its works in the zero gravity of a that domination critiqued our experience space station, science fiction has always of commercialtelevision and computers. seemed to have a fondness for images of But whereas the material technology new kinds of art. is certainly there, in much of the video Wellbefore Varley,however, "thera- art today it is no longer the center of mins" and "color organs" had found their attention the way it once was. While way into the language of science fiction, there are still images on glass screens, to whisper of the possibility of new art other images hang in the air or sweep forms. The personal import of Wilford's about the walls. And there has been a piece to me—and, I suspect, to those shift toward content, and content here other science fiction readers who were includes memoryand subjectivity,AIDS, excited about it—was that in it one and the transience of the body. The old- could sense a yearning to be looked at as fashioned formalistswe all tend to be in a new art. matters aesthetic must constantly develop For many people video is the quintes new ways to talk about such art. sential "new art," and there is a tendency Videoputs a particular spin on the to look at it with the slightly patronizing perennial question of framing the image. gaze reserved for the foreveryoung. How The traditional picture frame doubtless ever, most of the artists represented in began as a pastiche of, or ironic commen VideoSpaces have been workingin the tary on, the architectural windowor cabi medium for twenty years or more. All net door frame—to make a painting have developedrich vocabulariesand appear as a view through a windowto the intricately exploredtechniques. The outdoors. With video art, that window newness here is in the event: the assem comes away from the wall, to stand free blage of the work of nine mature and within an architectural space. It can be proven artists. suspended in the air, broken into multiple Usingvideo as a generic term for tele fragments, opened and closed. With the vision, it is useful to rememberthe key addition of simple mechanisms,it can MarshallMcLuhan devised for understand move about. And when the image leaves ing our reaction to what flickers and the screen to become dispersed in the air, flashes across the tube: "Lowresolution, the framing question is again high involvement."Video is ultimately reconfigured. more engaging than film because we are For most viewers,a human body visi given so much less information. Even the ble through the video "window"gives one color range is narrower,the hues more the sense of looking in. (If we are not muted, than in a projected film. Before actually looking into an architectural color, the range extended from pale to interior, then we are looking in on a situ dark gray, without ever hitting a true ation that may, indeed, have an outdoor black, a true white. When looking at a setting.) This is especiallytrue if the video monitor, your attention is tuned body is nude. Conversely,if we see an animal through the video window,we provide.When such motion enters the sense that we are looking out. (Put exhibition space, it excludesa certain clothes on the animal, however,such as concept of history as a static moment to we find on WilliamWegman's dogs, and be considered,in all its elements, like a once more we are looking in.) The fluid dioramicre-creation. We'restill learning ity of the image and sound, plus the what concept of history is freed into play mobility or absence of the frame itself, by these mobileimages. But even as we suggests shifting and mysticalfata mor- are learning how to read them, my suspi ganas, an imaginary architecture through cion is that underlying them is a concept whose flexing and flickering corridors, of history far more complexthan most of closets, and gardens the video experience us are used to. movesus, as the video windowchanges What is valuable about science fiction and its images shift. But some aesthetic is not that it predicts new things (thus current of our lives alwayspasses through presumablygiving the reader a running conceptual houses, buildings, cities we head start on the rest of us) but rather can never see—invisible cities that can that it presents a range of possibilities only be manifested, to whatever ghostly (the vast majority of which never come extent, by technology. about) that exercise and open up the Beginningas an accommodationfor imagination. Consequently,the new art that erupted beyond the physical things that do appear—whether in art, confines ordinarily associated with the technology, or in social patterns—are picture frame and the pedestal, the video easier for such readers to fit into their installation collapsesthe distinction existing world views. It gives us vivid, between painting (imagespresented immediate, and luminous images of new along a wall) and sculpture (images or alternate possibilities—and invites us standing free of those walls and com to describe,to assess, to judge, to reex manding space and air), between interior amine, and to interrogate. and exterior, present and future. So, too, in their installations, the Paradoxically,science fiction is rarely artists of VideoSpaces use a great variety about time. And it is almost never about of technologicaland aesthetic underpin space. It takes both as given, infinitely ning, as well as acquired skills and extendable categories, pictured as almost knowledge,to make new images, and new wholly under human control—and thus experiences,and to pose new questions. almost wholly unproblematic,even invisi Onlyan exploration sensitive to the ble. (It is often about what you can find discourseof the times can begin to in them—the specificsof history—but fix their import—something that can that is something else.) What science only be suggested by criticism, something fiction often is about is scale, and it uses that can be experiencedonly by standing the infinite fields of time and space to before, and movingabout in, the works 1 reimaginethe past as well as the future. themselves. Twocharacteristics that video shares with much other contemporaryart, espe Note cially installation art, are a lack of per i I tend to look at science fiction as a more lin manence—the "timelessness"that for so guistic phenomenon, as a way of making cer long has seemed essential to "serious" tain sentences make sense and decoding others art—and movement—that motion in that would otherwise be ambiguous. For exam ple: "Her world exploded." Read as ordinary excess of the contained cycles and oscilla fiction, it is a metaphor for a female charac tions of the mobile,the sweep of move ter's heightened emotional state. Read as sci ment and image that film, video, and ence fiction, it could mean that the planet on certain large-scalemechanisms alone can which she lived blew up.

Video Spaces: Eight Installations

Videoas an art form began in the mid- ceptual art. For example,in the droll 1960s, when portable video equipment videotape John BaldessariReads Sol LeWitt became availablein the consumermarket. (1972), Baldessarifaces the cameraand in Until that time the medium had been a deadpan voice says, "I'd like to sing for restricted to well-lit television studios, you some of the sentences Sol LeWitthas with their heavy, two-inch video appara written on Conceptualart." He begins off- tus and teams of engineers. Not that key: "Conceptualartists are mysticsrather users had an easy time with the Portapak. than rationalists. Theyleap to conclusions It consisted of a bulky recording deck, that logic cannot reach." Then, to the battery pack, and cumbersomecamera, tune of "Teafor Two,"he continues: "For and the half-inch tape, stored on open mal art is essentially rational." The bare- reels, was awkwardto operate. Still, bones presentation and straightforward artists found the Portapak affordable,and deliverysuggest that the artist felt the ability to record in ambient light unconstrainedby this new medium. made the medium attractive. They recog RichardSerra, already well known for nized that video was wide open, with his "process"sculpture, became involved promisingartistic potential. Duringthe with a group of sculptors and perfor subsequent thirty years the field has mance artists who were experimenting expanded to include a variety of forms, with video in the early 1970s. In Surprise most notably single-channelvideotapes, Attack (1973), the sculptor's lower arms video sculptures, and environmental appear on the screen. He slams a lead installations. This introduction serves as a ingot from hand to hand, declaiminga historical context for the artists in Video text taken from TheStrategy of Conflict Spaces, and highlights their participation (1960) by sociologistThomas C. Schelling. in the developmentof the medium. The rhythm of the words becomesmore In the early days, some artists adopted and more emphatic, matching the vehe video as their primaryvehicle, while oth ment thrust of Serra's hands. Video's ers incorporatedit into areas such as black-and-whiteimagery, low resolution, sculpture, dance, performance,and Con- and defined space are suited to examining this kind of simple action. Dancerswho workedwith video devel oped specificforms of choreographyfor the "cameraspace"—the small area directly in front of the camera. MerceCun ningham, Trisha Brown,and SimoneForti defined the field of view of the monitor, in some cases putting tape on the floor— and in effect, the video frame became a proscenium.The fact that dancers were able to see themselves"live" on a monitor also contributed to the emergenceof new kinds of productions.In Blue Studio (1975), five MerceCunninghams perform together as a "corps"in the same space without falling over each other—a dance that can exist only as video. One of the few artists who has moved Charles Atlas and MerceCunningham. Blue Studio: Five Segments. 1975. Videotape. fluidly between video and other mediums Color.Silent. 15 min. is BruceNauman. Throughout his exten- >4

sive career Naumanhas exploredthe tra Paik was seeking a serendipitousjuxtapo ditional forms of drawingand sculpture, sition of images. as well as the twentieth-century mediums Technicalfactors initially made it of film, holography,video, and installa difficult for museumsto exhibit video. tion art. In CorridorInstallation (1970), Reel-to-reeltape decks required someone he constructed six passageways,three to thread up, start, and rewind each tape. passable and three not. At the end of one Videowas first presented at The Museum cramped corridor were two stacked video of ModernArt in the 1968 exhibition The monitors showingthe empty corridor.As Machineas Seen at the End of the Mechan viewersadvanced down the narrow space, Nam June Paik. GlobalGroove. 1973. Video ical Age. The show was mainly about tape. Color.Stereo sound. 28 min. their backs unexpectedly appeared on one kinetic art, but it included Paik and many of the screens—the "real time" image on other artists workingin electronic medi the surveillancemonitor contrasted ums. Paik turned his LindsayTape of 1967 sharply with the stasis of the other into an installation by rigging an endless- screen. The conflation of present and loop device. He set an open-reel, half- past is a theme that recurs in video in inch playback deck on the floor several different guises. feet away from a sewing machine bobbin The career of one of today's best- and spool, and ran the spliced tape known video artists, NamJune Paik, between them. This loop anticipated the began with a doctored-upseries of old videocassette. television sets that he turned into sculp The followingyear, TVas a Creative ture. A few years later, in 1965, he Medium, the first exhibition in the obtained one of the first portable video United States devoted exclusivelyto camerasto reach NewYork. Paik, excited video art, was presented at the Howard as a child with a new toy, took the cam WiseGallery in NewYork. The show era into his studio, onto the street—in emphasizedthe machinery of video rather fact, nearly everywherehe went. His Frank Gillette and Ira Schneider. WipeCycle. than its images. Paik presented several of 1969. Video installation. Shown installed in recordings,mischievous and exuberant, his television sculptures, and Frank TVas a CreativeMedium, HowardWise were showcasedat a local artists' hang Gillette and Ira Schneidershowed Wipe Gallery,New York, 1969. Collection of the out, the Cafea GoGo.In 1967 Paik'svora Cycle(1969), a work of nine monitors artists cious appetite for everything current led arranged in a grid. This early "video wall" him to focus on John Lindsay,then combinedboth live and delayed coverage mayor of NewYork. Paik purloined several of the comingsand goings in the gallery, moments from a televised press confer intercut with commercialtelevision pro ence in which the mayor said, "Assoon grams. In keeping with the contempora as this is over, you may start recording." neous influence of MarshallMcLuhan, the Viewerswere able to lampoon the famous medium,not the content, was the message. politician by sliding magnets across the In the late 1960s,artists such as top of the monitor, distorting his hand Woodyand Steina Vasulkawere seeing some features. It was early interactive what they could coax out of video tech- video, for the sometimesplayful radical nologyitself. The Vasulkasmanipulated ism of the 1960s. the video signal directly, bypassingthe Paik later converted the black-and- camera-recordedworld. Their images were white footage into psychedelicallycolored based on the wave form of the video sig videotapes using an "image processor" nal, modulatedby the sound component. that he and Shuya Abe soldered Their loft, cluttered with video parapher 1 together. Paik often assembledhis tapes nalia and secondhandcomputer compo with the fast cutting style typical of tele nents, becamea gathering spot where vision commercials,and in some works friends showedtheir new videotapes. with multiple screens he did not coordi Beforelong, the crowdsbecame too large, nate the relationships between images on and the Vasulkasmoved the screeningsto the various monitors. Here, influenced by the basement kitchen of the MercerArt the compositionalideas of John Cage, Center.When the building collapsedin "5

1973, the ElectronicKitchen moved to into the cameratube. The burned-in Soho, where it floweredas The Kitchen traces appeared as scars in subsequent Centerfor Video,Music, and Dance.Climb live camera shots of the audience. Bill ing the dark stairwayto this lively alter Violainvestigated the transient nature of native space, visitors were never too sure the light-transmitted image. In Decay what they might encounter: aggressive Time(1974), a strobe intermittently illu political activity, the first Women'sVideo minated a dark room. Onlyfor an instant Festival,or the latest breakthrough in did a camerapositioned in the room have video installation or performanceart—or enough light to form a likeness of the some amalgamationof them. Still today, viewer,which appeared as a life-size pro with the proliferationof overlappingart jection on the wall. An image was born, forms, it can be difficult to categorize flashed before the viewer'seyes, then died these artworks. in blackness.The representation endured ShigekoKubota, Video Curator, A number of artists were intrigued by only in the memoryof the viewer. AnthologyFilm Archives, New the nature of video as a light-borne At the AnthologyFilm Archives, York,at the Archives' first video another alternative space in NewYork, program, 1976 medium. Like film, video uses light directly to conveythe image. MaryLucier the video sculptor ShigekoKubota orga was inspired to treat this light as a physi nized a weekly forum where artists gath cal material. In live performancesat The ered to show their works-in-progress. Kitchen, Lucieraimed her camera at sta Duringthis formativetime, many video tionary lasers, burning pencil-thin lines works resembledsketches, in that they

Mary Lucier.Fire Writing/Video.Perfor mance at The Kitchen, NewYork, 1975

Joan Jonas. Mirage. Performanceat the Anthology Film Archives, NewYork, 1976 16

were stages of problem-solvingand Campusused a camera and projector to focused on single ideas. In one short confront viewerswith live images of their videotape, GaryHill gives words tangibil faces projected upside-down,directly ity by showinga small speaker vibrating onto a wall. In the darkened room, the to his spoken text. In another study, enlarged, high-contrast images provoked abstract forms metamorphoseinto recog viewersto interact with their "portraits." M nizable shapes as Hill recites a series of No matter how they turned their heads or double entendres. Joan Jonas's work at changed their facial expressions,they this time involvedthe interaction were startled by the blunt, relentless por between live performanceand her trayals of themselves. The expressivepos recorded actions, shown simultaneously sibilities of interactivity engendered other on several monitors on stage. Like many imaginativeinstallations involvingviewer other artists, Jonas developedeach pro response. However,today, in the inter ject as three separate units—a perfor secting fields of video and computers, mance, an installation, and a videotape evolvingin the form of multimedia,inter Peter Campus,aen. 1974. Video installa for distribution. activity is at a primitivelevel where little tion. Shown installed at The Museumof A-inch The introduction of the 3 video- work has gone beyond button-pushing. ModernArt, New York, 1976-77. Collection of The Bohen Foundation, New York cassette in the early 1970s made it feasi Video,like most human activities, has ble to exhibit and distribute video to a not escaped the embraceof politics. Par wide audience. Within a short time, a new ticipants in the women'smovement, museumposition—video curator—came which began its current phase at roughly into being, when DavidRoss joined the the same time as video, found the staff of the EversonMuseum of Art in medium accessible.With no established Syracuse.With youthful enthusiasm, Ross bureaucracyor history, video allowed promoted video as the art of today and of artists to find room and jump right in. On the future. This theme was echoed at an the West Coast,Judith Barry engaged in a international exhibition in 1975. Orga theoretically informed feminism,inter nized by the Institute of Contemporary preting femininity and masculinity as Art in Philadelphia,Video Art surveyed social constructs based upon race, class, videotapes and video installations from and language. In Barry'sKaleidoscope North America,South America,Japan, (1979), a series of vignettes about "typi and Europe.Many museums in North cal" family life, characters argue feminist Americaand Europesubsequently initi theory. One amusing scene depicts a cou ated video exhibition programs,and a lit ple—ostensiblya woman and a man—in 2 erature began to form around the work. bed. Beforelong, viewersrealize that In concert with these developments, these are two womenleaning against pil artists advancedfrom the production of lows tacked to a wall, behind bed sheets relatively simple works to projects that hung on a clothes line. In a more damn were thematically sophisticated. Twoclas ing attack on how women are portrayed sic works raised issues that have in the mass media, Dara Birnbaum remained central to video over the last exposed some of the propagandatech twenty years. Present ContinuousPast(s) niques of advertising. In P.M.Magazine (1974), an installation by Dan Graham, (1982), she appropriated a frame from a consisted of two adjacent rooms lined familiar television commercialof a pretty with mirrors.Viewers had endless oppor secretary seated at a computer and blew tunities to see themselvesreflected it up into a larger-than-life wall panel. now, while simultaneouslyseeing on a The computer-screenimage was cut out monitor their actions of moments before. of the panel and replaced by a real moni The video delay collapsedthe past into tor showingfemale stereotypes in clips the present, distorting the normal serial from commercials.One sequence featured ly of events. Space too, was rearranged, a cute little girl eating an ice-creamcone, rendered discontinuousin this infinity a future woman who, it was hoped, would box of mirrors. For aen (1974), Peter grow up to a more expansiveprofessional 17

worldwhere goodlooks wouldnot predom tinted water and through broken glass. inate over competenceor other values. The work demonstrated a common The widespreadcreative activity was ground between science fiction, alien vis coupled with rapid advancesin video itations, and children's fantasies. Al Rob- technology.Nam June Paik's old "image bins, in Realities 1 to 10 in Electronic processor"evolved into a sophisticated Prismings(1984), focused on a low-tech studio device known as the "Harry,"later aspect of video. Viewershad to stumble refined as the "Henry."Frame-accurate over cables and other electronic rubble to /4-inch video editing became availableon 3 followRobbins's daisy-chain of images. tape machines. The glossier work that Starting with old footage of CapeCod on emergedfound support from funding a monitor, a camera captured this image institutions and was frequently shown on and fed it to another monitor. This image public television. Manyartists who fol in turn was captured by another camera, lowed this path later assumed careers in and so on, until the original recording advertising, Hollywood,or with MTV. faded away and became pure light. Other artists showedtheir work at muse One of the first exhibitions to open up ums and alternative galleries, and distrib a dialogue between still photography and uted their tapes through newly created, the movingimage of film and video was independent associations. Passagesde I'imageat the MuseeNational The division between these more-or- d'Art Moderne,Centre GeorgesPompidou, less distinct camps was evident in The Paris, in 1990. The installation by Chris LuminousImage, an exhibition presented Marker,although featuring videotapes, at the Stedelijk Museum,Amsterdam, in had the directness and charm of a family 1984. The show featured "new music" photo album. For years, Markerhas car composerBrian Eno's Video:Paintings and ried a camerain order to record his own Sculptures(1984), a relaxing installation experiencesand the everydaychallenges for MTVfans seeking bliss. By contrast, that ordinary people encounter. In Zap TonyOursler's assemblage L7-L5 (1984) ping Zone (1990), he filled dozens of exploredthe periphery of the rational monitors, arranged in an island in the world. In a space ringed by cardboard center of the room, with personal record cutouts of skyscrapers,clips of children ings and computer-generateddrawings. playing with "zap" guns, drawingsof In MarcelOdenbach's installation, Die aliens, and futuristic stories acted out by Einen den Anderen (Oneor the Other) lurid clay figurines were reflected off (1987), images from Germanopera— which for Odenbachepitomized bourgeois culture and traditional mythologies- were framed in such a way that the viewerbecame a voyeur, peering through a doorwayinto the artist's quest for his own history. In Japan, where craft has traditionally been emphasizedover content, video artists have found support largely through commercialorganizations. Spiral, a Tokyocomplex that comprisesa restau rant, gallery, and theater, as well as shops, is a trendy venue for contempo rary art and video. In 1990 Spiral spon sored the performancepH by the group DumbType. pH orchestrated elec Dara Birnbaum. P.M.Magazine. 1982. Mixed- tronic equipment and performersin a media installation. Shown installed at the parody of the regimentation of Japanese Hudson River Museum,Yonkers, New York, 1982. Collection of the artist society. The set brought to mind the inside of a giant photocopier,with many found it crude and did not persist. numerous projected images and large Others persevered,though they could metal frames sweepingacross the stage. If never have foreseen the technological performersmissed a beat, the frames hit advancesthat in time would enable them them in the shins or on the head. Teiji to do what they wanted. The novelty Furuhashi, the leader of the group, repre appealed to their pioneer spirit, and sented an unfettered spirit by whizzing every enhancement in the camera or tape across the space on a skateboard. Dumb deck was an occasionfor passionate Type'swork fluidly incorporates video, debate and further discovery.Fueled by computers, dance, and theater. Their per this energy, video explodedin many dif formancesdemonstrate how little remains ferent directions. Artists searched for and of the boundaries between art disciplines found the forms most suited to the in the late twentieth century. medium, often in combinationwith other The maturity that video as an art form disciplines.In the process they acquired a had attained by the early 1990s was evi technical facility that allowedthem to dent at the international survey exhibi deal with content in sophisticated ways. tion DocumentaIX, in Kassel,Germany, In recent years video installation and in 1992. Unlike DocumentaVII (1977) or video sculpture have emergedas the most DocumentaVIII (1984), the numerous fertile forms of video art. By releasing the video installations here were on an equal image from a single screen and embed footing with painting and sculpture ding it in an environment, artists have throughout the many pavilions.Video extended their installations in time and works by artists from Europe,North and space. The direct connection to another South America,and Asia were shown, and moment and an external location is included in the main building were instal unique to the video installation. Video lations by Stan Douglas,Gary Hill, Tony Spaces:Eight Installations is an interna Oursler,and Bill Viola. tional selection of new projects by artists When the Portapak was introduced to whose primary activity is in environmen the consumermarket, it was impossible tal video. Their work exhibits a distinc to predict to what extent video would be tive visual vocabularyand style that an effective means of artistic expression. exemplifiesthe current state of video. Of the artists who explored the medium,

Judith Barry/BradMiskell crash-landedin a dumpster and is crawl A battered wood crate is ready for the ing out, not quite having gotten all of its garbage pickers. Bold black letters sten pieces back together. ciled across its sides identify the crate as Cyborgsare usually thought of as having belonged to the Ha®dCellCorpora biologicalbeings modifiedfor life in a tion. Spillingout through missing slats non-Earth environment, their organs and are abandoned computer monitors and appendages replaced by mechanicalparts. keyboards,dusty disk drives, and other They are represented as high-tech, sport high-tech detritus. The contents are ing a shiny patina. Ha®dCell(1994), a webbed together with a nervelike maze of rough-and-tumbleassemblage antithetical assorted wires and tubing. The computer to this conventional image, evokes a curi componentsand cards twitch and groan, ous comparisonwith an astronaut. This and light flickers on the screens. It is like "moonwalker"resembles a cyborg, in that a cyborg made up of secondhand parts, or it is a human being within a non-organic an entity from outer space that has just outer shell of engineered fabric and tub- "9

ing. Generallythought of as synonymous when I was raped by my father's best 5 with leading-edgetechnology, the astro friend, an SGIIridium A with a ferocious naut is actually awkwardin its move hard drive and ten cruel gigs of RAM."At ments, even clumsy.Though the times the text reads as an assemblageof astronaut and its gear may be considered random phrases; at others, as personal advancedtoday, in the near future it will narratives. One interchange seems to be look as obsolete as Judith Barry and Brad occurringbetween a group of saboteurs Miskell'scomputer componentsdo now. and the Ha®dCellCorporation, which is Likethe cyborg,Ha®dCell also has trying to recover stolen materials. This fleshy parts. A fragile apparatus—a blue blurring of the mechanicaland the plastic sack that inflates and deflates like human suggests that the computersin a lung—seemsto have wriggledout onto Ha®dCellhave passed the "Turingtest." the floor. A phallus expandsand contracts (Initiated by the Boston Computer through a hole in the wood container. Museum,this test, named for mathemati Judith Barry and Brad Miskell.Ha®dCell. Thesewhimsical elements suggest that cian AlanTuring, is held annually to 1994. Videoinstallation. Shown installed this is the dawn of the do-it-yourself determine whether a computer—a in Crash:Nostalgia for the Absenceof "thinking machine"—has progressedto Cyberspace, Thread WaxingSpace, New Heath Kit era of creating living things. York,1994. Produced by, and collection Another kind of assemblage,Dr. Fran the point where it is indistinguishable of, the artists kenstein's monster, is not at all amusing. from the human brain. No machine has In the early nineteenth century, author yet passed the Turingtest as structured MaryShelley was inspired by the work of in Boston.) contemporaryscientists, who were then PostwarAmerican society, living under undertaking the first experimentson the the threat of nuclear annihilation, was human nervous system. In Shelley'sstory, strongly ambivalentabout the bounty of when the monster comesto life, Dr. new technology.This attitude has Frankensteinis so repulsed by its appear changed in recent years, as the public has ance that he flees the room in terror. fallen in love with the personal computer. Although Shelleyrefers to tight skin and Ha®dCell's folksy "creature" promotes a watery yelloweyes, she is unable to con sense of ease with technology while cau vey what makes the monster so horrific. tioning against the current inclination Yet, at a time when science had just toward an all-out embrace. begun tinkering with human biology,she clearly foresawthe fear aroused by what is now known as genetic engineering. Stan Douglas Modernculture has different ways of Onceupon a time, watching the evening diminishingthe apprehensionresulting news was a ritual. The entire family sat from biologicalexperimentation and its down together and looked at television consequences.Today, television programs while nibbling frozen dinners. Part of the present a benign Dr. Frankenstein'smon networks' mandate was to deliver infor ster. Comicallyrendered, with bolts pok mation and to instruct. Havingbegun ing out of his head, he doesn't even their careers in radio, most television frighten children. It is an image that newscastersdid not see themselves as mocks our forebodings,a figure appropri performers.Edward R. Murrow,for exam ate to an age when people adjust their ple, believed he had a duty to educate body parts as readily as they upgrade the viewer.Then things changed. their computer software. Evening(1994), by Stan Douglas,con Disembodiedmessages and bits of com siders Americantelevision of the late puter code stream across Ha®dCell's com 1960s,when the networksbecame less puter screens, as if crossed-lifeforms concernedwith the editorial content of were communicatingwith one another: their newscaststhan with enhancing the "Mem-shiftcreates discomfort,""Text stardom of their anchors. Douglas'sinstal indicates viral presencesbut no antibod lation is centered around WCSL,which is ies," "I was barely twenty seconds old based on the station in Chicagothat initi- ated the concept of "happy news," and two other fictional stations in that city, WBMBand WAMQ.The stations are repre sented by three large video images pro jected onto individualscreens mounted side by side on a long wall. Usingarchival clips, Douglasfollows nine developing news stories from 1969 and 1970. The contemporaryfootage is in color,while the archival material projected behind the anchors is in black-and-white.The spare set design and rough edits are faithful to the productionvalues of the time. The news anchors, portrayed by actors, read material scripted by the artist. Stan Douglas.Hors-champs. 1992. Video installa Beginningin unison with "Goodevening, tion. Shown installed at the Art Gallery of York this is the evening news," they proceed University, Toronto, 1992 with their separate reports. The anchors wear uniform happy faces, no matter how horrifying or inconsequentialthe events part, WBMBmaintains a more traditional, they are covering.Between reports on the paternalistic tone, WCSLfeatures "happy trial of the ChicagoSeven, the Vietnam talk," and WAMQfalls somewherebetween War,and the investigation into the mur the two. However,all of them soften the der of local BlackPanther Party leader coverageof disturbing news by removing Fred Hampton, the stations' directors cut the sharp edges. between human-interest stories and ban Whenviewers stand back some distance tering among the newscasters.This was from the screens and the speaker pods, "infotainment" before there was a word the sound becomesindistinct. Keynames for it. and words—"J. EdgarHoover," "radicals," In front of each screen, an umbrella "murderer"—merge in a polyphonic speaker directs the sound from the corre soundscapesimilar to concrete poetry. sponding track downward.Standing under Whenviewed from this distance—both in the WCSLspeaker dome, it is easy to keep time and space—the residue, a few vague score politically:Abby Hoffmanis a buf memoriesand catchwords,is an appropri foon, AdamClayton Powell, Jr., is a thief, ate distillation of the pablum that is pre and the heart transplant surgeon Dr. sented as journalism on television. ChristiaanBarnard is a savior. The trial of Douglas'scool, analytical approach to Lieutenant WilliamL. Calley,Jr., charged the media is fundamentalto his work. In in the MyLai massacre,is dismissedas Hors-champs(1992), severalAfrican-Amer just one of those stories from the 1960s ican musicianswho reside in Europeare that won't go away. shownjamming, their recordedsessions Movinginto the sound space of other projected on both sides of a large, free "stations," viewersmay comparepresen standing screen. The installation focuses tations of the same news feature. WBMB's on the formalityand elegance of the pre approach to the Calleystory is to empha sentation rather than on the beat of the size the philosophicaland public-rela music. By taking the music out of its tions problemsthat the massacreraised established context—the smoky night for the Americanmilitary. In another club—Douglassuggests a new way of issued addressed, CongresswomanShirley thinking about the soul of jazz. Chisholmputs the controversialBlack This restraint also informs the way Panthers in perspective,noting that they Douglastreats advertisers in Evening. are not the Communistmenace J. Edgar He does not castigate them for their per Hooverbelieves them to be. For the most nicious effect on the news—turning it into a ratings game—but simply denotes Kyoto-basedperformance group, he com commercialtime slots with the words bines video, performance,music, printed "PLACEAD HERE." This minimal state matter, and installation to expand the ment puts the burden on the viewerto expressivepossibilities of art. Forthright developthe thought. In this understated and ironic, the group presents a spirited manner, Douglasexpresses the civilized but ultimately somber view. Their acerbic person's yearning for a humane and ratio work directs attention to a society—that nal world. of Japan—overloadedwith information— yet seeminglyrelishing its technomania. DumbType's work is beholden to Teiji Furuhashi Ankoku Butoh, which is a confrontational "Lover"is a commonword, and lovers are form of avant-garde dance in Japan. a popular subject in art. As an image, a Meaningthe "dance of utter darkness," pair of lovers often suggests a castle of Butoh dates back to the late 1950s, and exclusion.With the sexual liberation of is still quite popular. Its creator, Tatsumi the last few decades, the word now has Hijikata, searched for something authen more to do with physical coupling than tic to be fashioned out of Japanese tradi with the sublimity of "true love." AIDS tion. Thus, Butoh exposes the dark, has added a new dimensionof wariness to hidden side that Hijikata felt had been this pairing. submergedin a contemporarysociety The life-size dancers in Teiji influenced by Europeanand American Furuhashi'sLovers (1994) are drained of culture. Highlightingbad taste, the life. Projected onto the black walls of a banal, and the embarrassing,Butoh cre square room, the naked figures have a ates images of a wasteland peopled by spectral quality. Their movementsare naked, spastic bodies whitened with rice simple and repetitive. Back and forth, powder.Like the grimacingghosts found they walk and run and move with animal in Noh theater, Butoh exists in a nether grace. After a while, their actions become world between reality and illusion. While familiar,so that it is a surprise when two today Butoh has lost its relevance,Dumb of the translucent bodies come together Type'sapproach has become more perti in a virtual embrace.These ostensible nent in challengingthe diminished lovers—more overlappingthan touch humanity of the information age. ing—are not physicallyentwined. Lovershas a two-part soundscape. Unlike much contemporaryJapanese When the running figures stop and pause, art, Furuhashi'swork has a political edge. the air is filled with whispered, indistin With fellow membersof DumbType, a guishable phrases, as if a murmuring audience has clustered somewherein the distance, their voices hushed in awe of the event they are witnessing. A series of metallic "tings" in the aural foreground resemblesthe bleeps of hospital diagnos tic machines. The overall impressionis one of tentativeness—possibly hopeful, but perhaps not. In contrast to the ethereal sounds, words of admonition float across the black walls: "Loveis everywhere,""Fear," "Don't fuck with me, fella, use your imag ination," "Do not cross this line or jump over." The slowlyrevolving phrases strike with the power of graffiti, connecting the Dumb Type. pH. Performance at the Brooklyn work to everydaylife. At the same time, a Bridge Anchorage,New York, 1991 gold vertical line, scaled to the human body, movestoward a horizontal line suggesting that it exists outside of time, approachingfrom the opposite direction. without past or future. They merge briefly, to resemblethe cross The arrangement of the rasters does hairs of a weapon's sight. Fromfacing not followthe organization of a human walls, projections of the word "limit" skeleton. Representationsof Hill's ear and stream toward each other, self-con arched foot lie side by side; tucked mod sciouslycouple, then separate. This estly behind them is an image of his echoes the movementsof the two lovers, groin. Within this unassuming configura who at other times briefly overlap. tion, each raster invites meditation. For A touching moment of Loversoccurs example,on one screen a rough thumb when the installation is not crowded.One toys with the corner of a book page. In of the videotaped figures—Furuhashi— its repetition, the simple action of lifting stops and seeks out a lone viewer.He and setting down the page functions like pauses and faces this person with arms a close-up in a movie. Further, by concen outstretched. The gesture is not a beck trating the viewer'sattention on such a oning one; rather, the artist is assuming rudimentary activity, the movement,as in a beatific pose. He appears vulnerable and a slow-motionreplay, takes on the exposed. Then, as if on a precipice,he significanceof an epic event. falls backwardinto the unknown, accept On a torso-size screen, smooth, taut ing his fate. In reaching out to a single skin stretches over the ridges of bones viewer in a direct, personal manner, that shape the human back. The image Furuhashi belies the notion that the fills the frame, and the monitor, given its human spirit must necessarilybe over equivalent size, is perceivedas part of the whelmedby the juggernaut of technology. body: an enclosure,a vessel, no longer something that simply displaysa picture. Raster and image exist as a unified object, GaryHill as representation, as a living thing. The first time GaryHill arrived to install Long, nervelikeblack wires attached to Inasmuchas It Is AlwaysAlready Taking each raster are bundled together like Place (1990) at a museum,he brought spinal chords. Snaked along the shelf, the close-upsof a body recordedon forty dif bundles disappear from view at the back ferent video loops. He selected sixteen to of the recess. Although unifying the sys play on individualrasters—monitors tem of monitors, this electrical network stripped of their outer casings.The rasters, emphasizesthat the body parts are pre ranging in size from the eyepieceof a sented as extremities, without a unifying camerato the dimensionsof an adult rib torso. The hidden core to which the com cage, were set on a shelf recessedfive feet ponents of the body are attached serves into the wall, slightly beloweye level. Hill as a metaphor for a human being's invisi ran each loop on a screen that matched ble, existential center: the soul. the size of the particular section of the Although none of its segments are body recordedon the tape. As he posi "still," the installation has the quality of tioned the monitors,moving them around a still life. Typically,the objects in still- with the objectivityof a windowdresser, it life paintings are drawn from everyday seemedhe was actually handling parts of a life—food and drink, musicalinstru living body: a soft belly that rose and fell ments, a pipe and tobacco. Their place with each breath, a quadrant of a face ment appears arbitrary, and they do not with a peering eye like that of a bird war communicatewith each other. Often set ily watchingan interloper. out on a platform or table, the elements The componentsof the body displayed are positioned within arm's reach and in Inasmuch—Hill's own—are without appeal to all the senses, especiallyto any apparent distinction. Neither Adonis touch and taste. Inasmuch has most in nor troll, neither fresh nor lined with commonwith a vanitas, a category of age, the body, suits the endless loops, still life in which the depicted objects are meant to be remindersof the transience ChrisMarker of life. In place of the usual skull and ChrisMarker arrived at a meeting in Paris extinguished candle, Inasmuch depicts an out of breath, weighted down by heavy animate being whose vulnerability under canvas satchels slung over his shoulders. scores the mortality of flesh. These, he explained, contained VHS A textured compositionof ambient copies of his favorite classic films, such sounds forms an integral part of the as HowardHawks's Only Angels Have installation. For example,the sound/of Wings(1939). He was sending these skin being scratched or a tongue clicking copies of tapes from his personal video inside the mouth, though barely recog library to cinema-starvedfriends in nizable as such, is orchestrated with Bosniathe next day. Mischievouslysmil recordingsof rippling water and softly ing, Markernoted that they were his own spoken phrases. Within this uniform re-edited versions. Rid of what he consid soundscape,the looping of the sound ers to be tiresome second endings and track combinesdistinctive notes in a extraneous scenes, the films are now the pulse that reinforcesthe living quality of way he believes they should be. the installation. This courteous gentleman seems to In Inasmuch Hill has reduced the req have creatively reworkedhis life the way uisites for "living" to visceral sounds and, he would edit a film. To begin with, the more importantly, physical movement name of his elusive persona is an Ameri that has no end. However,the ceaseless canized pseudonym.Chris Marker proba activity is an illusion, in that each com bly was born in 1921 in the outskirts of ponent exists only as a seamlessloop of Paris. He remembersseeing his first five to thirty seconds in duration. Creat movie, a silent one, at the age of seven. ing such a loop—one that seems to go on He joined the French Resistancein the for eternity—involves a bit of a trick: middle of WorldWar II, then became a The videotaped image has to match paratrooper with the United States Air exactly, in position and in movement,at Forcein Germany.He has perpetuated a two places on the tape. The segment shadowyexistence, and photographs of between these two shots is cut, and the him are strictly taboo. Alwayson the go, tape spliced into a loop without a dis he easily slips in and out of places incog cernible beginning or end. Otherwise,for nito, and quietly observeswithout example,if the thumb were to lift the attracting attention. page and then "jump" back to repeat the Marker'sfirst artistic production dates action, or if the torso should rise slightly from 1945, when he began a film on and then abruptly rise again, the piece postwar Germanyusing Andre Bazin's would become a sort of Sisypheandepic 16mmfilm camera. Returning home, he tion of endlessly repeated activities. discoveredthat the lens was broken and Inasmuch recalls an age when art was out of focus; he then put his film career thought to be an illusion, a trick played on hold for nearly a decade. Markerbegan on the senses. Here, the images are not writing regularly for L'Esprit, a Marxist- illusory, but time itself is hidden from oriented Catholicjournal, and for Bazin's the viewer,in the way that segments of Cahiersdu cinema, a vehicle for the time are made to appear limitless. In emergingFrench NewWave. He tried his folding time back on itself, a seemingly hand at a new journalistic form, produc simple concept, Hill has fashioned a crea ing a series of traveloguesthat combined ture whose humanness poses an existen impressionisticjournalism with still pho tial challenge. tography, published by Editions du Seuil. Duringthe 1950s Markerwas part of the Left Bank Movement,an informal group that included filmmakersAlain Resnais,Agnes Varda, and GeorgesFranju. He made a series of polemicaldocumen- taries with Resnais; Les Statues meurent of one—himself—can handle. He brings aussi (1950), for example, criticizes the the silent film up-to-date by juxtaposing arrogation of African art by Western his computer-controlled images on multi museums. Marker's sympathies have pie screens. The composition is orches always been with ordinary people, whose trated in accordance with Lev Kuleshov's lives he turns into history, as in his film experiments in montage. This Russian Le Joli Mai (1962), in which he solicits filmmaker of the silent era showed that a the views of Parisians in the aftermath of neutral shot in a film edit is colored by the Algerian War. the emotional cast of a contiguous shot. Marker's most influential film, La Jetee Many consider the silent era to be the (1962), reveals the artist's ambivalence golden age of cinema. The medium had toward the past. Set in the ruins of Paris developed many expressive techniques— after a hypothetical World War III, the for instance, in the tonier films, the com film follows a survivor who is forced to position of the screen images was based time-travel into both the past and the on well-known paintings. In the early future. Granted an option by his captors, 1930s, many film artists reacted to the the protagonist elects to reside in the advancing technologies by opposing the past, only to realize that to do so is introduction of sound and color film, equivalent to choosing death. because they feared these technical inno The installation Silent Movie (1994-95) vations would compromise the artistic is a soaring tower of five oversize moni integrity of the medium. tors stacked on top of one another, And indeed, with the introduction of resembling a vertical filmstrip of five sound and color a new kind of cinema frames. The teetering structure is stabi evolved. However nostalgically bound to lized by guy-wires. Marker associates the the "golden age" Marker is, he has not overall shape with the visionary building given up the present. Although the qual proposed by Victor and Alexander Vesnin ity of the film image is superior, he for the Moscow Bureau of the Leningrad appreciates the flexibility of video, and newspaper Pravda in 1924, and therefore travels everywhere with a tiny Video-8 with the early spirit of the Russian Revo camera. He can shoot, see the material lution. The black-and-white images on immediately, reshoot if necessary, then the screens look like clips from the edit at home. Marker notes in a letter: silent-movie era; the subtitles appear genuine but are also fabrications, as are As happy as I am with the freedomthat video the film posters and glossy pinups tacked gives me, I can't help feeling nostalgic when I to adjacent walls. As viewers ponder the encounter a 16mmframe of Sans soleil or authenticity of the material, they are AK—and so much more if I evoke true Techni drawn into Marker's reverie on the past. color, whose mastery has nothing to do with Marker used video and a computer to the false perfection of electronics.... So far, make this work, but he restricted the I haven't seen any high-def [high-definition visual effects to those available to silent video] that matches TheRed Shoes. . . . That film directors. These stylistic elements — said, I wouldn't for anything in the world go which include dissolves, superimpositions, back to 16mmshooting and editing. Such are 3 irises, and subtitles— helped define the the contradictionsof the human soul. nascent art of cinema. For early cine- matographers, such effects represented the leading edge of technology; today, Marcel Odenbach they are charmingly anachronistic. The installation Make a Fist in the Pocket Marker is attracted to the challenge of (1994) displays seven monitors arranged working with a limited visual "palette." in a row at eye level. Each monitor por His reductivist approach is in keeping trays a particular country— Germany, the with his miniaturized recording and edit United States, France, England, Italy, ing apparatus, which his production crew Czechoslovakia, and Mexico—with news clips about how the established order inhumanity of Hitler's Germanyseemed to dealt with its 1968 revolutionaries. be a closed chapter in the country's his Footageof shouting crowdsand beatings tory. In light of the recent unsettling is intercut with the famous sequence of events in Germany,however, the specter the Third Reich'sburning of books of the past has acquired an oppressive deemed unsuitable for the master race. In presence. The current revanchismhas the center of the archival footage shown shocked many segments of the society, on each screen is an inset of a hand and left them uncertain how to react to striking the keys of a typewriter. The the situation. The artist expressesthis staccato cadence of the typing recalls the feeling in the installation's title: "To sound effect that MovietoneNews used to make a fist in the pocket," a common give an urgent pulse to war dispatches in Germanexpression for thwarted anger. the 1940s. On the wall at the entrance to the A large color video projection occupies installation is a quote from IngeborgBach- the opposite wall. For the most part it is a man, an Austrianpoet and activist who 4 travelogue,shot with a hand-held camera, was influential in the 1960s. In bold let of Odenbach'srecent journeys in Thailand. ters the text reads: "I am writing with my The huge, grainy images are sensual and burnt hand about the nature of fire." In current, in sharp contrast to the artist s this context, fire becomesemblematic of compositememories of his youth, as the organizedviolence in Germanhistory. shown on the seven monitors.The smaller, That history and the artist's search for his monochromaticimages seem distant, as if place in it are Odenbach'ssubject matter. events that have becomehistory have a diminishedreality. They are looped over and over,like a recurringbad dream. TonyOursler In the conventionally"exotic" images At the doorwayto Systemfor Dramatic of Thailand, topless prostitutes solicit Feedback(1994) stands a calico entity, a customerson busy streets, while brightly misshapen video face projected onto its robed monks chant their calming cloth head. Overand over again the little rhythms. At colorful shrines, the sound of effigy cries, "Oh, no! Oh, no! Oh, no!" coins dropped into metal vases reverber The voice is shrill and anxious, as if it ates like temple bells. Within this were witnessing a harrowingevent. The panorama, the "West"is present in the doll's emotional demeanoris poignant, person of a naked Caucasianman being and the state of alarm is archetypal. walked on, in a form of massage.Intercut Viewerscan empathize, and thereby expe with this sunny, languorousfootage are rience the trauma. It is an in extremissit disturbing clips of Germany:skinheads uation, so powerfulthat it evokes throwing stones at foreigners,and Asians nervous laughter among some spectators. and Africansframed in the windowsof Others simply step back and view the their burning homes. The GermanyOden- character as a carnival barker, warning bach presents is somber and violent, the them before they proceed. polar opposite of warm, ostensibly har Inside the installation, on the wall moniousThailand. However,the scene of opposite the entrance, is a large black- a Thai kick boxer watching CNNcoverage and-white video projection of an audi of skinheads on a rampage suggests that ence. Youngfaces stare glazedly into the Germany'sinternal affairs may manifest room, as movie trailer music plays softly. themselves globallyin surprising ways. Munchingpopcorn and bathed in cinemas Odenbachis ambivalentabout his cul silvery glow,these characters are tural history. On the one hand, he feels detached and neutral, waiting silently for comfortablewith the idealism of the something to happen. They are witnesses 1960s, a time of clear objectivesand to the routines of Oursler'screations and identifiable programsthat people could to the activity of the viewerswithin this rally around. Duringthat period, the theatrical space. 26

Slightly off to one side is a mound of ized television programschannel viewers stuffed, life-size rag dolls. Stitched through a narrow range of emotions, together out of SalvationArmy hand-me- Oursler'seffigies, lifelike and nonthreat- downs, each of these homey characters is ening, beckon them into an open-ended animated by a small video projection world of the imagination, where the mind that defines one distinct action. At the is freed to assembleits personal fictions. top of the heap, a disembodiedvideo hand comes down on the posterior of a bent-over male figure, hitting him with a Bill Viola loud smack. The hand comes down again Bill Violais an investigator of the world and again, as if to signify that there is of illusion and its makeup. He feels close no escape from the memoryof the experi to the visionaryWilliam Blake, and ence. The resounding slap acts like a identifies with this protean artist's meta metronome,punctuating the effigy's physicaltravails. The poetry of the Sufi piercing cry, and the murmursof the sur mysticJalaluddin Rumiis equally impor rounding figures. Frombehind the mound, tant to Viola.Rumi has the simplicityof a fat, naked female figure hesitantly someonewho has realized his spiritual lurches forward.She pauses, as if about quest. He has "seen the light," to use a to do something, then straightens up, universal metaphor for enlightenment. only to fall down again. She is trapped in Violamolds video images, carried by light, a single psychologicalstate, a character into luminousmetaphors of his own. in a rut. In the middle of the mound lies In the center of SlowlyTurning Narra a male figure, a penis protruding from his tive (1992) is a twelve-footwall panel unzipped pants. It becomeserect, then rapidly rotating on its vertical axis. One flaccid, larger and smaller,in an endless side is mirrored, the other is a film cycle without gratification. screen. Projected onto the revolvingwall At the bottom of Oursler's"mutation in black-and-white,an immensevisage pile" lies an atrophied body with a gigan stares fixedly—a tired face, gazing tic head that looks as if it fell off a inward. statue. Madeof white cloth rather than Projected onto the same revolving marble, its distorted video face stares out wall from the opposite side of the room, in anguish from underneath the pile a series of colored images—a carnival at bearing down on it. The figure is androg night, children playing with fireworks, ynous, and, as with all of Oursler'srag dolls, the video projection is indistinct. This enhances the universality of the dolls' emotional states, stimulating the viewer'simagination that much more effectively.Oursler's dolls recall those psychologistsgive to children in order to allow them to reenact an event and play out their emotions, a therapeutic process through which a frightening experience becomesmanageable. In Systemfor DramaticFeedback, the dolls express their emotions as ritual acts that insinuate themselvesinto the view ers' fantasies. The sensation is somewhat like that of watching a popular television "cop" series. The archetypal situation shows the good policemansuccessfully, if violently, dealing with evil, thus assuag Bill Viola. The Passing. 1991. Videotape. Black- ing the public's fears. Whereasstandard and-white. Mono sound. 54 min. and an empty suburban mall—are inter When the facial image is in turn pro cut with family scenes and pastoral land jected onto the mirror, it also shatters scapes. The rotating wall, with the face and is strewn around the room. The frag projected on one side and what might be ments of the face and the fragments of called mind-imageson the other, presents the mind dematerialize.The distinction an obviousduality: the surface reality of between outside appearance and inner a person, and behind it, the interior reality has dissolved. experience.The overallimpression is of a The work is like a diptych, with one of slowlyturning mind absorbed with itself. the panels—the mirror—adding an extra When the projection of the man's face dimension.Viewers see themselves falls onto the matte screen, it appears in reflected in the glass as clear, still a normal, almost photographicmanner. figures. They are frozen in a carnivalesque However,when the other images are pro world of illusion, where the man's face jected onto the screen, they are fringed and mind are a vortex of image frag with red, green, and blue, blurred like ments. His identity engulfs the viewer; cloudedthoughts. Only at one moment, their identities entwine. In this sea of when the broad surface of the wall is ambiguity,the only certainties are that exactly perpendicularto the projection, the wall will keep turning, and that the does the scene briefly come into registra mirror will always come around again. tion. It is as if a veil has been lifted and An important characteristic of Viola's the vision has become clear. Violais here installations is the existence of an ideal referring to the mystic'stask, which in viewinglocation. SlowlyTurning Narrative spiritual practice is termed "polishing the is unique in that the "best place" to mirror." stand is inaccessible.It is the pivot on As the wall rotates and the mind- which the wall rotates, at the center of images fall onto the mirror, they break the duality, the unmovingpoint. In the into shards of light and splatter onto the Tao,it is this point around which the walls of the room. The mind has exploded. universe revolves.

Notes

1 Calledthe Paik-AbeVideo Synthesizer, the Museum;and in Cologne,the Kolnischer device comprised two cameras, controlled by an Kunstverein. The programs have since electromagnet, that rescanned videotapes play expanded and are now too numerous to list ing on monitors. Initially called the "wobbula- here. For a chronology of early video activity tor," this synthesizer assigned color to the gray in the United States, see Barbara London with scale of black-and-white videotapes and mixed Lorraine Zippay, "A Chronologyof Video Activ up to seven video inputs. ity in the United States; 1965-1980," Artforum 2 The first museums were: in NewYork, the 9 (September 1980): 42-45; and Circulating Whitney Museumand The Museumof Modern VideoLibrary Catalog (NewYork: The Museum Art; on the West Coast the Long Beach Museum of Modern Art, 1983), pp. 41-48. of Art and the VancouverArt Gallery;in Min 3 Letter from Chris Markerto the author, October neapolis, the WalkerArt Center; in Paris, the 25, 1994. Musee d'Art Moderne de la Ville de Paris and 4 Bachman died in 1973—in a fire. Odenbach the MuseeNational d'Art Moderne, Centre finds encouragement in the recent revival of GeorgesPompidou; in Amsterdam, the Stedelijk her work in German universities.

Eight Installations 1994. Five-chan nel video instal Ha®dCell lation with three projectors, three monitors, three computers, a defibrillator, and miscellaneous materials. Shown installed in Crash:Nostalgia for the Absence of Cyberspace, Thread Waxing Space, New York, 1994. Produced by, and collection of, the artists J u d i t h B a r r y / Brad Miskell Kaleidoscope. 1979. Videotape. Color. Sound. 50 min. Produced by the San Francisco Museum of Modern Art

JUDITH BARRY vamp r y, GalerieXavier Hufkens, Brussels Selected Solo Exhibitions, Maelstrom:Max Laughs, University Art Performances, and Screenings Museum,Berkeley 1977 Cup/Couch,La MamelleGallery, San 1991Imagination, Dead Imagine, Nicole Francisco Klagsbrun Gallery,New York PastPresentFutureTense,80 Langton Street, In Other Words,Riverside Studios public San Francisco video projection, Hammersmith 1980 TheDislocated Subject, Video Underground Station, London Viewpoints,The Museumof ModernArt, Public Fantasy, Institute of Contemporary New York Art, London 1982 Ideology/Praxis, Whitney Museumof 1992 First and Third, Rena Bransten American Art, NewYork Gallery,San Francisco Space Invaders, International Cultural The Workof the Forest, Stichting de Appel, Center, Antwerp Amsterdam; Fondation pour 1984 Mass Fantasies/Special Cultures, FArchitecture, Brussels; Musee des Stichting de Appel, Amsterdam Beaux-Arts, Dunkirk; and Palais Jacques 1986 Echo, Projects, The Museumof Coeur, Bourges ModernArt, New York 1992-93 Imagination, Dead Imagine and In the Shadowof the City . . . vamp r y, Modelfor Stage and Screen, The Renais New Langton Arts, San Francisco sance Society at the University of 1987 C.O.C.A.,Natural Foods Pavilion, Chicago;Presentation House, Vancouver Center on ContemporaryArt, Seattle 1993 The Workof the Forest, MOPT,Madrid 1988 Echo and In the Shadow of the City.. . 1994 GeoffreyBeene Unbound (collabora vamp r y, Douglas Hyde Gallery,Dublin tion with J. Abott Miller), Fashion Loie Fuller: Dance of Colors(performance Institute of Technology,New York with Brigyda Ochaim), NouvellesScenes, Rouen: Intermittent Futures/Touring Dijon Machines,Institut Europeen 1989 Adam's Wish, Real Art Ways,Hartford d'Amenagement,Convent des Penitents, Echo and In the Shadowof the City . . . Rouen Selected Group Exhibitions, A Passage Repeated, Long Beach Museum Performances, and Screenings of Art, Long Beach, California 1978 GlobalPassport, San Francisco TalkingBack to Media, Stichting de Appel, Museumof Modern Art Amsterdam 1979 TwelveArtists, Stichting de Appel, 1986 Damaged Goods,The New Museumof ContemporaryArt, NewYork Amsterdam The Second International Performance Dark/Light, MercerUnion, Toronto Festival, Bologna Festival des Arts Electroniques, Rennes 1980 A Decade of Womenin Performance 1987 BetweenEcho and Silence, Riverside Art, ContemporaryArt Center, New Studios, London Non in Codice,Galleria Pieroni/American Orleans Videofrom TheMuseum of ModernArt, The Academyin Rome American Center, Paris ThisIs TomorrowToday, The Clocktower, 1981National Video Festival, American Film NewYork (exhibition design) Institute, John F. Kennedy Center for the Whitney Biennial, Whitney Museumof PerformingArts, Washington, D.C. American Art, New York San FranciscoInternational Video Festival 1988 Aperto '88 (in conjunction with the 1982 Godard/Barry,Knight/Graham, Galerie Venice Biennale) Rudiger Schottle, Munich Biennale de la Danse, Lyons (1988, 1990) Visionin Disbelief,Sydney Biennial Fatal Strategies, Stux Gallery,New York The WorldWide Video Festival, Kijkhuis, TheNew Urban Landscape, WorldFinancial The Hague Center, New York 1983 Scenes and Conventions—Artists' Impresario: MalcolmMcLaren and the Architecture,Institute of Contemporary British New Wave,The New Museumof ContemporaryArt, NewYork (exhibition Art, London 1984 Difference:On Representation and design in collaboration with Ken Saylor) Sexuality, The New Museumof 1989 Forest of Signs, Museumof ContemporaryArt, NewYork ContemporaryArt, Los Angeles New Voices4, Allen MemorialArt Museum, Image-World,Whitney Museumof American Oberlin Art, NewYork Stories of Her Own,Walker Art Center, 1990 La Choixdes femmes, Le Consortium, Minneapolis Dijon 1985 Alles und Noch VielMehr, New Worksfor DifferentPlaces, TSWA:Four Kunstmuseum, Bern Cities Project for Derry, Glasgow, TheArt of Memory/TheLoss of History, Newcastle,and Plymouth, Scotland The New Museumof ContemporaryArt, The TelevisionSet: From Receiverto Remote New York Control,The New Museumof ContemporaryArt, NewYork (exhibition design in collaboration with Ken Saylor) 1991Ars MemoriaeCarnegiensis, The Carnegie International, Pittsburgh The Savage Garden, Fundacion Caja de Pensiones, Madrid Casual Shopper. 1981. 1992 A MuseumLooks at Itself, Parrish Art Videotape. Color. Stereo sound. Museum,Southampton, NewYork Three versions: Place, Public, Presentation, Position, Jan 3, 6, 28 min. Van Eyck Academy,Maastricht Produced by 1993 ARTEC'93, NagoyaCity Art Museum the University Le Genie du lieu, L'UsineFromage, Rouen On taking a normal situation and retrans of California, lating it into overlappingand multiple Berkeley readings of conditionspast and present, Museumof ContemporaryArt, Antwerp Projet Unite 2, Firminy, France (collabora tion with Ken Saylor) Public Figure, Herron Gallery,Indianapolis Center for ContemporaryArt Seven Rooms,Seven Shows,P.S. 1, Long Island City, NewYork The Workof the Forest, Ferme les Buissons, Paris 1994 MultipleDimensions, Belem Cultural Center, Lisbon Services,Kunstraum der Universitat, Liineburg, Germany XXIISao Paulo Bienal 1995 Endurance, Exit Art, New York Mapping, American Fine Arts, New York Selected Bibliography Ardenne, Paul. "Le Genie du lieu," Art Press, no. 188 (February 1994). Barry, Judith. "Artist Project: Tear," Artforum 27 (January 1989) . "Mappings:A Chronologyof Remote Sensing," Zone: Incorporations 6 (1992). . "Violencein Space," Violence/ Space, Assemblage20 (April 1993). Maelstrom: Max -. "The Work of the Forest," Art & Text42 (May 1992). Laughs. 1988. Barry, Judith, and Brad Miskell. "Glossary Video installation of ReceivedIdeas," On taking a normal with projection. situation . . . (Antwerp: Museumof Shown installed at ContemporaryArt, 1993). the Hayward Brayer, Marie-Ange."Projects and Gallery, London, Projections of Space," Art Press, no. 192 1992. Coproduced by Caesar Video Graphics, New (June 1994). Canogar,Daniel. "VampiresNever Die," York; the Whitney Museum of American Art, Lapiz, no. 89 (October 1992). New York; and the artist. Collection of the artist Gintz, Claude. "Judith Barry," Forum International 4 (May-August 1993). Kaplan, E. Ann. "Feminism(s) Postmodernism(s): MTVand Alternate Principal dancer, A ChorusLine (Embassy Women'sVideos and PerformanceArt," Pictures; Richard Attenborough, director) Womanand Performance 1 (1993). 1985-87 Featured actor/singer/dancer, The Morse,Margaret. "The Body in Space," Art Mysteryof EdwinDrood, NewYork in America 81 (April 1993). Shakespeare Festival Delacorte Theater Public Fantasy: An Anthologyof Critical and Broadwayproductions (Wilford Essays, Fictions and Project Descriptions Leach, director) by Judith Barry, ed. Iwona Blaszwick Dancer,Hysteria (Def Leppard music video; (London: Institute of ContemporaryArt, MercuryRecords) and State YourMind 1991). (Nile Rodgersmusic video; Epic Records) Silver, Kenneth E. "Past Imperfect," Art in 1990—93Singer/songwriter/producer, America 81 (January 1993). DrownedWorld music/performance Tallman, Susan. "Judith Barry," Metropolis group, NewYork 6 (December1992). 1992 Codirector/coproducer (with Dan Vine, Richard. "Pandora's Set," Art in Hubp), In a Minute (DrownedWorld America 79 (February 1991). music video) Wooster,Ann-Sargent. "Wipeout," Afterimage (February 1992). Collaborations with Judith Barry 993 Codirectors,Big Camera (Drowned Worldmusic video) BRAD MISKELL "Mutate and Grow,"soundtrack for Whole Selected Performances and Potatoes from Mashed, an installation by Multimedia Collaborations Judith Barry, in On taking a normal 1978-82 Featured singer/dancer, The situation . . . , Museumof Contemporary American Dance Machine,New York, Art, Antwerp national, and international productions 1994 Choreography(with Linda Haberman) (Lee Theodore, director); Best of for GeoffreyBeene Unbound,a video BroadwayDances (Showtime);ABC's installation by Judith Barry, Fashion OmnibusOmni (ABC);VIP Night on Institute of Technology,New York Broadway,New York Fragment 43 (benefit), American Fine Arts, Featured dancer, Bad for Good(Jim NewYork Steinman music video; Epic Records) Ha®dCell,in Crash: Nostalgiafor the 1983—84Featured singer/dancer, Absenceof Cyberspace,Thread Waxing SophisticatedLadies, first national/inter Space, New York national production (MichaelSmuin, 1995 Untitled mixed-media installation, in director) Re-inventingthe Emblem:Contemporary Featured dancer, Amahl and the Night Artists Recreating a RenaissanceIdea, Visitors,Brooklyn Academyof Music YaleUniversity Art Gallery,New Haven, (GiancarloMenotti, director) Connecticut Imagination Dead, Imagine. 1991. Five-channel video installation with projection and sound. Shown installed at the Nicole Klagsbrun Gallery, New York, 1992. Produced by, and collection of, the Centre Cultural, Fundacio, Caixa de Pensions, Barcelona

Echo. 1986. Super-8 film, video, slide, and sound installation. Shown installed in the Projects gallery, The Museum of Modern Art, New York, 1986. Current Projects Produced by The Museum of Modern Art. Suburbylon,two-hour pilot created by Brad Collection of the artist Miskelland Cat Doran (Paramount TelevisionGroup) PluggedIn, documentary series created by Brad Miskelland Cat Doran (Viacom Entertainment) Miskell, Brad, and Judith Barry, "Inquiry Selected Bibliography into Ha®dCell,"Crash: Nostalgiafor the Miskell,Brad. "Eons...," Crash: Nostalgia Absenceof Cyberspace,eds. Robert for the Absenceof Cyberspace,eds. Reynolds and Thomas Zummer (New Robert Reynolds and Thomas Zummer York: Thread WaxingSpace, 1994). (NewYork: Thread WaxingSpace, 1994). Schneider, Caroline. "Entretien avec Judith . "The Love Canalchemist:The Barry: Rouen, Centre du Monde," Genius AbridgedLexicon of ModernApocryph- Loci (Rouen: La Difference/Usine ALCHEMY,"for Antwerp(ecidia): A Fromage, 1993). Judith Barry Glossaryof ReceivedIdeas, an installa Born 1954, Columbus tion by Judith Barry, in On taking a nor Lives in New York mal situation . . ., Museumof ContemporaryArt, Antwerp, 1993. "Rouen, Capital of the Free World," Brad Miskell text for Rouen: Intermittent Futures/ Born 1957, Rocky River, Ohio TouringMachines, an installation by Lives in New York Judith Barry, in Le GenieDu Lieu, Rouen, 1993. -. "Something Wonderful"and "Dear ConcernedCitizen," Social Text,no. 36 (Fall 1993). "What I Want," for "(Home)icide," a collaborative text by Judith Barry and Ken Saylor for the installation House of the Present, in Projet Unite 2, Firminy, France, 1993. 1994. Three-channel _ video/sound installation V £ li 1 li u three projectors. Color. 20 min. Shown installed at the Institute of ContemporaryArt, London, 1994. Produced by the Renaissance Society at the University of Chicago. Edition of two. Collection of Dakis Joannou, and the artist

I Selected Solo Exhibitions 1991Monodramas, Galerie Nationale du Jeu 1983 Slideworks,Ridge Theatre, Vancouver de Paume, Paris 1985 Panoramic Rotunda, Or Gallery, TroisInstallations cinematographiques, Vancouver Canadian Embassy,Paris 1986 Onomatopoeia,Western Front, 1992 Monodramas,Art Metropole, Toronto Vancouver Monodramasand Loops, University of 1987 Perspective'87, Art Gallery of British ColumbiaFine Arts Gallery, Ontario, Toronto Vancouver 1988 Samuel Beckett: Teleplays,Vancouver 1993 Hors-champs,Transmission Gallery, Art Gallery.Traveled in Canada, the Glasgow;World Wide Video Centre, The United States, Australia, France, and Hague; David Zwirner Gallery,New York Italy, 1988-91 Monodramas,Christian Nagel Galerie, TelevisionSpots, studies for Subject to a Cologne Film: Mamie, ContemporaryArt Gallery, \WitHors-champs,Wadsworth Atheneum, Vancouver Hartford TelevisionSpots (first six)/Overture, Optica, Institute of ContemporaryArt, London Montreal Kunsthalle Zurich TelevisionSpots (first six), Artspeak MuseeNational d'Art Moderne, Centre Gallery,Vancouver GeorgesPompidou, Paris 1989 Subject to a Film: Mamie/Television MuseoNacional Centro de Arte Reina Sofia, Spots, YYZGallery, Toronto Madrid Witte De With, Center for Contemporary Art, Rotterdam YorkUniversity and Guelph University, Toronto 995 The Renaissance Society at the University of Chicago

Selected Group Exhibitions 1983 PST:Pacific Standard Time (a YYZpro ject), Funnel Film Theatre, Toronto; Western Front, Vancouver Vancouver:Art and Artists 1931-1983, VancouverArt Gallery 1986 BrokenMuse, VancouverArt Gallery Camera Works,Or Gallery,Vancouver Mechanicsof Memory,Surrey Art Gallery, Surrey, British Columbia Songs of Experience,National Gallery of Canada, Ottawa 1988 Behind the Sign, Artspeak Gallery, Vancouver Made in Camera, VAVDEditions, Stockholm

Overture. 1986. Film projection with sound. Black-and-white film loop (detail). Loop rotation: 6 min. Produced by the artist. Edition of two. Collection of the Art Gallery of Ontario, Toronto, and the artist

\ 1 Onomatopoeia. 1985-86. Slide projection with player-piano accompaniment. Black- and-white. 5 min. Shown installed at the Art Gallery of Ontario, Toronto, 1987. Produced by the artist. Edition of two. 1989 Biennial Exhibition of Contemporary Getigne-Clisson;Musee de I'Abbaye Collection of the Vancouver Art Canadian Art, National Gallery of Canada, Sainte-Croix,Les Sables-d'Olonne;Musee Gallery, and the artist Ottawa des Beaux-Arts FRACFranche-Comte, Photo Kunst, Staatsgalerie Stuttgart Dole, France The VancouverExchange, Cold City Gallery, Out of Place, VancouverArt Gallery Toronto Self Winding,Sphere Max, Tokyo;Nanba 1990 Aperto '90 (in conjunction with the City Hall, Osaka Venice Biennale) Tele-Aesthetics,Proctor Art Center, Bard Prive/Public: Art et discours social, Galerie College,Annandale-on-Hudson dArt Essai et Galerie du Cloitre, Rennes WorkingDrawings, Artspeak Gallery, Reenactment, BetweenSelf and Other, The Vancouver Power Plant, Toronto 199^ Beeld/Beeld, Museumvan Sydney Biennale, Art Gallery of New South Hedengaagse Kunst, Ghent Wales Neither Here nor There,Los Angeles 1991Northern Lights, Canadian Embassy, ContemporaryExhibitions Tokyo Stain, Galerie Nicolai Wallner,Copenhagen TheProjected Image, San Francisco Museum 1995 Public Information, San Francisco of ModernArt Museumof ModernArt; Museumof Private/Public: Art and Public Discourse, ContemporaryArt, Los Angeles; Setagaya Winnipeg Art Gallery Museumof Art, Tokyo SchwarzeKunst: Konzeptzur Politik und Whitney Biennial, Whitney Museumof Identitat, Neue Gesellschaft fur Bildende American Art, NewYork Kunst, Berlin WorkingTruth/Powerful Fiction, Regina Selected Bibliography WorkProject, MackenzieArt Gallery, Barb, Daniel. "Stan Douglas," Vanguard11 Regina, Canada (September 1982). 1992 The Creation ... of the African- Bosseur, Jean-Yves. "Le Sonore et le visuel: Canadian Odyssey,The Power Plant, Intersections musique/arts plastiques Toronto d'aujourd'hui" (interview), Paris: Dis Voir Documenta IX, Kassel (1992). 1993 Canada—Une NouvelleGeneration, Biichler, Pavel. "Diggingit," Creative FRAC(Fonds Regionales d'Art Camera (October-November1993). Contemporain) des Pays de la Loire, Cooke,Lynne. "Broadcast Views—Stan white. 13 min. Shown installed at the Institute of Contemporary Art, London, 1994. Produced by the Musee National d'Art Moderne, Centre Georges Pompidou, Paris. Edition of two. First edition, collection of the Musee National d'Art Moderne, Centre Georges Pompidou, Paris

Powerhouse Entrance. 1992. Chromogenic print, 21V2 x 16".

Edition of five. m

Lawlor,Michael. "CameraWorks," Verjee, Zainub. "VancouverAnthology," Parachute, no. 47 (June-August 1987). Front (January-February 1991). Luca, Elisabetta. "Stan Douglas,"Juliet Art Watson, Scott. "The Afterlife of Inferiority: Magazine, no. 64 (October-November Panoramic Rotunda," CMagazine, no. 6 1993). (Summer 1985). Nzegwu,Nkiru. "The Creation of the . "ZweimalCanada Dry—Sechs African-CanadianOdyssey," The Kiinstler aus Vancouver,"Wolkenkratzer International Reviewof African American Art Journal 2 (March-April1988). Art 10 (Spring 1992). Wood,William. "Skinjobs," CMagazine, no. O'Brian,John. "VancouverAnthology," 11 (Fall 1986). Parachute, no. 66 (April-June 1992). Young, Jane. "Broken Muse," C Magazine, Reveaux, Tony. "Fleeting Phantoms: The no. 13 (Spring 1987). Projected Image at SFMoMA,"Artweek, Zazlove,Arne. "Samuel Beckett's March 28, 1991. Teleplays,"C Magazine, no. 23 (Fall Rhodes, Richard. "Documenta IX," 1989). Canadian Art 9 (Fall 1992). Royoux, Jean Christophe. "Documenta IX: The Call of the Phrase," Galeries,no. 50 (August-September 1992). . "Resonance: Stan Douglas and OlivierCadiot," Galeries,no. 58 (February-March1994). Rudolfs, Harry. "Douglas Loops and Splits in Guelph and Downsview,"Excalibur, March 16, 1994. Stals, Jose Levrero. "GlobalArt," Flash Art 27 (Summer 1994). Tourangeau, Jean. "Sins of Experience," Stan Douglas Vanguard15 (December 1986-January Born 1960, Vancouver 1987). Lives in Vancouver Lovers 1994. Computer-con- trolled, five-channel laserdisk/sound installation with five projectors, two sound sys tems, and slides. Shown installed at Hillside Plaza, Tokyo, 1994. Coproducedwith Canon ARTLAB, Tokyo. Collection of the artist

w S/N. Performance with video and slide projection. At Adelaide Festival Space Theater, 1994. Produced by Dumb Type

Teiji Furuhashi. 7 Conversation Styles. 1984. Videotape. Color. Sound. 18 min pH. Performance with video/film projection, slides, sound, and computer-controlled mechanized parts. At Brooklyn Bridge Anchorage, New York, 1991. Produced by Dumb Type and In 1984, Furuhashi cofounded Dumb Plan for Sleep #2 (p), Artspace Mumonkan, Wacoal Art Center, Tokyo Type, a performance group working with Kyoto electronic media. Members include archi 1985 An Encyclopediafor Landscapemanias (p), Kyoto University of Arts tects, videomakers, performance artists, EveryDog Has His Day (p), Artspace composers, and computer programmers. Mumonkan, Kyoto In addition to Furuhashi, current mem Listening Hour #1 (p/i/v), Gallery Garden, bers of Dumb Type include Takayuki Kyoto Fujimoto, Peter Golightly, Kenjiro Listening Hour #2 (p), Museumof Modern Ishibashi, Izumi Kagita, Toru Koyamada, Art, Shiga Noriko Sunayama, Tadasu Takamine, The Order of the Square (i), ten locations in Kyoto Shiro Takatani, Yoko Takatani, Mayumi 1986 Plan for Sleep #3 (p), Orange Room, Tanaka, Tomohiro Ueshiba, Misako Osaka Yabuuchi, Koji Yamada, and Toru Plan for Sleep #5 (i/pm/s), Osaka Yamanaka. International Arts Festival Plan for Sleep #8 (i/pm/s), Ryo Gallery, DUMB TYPE: Kyoto Selected Works 1987 Suspense and Romance (i/c), Tsukashin Hall, Osaka c: concert; i: installation; p: performance; Yes,the Salt of Passion—Part 6 (p/i). Toga pm: printed matter; s: symposium; t: talk; International Arts Festival (with the per v: video formance group Hotel Pro Forma) 036—Pleasure Life (p/v/pm), Artspace 198^ TheAdmirable Health Method (p), Mumonkan, Kyoto Kyoto University of Arts 1988 Pleasure Life (p), Quest Hall, Tokyo; An AsteroidAddition (p), Kyoto University The First New YorkInternational Festival of Arts of the Arts, Performance Space 122, New Plan for Sleep #1 (p), Kyoto University of York; Theatre im Pumpenhaus, Minister; Arts Institute of ContemporaryArt, London; Plan for Sleep #1. Performance at University of Arts, Kyoto, 1984. Produced by Dumb Type

The Royal Museumof Fine Arts, S/N #2 (i), in TheBinary Era: New Copenhagen; Kyoto Fumin Hall (ALTI) Interactions, Musee d'lxelles, Brussels 1989 Media Art Museum, Quest Hall, S/N #2 (i), in Another World,Art Tower, Tokyo. Broadcast by TV-NHK,Japan Mito ContemporaryArt Gallery The Nutcracker (p), AoyamaRound Theater, 1993 pH (p), Spiral Hall, Tokyo; Tokyo (with Mika Kurosawa) Theaterhaus Gessnerallee,Junefestival, Play Back (i/v), in Against Nature, San Zurich Francisco Museumof Modern Art. pH (v), Video, Film, Dance Festival, Traveledinternationally, 1989-91 Ljubljana. Broadcast by RTBF-Liege/Carre ThePolygonal Journey #1 (p), Artspace Noir Mumonkan, Kyoto (with The Bridgehouse The Seminar Showfor "S/N" (p/t), Collection) Artspace Mumonkan, Kyoto; Shonandai 1990 pH (p/i/v/pm), Spiral Hall, Tokyo; Culture Center, CivicTheater, Fujisawa Artspace Mumonkan, Kyoto S/N #1 (i), Fukui International Video ThePolygonal Journey #2 (p/i), Northern Biennale Light Planetarium, Tromso,Norway (with 1994 LOVE/SEX/DEATH/MONEY/LIFE(i), The Bridgehouse Collection) Spiral, Tokyo 1991pH (p/i/v/pm), Kyoto Municipal Lovers (i), Hillside Plaza, Tokyo Museumof the Arts; Institute of pH (v), Video Film Dance Festival, Hong ContemporaryArt, Nagoya;Granada Kong Festival; Art in the Anchorage, NewYork; S/N ft1 (i), in Japanese Art after 1945: MODAHall, Osaka; Chapter, Cardiff; ScreamAgainst the Sky, YokohamaArt Tramway,Glasgow Museum;The Solomon R. Guggenheim 1992 TheEnigma of the Late Afternoon (p). Museum/SoHo,New York. Traveledto the Commissionedby Glyptotek Museum, YerbaBuena Center for Arts, San Copenhagen (with Hotel Pro Forma) Francisco, 1995 pH (p/i/v/pm), in Zones of Love, S/N (p), Adelaide Festival; Musee dArt Messepalast, Vienna Festival; Museo Contemporain de Montreal; King Nacional Centro de Arte Reina Sofia, PerformanceCenter (On the Board), Madrid; Theatre im Pumpenhaus, Seattle; Land Mark Hall, Yokohama Minister; Museumof ContemporaryArt, 1995 SIGNAL/NOISE(music CD) Sydney S/N (p), Spiral Hall, Tokyo. European tour Selected Bibliography Against Nature: Japanese Art in the Eighties (NewYork: Grey Art Gallery and Study Center/NewYork University; MIT List Visual Arts Center; The Japan Foundation, 1989). Binaera: 14 Interaktionen Kunst und Technologie(Vienna: Kunsthalle Wien, 1993). Dumb Type. Dumb Type:Recent Works 1987-1991 (Tokyo:Spiral Hall, 1991). . pH: Performance, Exhibition, Printed Matter (brochure). Tokyo, 1990. . pH-book (Tokyo:Wacoal Art Center and Dumb Type, 1993). Durland, Steven. "The Future Is Now— Kyoto's Dumb Type," High Performance 13 (Summer 1990). L'Erebinaire: NouvellesInteractions (Brussels: Musee Communald'lxelles, 1992). Japanese Art after 1945: ScreamAgainst the Sky, ed. Alexandra Munroe (New York: Harry N. Abramsin association with the YokohamaMuseum of Art, The Teiji Furuhashi Japan Foundation, The Solomon R. Born 1960, Kyoto GuggenheimMuseum, and the San Lives in Kyoto Francisco Museumof Modern Art, 1994). London, Barbara. "Electronic Explorations,"Art in America 80 (May 1992). Mito Annual '93 Another World1, 2 (Mito: ATMContemporary Art Gallery, 1992). Nakamura, Keiji. "Dumb Type," Art and Critique (November1990). A Previewof ZONESOF LOVE: Contemporary Art from Japan (Tokyo:Touko Museum of ContemporaryArt, 1991). Zones of Love: ContemporaryArt from Japan (Sydney: Museumof ContemporaryArt, 1991).

Every Dog Has His Day. Performance at Artspace Mumonkan, Kyoto, 1985. Produced by Dumb Type 1990. Sixteen-channel g PLACE video/sound installation with sixteen modified monitors recessed in a wall. Shown installed at The Museumof ModernArt, New York. Produced by The Museum of ModernArt and the artist. Collectionof the artist

Videograms. 1980-81. Videotape. Black- and-white. Sound. 12 min.

Happenstance (part one of many parts). 1982-83. Videotape. Black-and- white. Sound. 6 min.

Selected Solo Exhibitions 1971Polaris Gallery,New York 1974 South Houston Gallery,New York 1976 Anthology Film Archives, New York 1979 The Kitchen, New York 1980 Media Study, Buffalo VideoViewpoints, The Museumof Modern Art, New York 1981And/Or Gallery,Seattle The Kitchen, NewYork 1982 Gary Hill: Equal Time, Long Beach Museumof Art, Long Beach, California 1983 The American Center, Paris International Cultural Center, Antwerp Whitney Museumof American Art, New York 1985 Scan Gallery,Tokyo 1986 Whitney Museumof American Art, New York 1987 Museumof ContemporaryArt, Los Angeles eSemaine 2 Internationale de Video, Saint- Gervais-Geneve 1988 Espace Lyonnais dArt Contemporain, Lyons Video Wochen, Basel 1989 Beursschouburg,Brussels Kijkhuis, The Hague Musee d'Art Moderne,Villeneuve dAscq 1990 Galerie des Archives, Paris Galerie Huset/Ny CarlsbergGlyptotek Museum, Copenhagen The Museumof ModernArt, NewYork 1991Galerie des Archives, Paris 0C0 Espace d'Art Contemporain, Paris 1992 I BelieveIt Is an Image, Watari Museumof ContemporaryArt, Tokyo Stedelijk Van Abbemuseum,Eindhoven 1993 GaryHill: In Light of the Other, Museumof Modern Art, Oxford GaryHill: Sites Recited, Long Beach Museumof Art, Long Beach, California 199/, Imagining the Brain Closerthan the Eyes, Museumfur Gegenwartskunst, Offentliche Kunstsammlung,Basel La Jolla Museumof ContemporaryArt, Kunstmuseum, Basel San Diego; Whitney Museumof American Travelingexhibition organized by the Art, NewYork Henry Art Gallery,Seattle, with venues 1988 Art video americain, CREDAC,Paris in Europe and the United States Degrees of Reality, Long Beach Museumof 1995 Moderna Museet, Stockholm. Art, Long Beach, California Travelingexhibition organized by 1989 Les Cent Jours d'art contemporain, Riksutstallninga, Stockholm, with venues Centre International d'Art Contemporain throughout Scandinavia. de Montreal Delicate Technology,Second Japan Video Selected Group Exhibitions TelevisionFestival, Spiral, Tokyo 1972 Electronic Music Improvisations ElectronicLandscapes, The National Gallery (performance with Jean-Yves Labat), of Canada, Ottawa WoodstockArtists' Association, Eyefor I: VideoSelf-Portraits, Independent Woodstock,New York Curators Incorporated, New York 1974 Artists from Upstate New York,55 Videoand Language, The Museumof MercerGallery, New York ModernArt, NewYork 1975 Projects, The Museumof ModernArt, Video-Skulptur:Retrospektiv und aktuell NewYork 1963-1989, Kolnischer Kunstverein, 1977 New Workin Abstract VideoImagery, Cologne;Neuer Berliner Kunstverein, Everson Museumof Art, Syracuse Kongre/Shalle,Berlin; Kunsthaus Zurich 1979 Video:New YorkState, The Museumof 1990 Energieen, Stedelijk Museum, ModernArt, NewYork Amsterdam VideoRevue, Everson Museumof Art, Passages de I'image, MuseeNational d'Art Syracuse Moderne, Centre GeorgesPompidou, 1980 Video:New York,Seattle, and Los Paris. Traveledin 1991 to the Fundacio Angeles, The Seibu Museum,Tokyo. Caixa de Pensions, Barcelona, and the Travelingexhibition organized by The Wexner Center for the Visual Arts, Ohio Museumof ModernArt, NewYork, with State University, Columbus;and in 1992, international venues, 1980-81. to the San Francisco Museumof Modern 1981Projects: Video,The Museumof Art ModernArt, NewYork 1991ARTEC '91, Nagoya, City Art Museum 1982 Sydney Biennial Currents, Institute of ContemporaryArt, 1983 TheSecond Link: Viewpointson Video Boston in the Eighties, Walter Phillips Gallery, Metropolis,Martin Gropius-Bau,Berlin Banff Topographie2: Untergrund, Wiener Whitney Biennial, Whitney Museumof Festwochen, Vienna American Art, New York (1983, 1991, 1992 Art at the Armory: OccupiedTerritory, 1993) Museumof ContemporaryArt, Chicago 1984 National Video Festival, American Film Institute, Los Angeles Venice Biennale 1985 Image/Word: TheArt of-Reading,New Incidence of Langton Arts, San Francisco Catastrophe. The WorldWide Video Festival, Kijkhuis, 1987-88. The Hague (1985, 1988) Videotape. 1986 Collectionsvideos (acquisitions depuis 1977), MuseeNational d'Art Moderne, Color. Centre GeorgesPompidou, Paris Stereo CrypticLanguages, Washington (D.C.) sound. Project for the Arts 44 min. Resolution:A Critique of VideoArt, Los Angeles ContemporaryExhibitions Videoand Language/Videoas Language, Los Angeles ContemporaryExhibitions Video:Recent Acquisitions,The Museumof ModernArt, New York 1987 CinqPieces avec vue, Centre Genevois de Gravure Contemporaine,Geneva ContemporaryDiptychs: Divided Visions, Whitney Museumof American Art, New York Documenta VIII, Kassel VideoDiscourse: Mediated Narratives, TheBinary Era: NewInteractions, Musee d'lxelles, Brussels Documenta IX, Kassel Doubletake:Collective Memory and Current Art, Hayward Gallery,London Suspension of Disbelief (for Marine). 1991-92. Japan: Outside/Inside/INbetween,Artists Four-channel video installation with thirty modified Space, New York monitors and computer-controlled switching matrix. Manifest, MuseeNational d'Art Moderne, Centre GeorgesPompidou, Paris Shown installed at Le Creux de L'Enfer, Thiers, 1992. Metamorphose,Saint-Gervais-Geneve Produced by the Donald Young Gallery, Seattle. PerformingObjects, Institute of Collection of ContemporaryArt, Boston the Zentrum fur 1993 AmericanArt in the 20th Century, Kunst und Royal Academy,London Medientechnologie, The Bohen Foundation, New York EadweardMuybridge, Bill Viola, Giulio Karlsruhe Paolini, GaryHill, James Coleman,Ydessa Hendeles Art Foundation, Toronto Passageworks,Rooseum, Malmo "Strange" HOTEL,Aarhus Kunstmuseum The 21st Century, Kunsthalle, Basel 1991, Cocidoy crudo, MuseoNacional Centro de Arte Reina Sofia, Madrid Facts and Figures, Lannan Foundation, Los Angeles Multiplas Dimensoes,Centro Cultural de Belem, Lisbon Sao Paulo Bienal 1995 ARS'95 Helsinki, Museumof ContemporaryArt, Helsinki Identita e alterita, Venice Biennale Mediate, Zentrum fur Kunst und Medientechnologie,Karlsruhe

Selected Bibliography van Assche, Christine. "Interview with Gary Hill," Galeries,no. 34 (December 1990-January 1991). Bellour, Raymond. "La Double Helice," Passages de I'image (Paris: Musee National d'Art Moderne, Centre Georges Pompidou, 1990). Bruce, Chris, Lynne Cooke,Bruce W. Ferguson, John G. Hanhardt, and Robert Mittenthal. Gary Hill (Seattle: Henry Art Gallery,University of Washington, 1994). Cooke,Lynne. "Gary Hill: 'Who am I but a figure of speech?,"'Parkett, no. 34 (1992). DocumentaIX (Stuttgart: Edition Cantz, 1992).

Between Cinema and a Hard Place. 1991. Three-channel video/sound installation with twenty-three modified monitors and computer-controlled switching matrix. Shown installed at the Galerie des Archives, Paris, 1991. Produced by Gary Hill. Collection of The Museum of Modern Art, New York. Gift of The Bohen Foundation in honor of Richard E. Oldenburg Beacon (Two Versions of the Imaginary). 1990. Two-channel video/sound installation with two tele vision tubes mounted in an aluminum cylinder, projection lenses, four speakers, motor, and controlling electronics. Shown installed at the Stedelijk Museum, Amsterdam, 1990. Produced by, and collection of, the Stedelijk Museum

Eyefor I: VideoSelf-Portraits, trans. Klonarides, CaroleAnn. GaryHill—Sites Raymond Bellour and Lynne Kirby (New Recited (Long Beach, Calif.: Long Beach York: Independent Curators Incorporated, Museumof Art, 1993). 1989). Lageira, Jacinto. "Gary Hill: The Imager of Furlong, Lucinda. "A Manner of Speaking: Disaster," Galeries,no. 34 (December An Interview with Gary Hill," Afterimage, 1990-January 1991). no. 10 (March 1983). . "Une Verbalisation du regard," Hagan, Charles. "Gary Hill, 'Primarily Parachute, no. 62 (April-June 1991). Speaking' at the Whitney Museumof London, Barbara. "Between What Is Seen American Art," Artforum 22 (February and What Is Heard," Image Forum, 1984). no. 133 (April 1991). Hill, Gary. "And If the Right Hand Did Not Phillips, Christopher. "Between Pictures," KnowWhat the Left Hand Is Doing," Art in America 79 (November1991). Illuminating Video:An Essential Guide to Quasha, George. "Notes on the Feedback VideoArt, eds. Doug Hall and Sally Jo Horizon," Glass Onion (Barrytown, N.Y.: Fifer (NewYork: Aperture; Bay Area Station Hill Press, 1980). Video Coalition, 1990). Sarrazin, Stephen. "Berlin, Metropolis, La . "Entre-vue," Gary Hill (Paris: Creation, Le Desarroi," Chimaera MuseeNational d'Arte Moderne, Centre Monograph3 (Montbeliard:Edition du GeorgesPompidou, 1992). Centre International de Creation Video . "Happenstance (explaining it to Montbeliard Belfort, 1991). death)," Videod'artistes (Geneva:Bel . "Channeled Silence (Quiet, Vedere, 1986). Something 'is' Thinking)," Gary Hill—I . "Primarily Speaking," Communi BelieveIt Is an Image (Tokyo:Watari cations Video,no. 48 (November1988). Museumof ContemporaryArt, 1992). . "Site Recite," from "Unspeakable Images," camera obscura, no. 24 (1991). Gary Hill (Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993). Gary Hill: DISTURBANCE(among the jars) (Villeneuved'Ascq: Musee d'Art Moderne, 1988). In French and English. Gary Hill: In Light of the Other, ed. Penelope Curtis (Oxford:Museum of Modern Art; Liverpool:Tate Gallery Liverpool, 1993). Gary Hill: Mas alia de Babel (Valencia: IVAM,1993). Gary Hill: VideoInstallations (Eindhoven: Stedelijk Van Abbemuseum, 1992). Gary Hill Huici, Fernando. "Gary Hill: Beacon," Born 1951, Santa Monica Bienal de la Imagen en Movimiento'90 Lives in Seattle (Madrid:Museo Nacional Centro de Arte Reina Sofia, 1990). Silent 1994-95. Five-channel Movie video/sound installation with five 25-inch monitors stacked on metal shelving and steadied with guy wires. Computer-controlled images are accompanied by a separate sound system and photographs. Shown installed at the Wexner Center for the Visual Arts, Ohio State University, Columbus, 1995. Commissioned by the Wexner Center for the Visual Arts, under the auspices of an Artist Residency Award funded by the Wexner Center Foundation. Collection of the artist

File Edit Select Goodies Color finim

Zapping Zone. 1990. Four-channel video installation with thirty moni tors. Shown installed at the Musee National d'Art Moderne, Centre Georges Pompidou, Paris, 1990. Produced by, and collection of, the Musee National d'Art Moderne, Centre Georges Pompidou Le Tombeau d'Alexandre. 1993. Video. Color and black-and- white. Sound. 104 min.

La Jetee. 1962. Film. Black-and-white. Sound. 28 min.

Chris Marker Born c. 1921, near Paris

Selected Films and Videotapes Films unless otherwise noted.

1952 Olympia52. 82 min. 1956 Dimanchea Pekin (Sunday in Peking). 22 min. 1958 Lettre de Siberie (Letter from Siberia). 62 min. 1960 Descriptiond'un combat (Description of a Struggle). 60 min. 1961Cuba Si! 52 min. 1962 La Jetee. 28 min. Le Joli Mai. In two parts: "Priere sur la Tour Eiffel" and "Le Retour de Fantomas." 165 min. 1965 Le MystereKoumiko (The Kumiko Mystery). 54 min. 1966 Si j'avais quatre dromadaires. 49 min. 1967 Loin du Vietnam (Far from Vietnam). 115 min. 1969 Le DeuxiemeProces d'Artur London. 28 min. Jour de tournage (The Confession). 11 min. Tarkovsky.Videotape. 26 min. TokyoDays. Videotape. 24 min. 1989 L'Heritagede la chouette (The Owl's Legacy). Film transferred to videotape. Thirteen parts, each 26 min. 1990 Berlin. Videotape. 17 min. Berliner Ballade. Produced by Antenne 2. 25 min. (integral version, 29 min.) Detour Ceaucescu.Videotape. 8 min. GettingAway with It. Musicby Group Electronic. Videotape. 4 min. Photo Browse.Videotape. 17 min. Sans Soleil. 1982. Theoriedes ensembles (Theoryof Sets). Film. Color. Sound. Videotape. 11 min. 1992 Azul Moon. Videotape. Loop 110 min. Coinfenetre. Videotape. 9 min. 1993 Slon-Tango.Videotape. 4 min. Le Tombeaud'Alexandre (The Last Bolshevik).Videotape. In two parts, each 52 min. Le 20 Heures dans les camps (Prime Time in the Camps). Videotape. 28 min. 1994 Bullfight (Okinawa).Videotape Chaika. Videotape. 1 min. OwlGets in YourEyes. Videotape. 1 min. Petite ceinture. Videotape. 1 min. 1995 Le Facteur sonne toujours cheval. Videotape. 52 min. Immemory. Interactive CD-ROM LevelEye. 100 min.

Installations 1978 Quand le Siecle a pris forme, Paris- Berlin, MuseeNational d'Art Moderne, On vous parle du Bresil. 20 min. Centre GeorgesPompidou, Paris 1970 La Bataille des dix millions (The 1990 Zapping Zone, in Passages de I'image, Battle of the TenMillion). 58 min. MuseeNational d'Art Moderne, Centre CarlosMarighela. 17 min. GeorgesPompidou, Paris; Centre Cultural, Les Mots ont un sens (Portrait of Frangois Fundacio, Caixa de Pensions, Barcelona; Maspero). 20 min. WexnerCenter for the Visual Arts, Ohio 1971Le Train en marche (The Train Rolls State University, Columbus;San Loin du On) (Portrait of Alexander Medvedkin). Francisco Museumof ModernArt — Vietnam. 32 min. '994 95 Silent Movie,Wexner Center for 1967. 1973 L'Ambassade(The Embassy). Super-8 the Visual Arts, Ohio State University, Columbus;The Museumof ModernArt, Film. film. 20 min. New York;University Art Museum, Black-and- 1974 La Solitude du chanteur de fond (The Lonelinessof the Long-DistanceSinger) Berkeley white. Sound. 115 min. (Portrait of YvesMontand). 60 min. 1977 Le Fond de Vair est rouge (The Grin Selected Bibliography Withouta Cat). In two parts: "Les Mains Baker, B. "Chris Marker,"Film Dope 40 fragiles (Fragile Hands)" and "Les Mains (January 1989). coupees (Severed Hands)." 240 min. Bellour, Raymond, Catherine David, 1981Junkopia. 6 min. Christine van Assche, et al. Passages de 1982 Sans soleil (Sunless). 110 min. I'image (Paris: MuseeNational d'Art Mod 1984 2084 (One Century of Unionism). erne, Centre GeorgesPompidou, 1990). 10 min. Bensmaia, R. "From the Photogram to the 1985 AK (Portrait of Akira Kurosawa). Pictogram: On Chris Marker'sLa Jetee," 71 min. camera obscura, no. 24 (September 1990). Christo.Videotape. 24 min. Copjec,J. "Vampires,Breast-Feeding and Matta. Videotape. 14 min. Anxiety," October,no. 58 (Fall 1991). 1986 Eclats. Videotape. 20 min. Gerber,Jacques. Anatole Dauman, Argos Bestiare. Videotape. 9 min. Films: Souvenir-ecran(Paris: Editions du Spectre. Videotape. 27 min. Centre Pompidou, 1989). W V V

Le Joli Mai. 1962. Film. Black- and-white. Sound. 165 min.

Gibson, R. "What Do I Know?:Chris Marker Sound 53 (Autumn 1984). and the Essayist Mode of Cinema," Roud, Richard. "The Left Bank," Sight and Filmviews32 (Summer 1987). Sound 31 (Winter 1962-63). Graham, Peter, "CinemaVerite in France," . "The Left Bank Revisited," Sight Film Quarterly 17 (Summer 1964). and Sound 46 (Summer 1977). Hoberman, J. "Japant-Garde Japanorama," . "SLON,"Sight and Sound 42 Artforum 24 (October 1985). (Spring 1973). Jacob, Gilles. "Chris Marker and the Silent Movie(Columbus: Wexner Center for Mutants," Sight and Sound 35 (Autumn the Visual Arts, 1995). 1966). Van Wert, W. F. "Chris Marker: The SLON Levy,J. "Chris Marker: L'Audaceet I'hon- Films," Film Quarterly 32 (Spring 1979). netete de la subjectivite," CinemAction, Walsh, M. "Around the World,Across All no. 41 (January 1987). Frontiers: Sans Soleil and Depays," C Marker, Chris. "AK,"L'Avant-Scene du Action 18 (Fall 1989). Cinema, no. 403-04 (June-July 1991). Willmott, G. "Implications for a Sartrean . La Chine:Porte ouverte (Paris: Radical Medium:From Theatre to Editions du Seuil, 1956). Cinema,"Discourse 12 (Spring-Summer . Commentaires1, 2 (Paris: Editions 1990). du Seuil, 1961 and 1967). . Coreennes(Paris: Editions du Seuil, 1959). "Cuba Si" (script), L'Avant-Scenedu Cinema, no. 6 (1961). . Le Fond de lair est rouge: Scenes de la troisieme guerre mondiale (Paris: Frangois Maspero, 1976). . "A Free Replay (notes sur Vertigo),"Positif, no. 400 (June 1994). . La Jetee (NewYork: Zone Books, 1992). . "Sunless," Oasis 4 (1984). . "Le TombeaudAlexandre," Positif, no. 391 (September 1993). . "WilliamKlein: Painter/ Photographer/Film-maker,"Graphis 33 (May-June 1978). Marker, Chris, and Michel Butor. Le Depays (Paris: Editions Herscher, 1982). Marker, Chris (photos), and Jean-Claude Carriere (text). "Effets et gestes," Vogue (Paris), December 1994-January 1995. Marker,Chris (photos), and Marie Susini (text). La Renfermee:La Corse (Paris: Editions du Seuil, 1981). Rafferty, T. "Chris Marker," The Thing Happens (NewYork: GrovePress, 1993). . "Marker Changes Trains," Sight and Eine Faust in D E R (Make a Fist in the m Pocket). 1994. TASCHE MACHEN Eight-Channel video/sound instal lation with seven 19-inch monitors showing 3-minute programs; a projection of a 7-minute program; and wall text. Shown installed in Cocido y crudo, Museo Nacional Centro de Arte Reina Sofia, Madrid, 1994. Produced by the Museo Nacional Centro de Arte Reina Sofia. Collection of the artist Marcel Odenbach Vogel frifi oder stirb (Take It or Leave It). 1989. Two-channel video installation. Shown installed at the Musee d'Art Contemporain de Montreal, 1989. Produced by the artist. Edition of two. First edition, collection of the Government of Germany

Die Distanz zwischen mir und meinen Verlusten (The Distance Between Myself and My Losses). 1983. Videotape. Color. Sound. 10 min.

Selected Solo Exhibitions Tip, tip, tip, was soli dieser Mann sein? 1981Marcel Odenbach:Videoarbeiten, (Hint, Hint, Hint, What Is ThisMan MuseumFolkwang, Essen; Stadtische Supposed to Be?), Galerie Rieker, Galerie im Lenbachhaus, Munich Heilbronn Der Konsum meiner eifrenenKritik (The 1985 Die Einen den Anderen (A,B,C,D)(One Consumptionof My OwnCritique), or the Other [A,B,C,D]),Museum van Skulpturenmuseum, Marl Hedendaagse Kunst, Ghent; Neue Die Verlorenheitdes Spielers (The Player Is Gesellschaft fur Bildend Kunst, Berlin; Lost [in His OwnGame]), Hochschule St. Skulpturenmuseum Marl Gallen DreihandigesKlavierkonzert fur entsetzlich Ein Zusammenhang ist da, nicht erklarbar, verstimmte Instrumente (Three-handed doch zu erzahlen (A ContextIs There,Not Piano Concertfor Instruments That Are Explainable,But to Be Told), Galerie Out of Tune the Same Way), Espace Stampa, Basel Lyonnaise dArt Contemporain, Lyons 1982 Notwehroder das arme Tier bekom- 1986 Jubelnd lief das Volkdurch die men (Self-defenseor Get the Poor Strafien (Rejoicing,The People Ran Animals) and Ein Zusammenhangist da, Throughthe Streets), Time Based Arts, nicht erklarbar, doch zu erzahlen, Amsterdam Stedelijk Museum,Amsterdam Institute of ContemporaryArt, Boston Das Schweigendeutscher Raume erschreckt 1987 Marcel Odenbach:Dans la Vision mich (The Silence of GermanRooms peripherique du temoin (Marcel Frightens Me), Galerie Magers,Bonn Odenbach:In the Peripheral Visionof the 1983 Art 14/83, Galerie Stampa, Basel Witness), MuseeNational dArt Moderne, Das im Entwischenerwischte (In Fleeing, Centre GeorgesPompidou, Paris Captured), Walter Phillips Gallery,Banff 1988 Der Elefant im Porzellanladen (The Das Schweigendeutscher Raume erschreckt Elephant in a China Shop), Stadtische mich, Walter Phillips Gallery,Banff; Long Galerie, Erlangen Beach Museumof Art, Long Beach, Frau Holle ein Schnippchenschlagen (Frau California Holle Outwitted), Galerie Yvon Lambert, Paris Hey, Man. 1991. Photo collage on paper, 56" x 6' 11". Collection of the artist

MarcelOdenbach: Stehen ist Nichtumfallen, Hans Guck-in-die-Luft(Jack Look-in-the- Badischer Kunstverein, Karlsruhe; Air), Galerie der Stadt Esslingen, Villa Stadtische Galerie, Erlangen Merkel 1989 Die Einen den Anderen (A,B,C,D), Mit dem Kopf durch die Wand,Haus der Galerie Hant, Frankfurt-am-Main Geschichte der BRD,Bonn (permanent MuseoNacional Centro de Arte Reina Sofia, installation) Madrid Marcel Odenbach:Keep in View,Stichting 1990 Frau Holle ein Schnippchenschlagen de Appel, Amsterdam and Vogelfrifi oder stirb (TakeIt or Leave 1994 Lagerbestande (Inventory of Storage), It), Galerie Etienne Ficheroulle, Brussels Galerie Eigen-Art, Leipzig Niemand ist mehr dort, wo er hin wollte Tabakkollegiumoder mir brennt es unter (Nobody'sThere Anymore, Where He den Nageln (TobaccoCommittee or It's Wantedto Be), Galerie Ascan Crone, Urgent to Me), Kunst-und Ausstel- Hamburg; Galerie Elgen-Art, Leipzig lungshalle der BRD,Bonn Wenndie Wandan den Tischriickt (When the WallMoves to the Table), GalerieYvon Selected Group Exhibitions Lambert, Paris; Galerie Eigen-Art, Leipzig 1978 Die Grenze,Neue Galerie, Museum 1991Auf den fahrenden Zug springen Ludwig, Aachen; Stadtisches (Jump on a MovingTrain), Galleria Franz Kunstmuseum, Bonn; CAPC,Bordeaux Paludetto, Turin Der Konsum meiner eigenen Kritik, installed BellendeHunde beifien nicht (Barking Dogs in a group exhibition at the Don't Bite), Galerie Tanit, Munich Kunstausstellungen Gutenbergstrafte, 1992 ViciousDogs, Jack Shainman Gallery, Stuttgart NewYork; Ecole des Beaux-Arts, 1979 KolnerKunstler personlich vorgestellt, Bordeaux Kolnischer Kunstyerein, Cologne '993 Auf den fahrenden Zug springen; Hals 1980 Freunde-Amis,Rheinisches ilber Kopf (Neckover Head); Safer Video; Landesmuseum,Bonn Vogelfrifi oder stirb; and Niemand ist Mein KolnerDom, Kolnischer Kunstverein, mehr dort, wo er hin wollte; Galerie der Cologne Stadt Esslingen, Villa Merkel; 1981 10 im Koln, Kolnischer Kunstverein, BraunschweigerKunstverein, Cologne Braunschweig 1982 La Biennale de Paris, ARC,Musee d'Art Moderne de la Ville de Paris DeutscheZeichnungen der Gegenwart, MuseumLudwig, Cologne As If Memories Could Deceive Videokunstin Deutschland 1963-1982, Me. 1986. Videotape. Black- Kolnischer Kunstverein, Cologne; and-white and Badischer Kunstverein, Karlsruhe; color. Sound. Kunsthalle Niirnberg. Traveledin 1983 to 17 min. the Nationalgalerie, Berlin 1983 Die Unwahrheitder Venunft, Galerie ak, Frankfurt-am-Main 1984 Einblicke:35 Jahre Kunstforderung, Palazzo della Societa Pomotrice, Turin Venice Biennale TheLuminous Image, Stedelijk Museum, Amsterdam Ping Pong, Galerie Philomine Magers,Bonn Wenn die Wand an den Tisch riickt (When the Wall Moves to the Table). 1990. Two- channel video installation with text. Shown installed in Metropolis, Martin-Gropius-Bau, Berlin, 1991. Produced by the artist. Edition of two. First edition, collection of the Zentrum fur Medienkunst Karlsruhe

1985 By the River 3, Porin Taldemuseo,Pori Neuankaufe, Stadisches Kunstmuseum, Dusseldorf Rheingold,Palazzo della Societa Pomotrice, Turin Karl Schmidt-RottluffStipendium, Austellungshalle Mathildenhohe, Darmstadt 1986 Remembrancesof ThingsPast, Long Hans Guck-in-die- Beach Museumof Art, Long Beach, Luft (Jack Look- California in-the-Air). Videofestival,Circulo de Bellas Artes, 1992-93. Madrid Single-channel 1987 TheArts for Television,Stedelijk Museum,Amsterdam; Museumof video installation ContemporaryArt, Los Angeles. Traveled with projection. in Europe and North America, 1987-89. Shown installed at Galerie den Stadt CinqPieces avec vue, 2e Semain Esslingen, Villa Merkel, 1993. Produced Internationale de Video, Centre Genevois by, and collection of, the artist de Gravure Contemporaine,Geneva Documenta VIII, Kassel L'Epoque,la mode, la morale, la passion: Aspects de Part d'aujourd'hui, Musee National dArt Moderne, Centre Georges Pompidou, Paris Curators Incorporated, New York U-Media,Bildmuseet, Umes, Sweden Karl Schmidt-RottluffStipendium, 1988 Enchantement/Disturbance,The Stadtische Kunsthalle, Dusseldorf; Power Plant, Toronto Kunsthaus Zurich 50 Ateliers international des Pays de la Sei Artisti tedeschi, Castello di Rivara, Loire, Abbaye Royale de Fontevraud Turin Das Glaserne U-Boot,Tabakfabrik Krema, Video-Skulptur:Retrospektiv und aktuell Donaufestival, Stein-am-Rhein, 1963-1989, Kolnischer Kunstverein, Switzerland Cologne;Neuer Berliner Kunstverein, KolnerKunst, Kunstforeningen, Kongrefthalle,Berlin; Kunsthaus Zurich Copenhagen. Traveledin 1991 to 1990 Berlin: Marz 1990, Wiensowski Horsena Kunstmuseum, Lund, Sweden Harbord, Berlin; Braunschweiger Vollbild,Neue Gesellschaft fur bildende Kunstverein, Braunschweig;V.I.P. Galerie Kunst (NGBK),Berlin du Genie, Paris 1989 Art from Cologne,Tate Gallery, Dialoghi tra Film, Video, Televisione, Liverpool TaorminaArte (1990, 1991) Blickpunkte,Musee dArt Contemporain de Kunstminen, Stadtisches Kunstmuseum, Montreal Dusseldorf Eyefor I: VideoSelf-portraits, Independent Passages de I'image, MuseeNational dArt Moderne,Centre GeorgesPompidou, Paris. MarcelOdenbach: Dans la Vision Traveledin 1991 to the Centre Cultural, peripherique du temoin (Paris: Musee Fundacio, Caixade Pensions, Barcelona, National d'Art Moderne, Centre Georges and the WexnerCenter for the Visual Pompidou, 1987). Arts, Ohio State University, Columbus; Marcel Odenbach:Keep in View(Stuttgart: and in 1992, to the San Francisco Edition Cantz, 1993). Museumof ModernArt MarcelOdenbach: Stehen ist Nichtumfallen, 19914e Semaine Internationale de Video, ed. Andreas Vowinckel(Karlsruhe: Saint-Gervais-Geneve Badischer Kunstverein, 1988). Fukui International Video Biennale MarcelOdenbach: Videoarbeiten, ed. Metropolis,Martin-Gropius-Bau, Berlin Zdenek Felix (Essen: MuseumFolkwang; Renta Preis, Kunsthalle Niirnberg Munich: Stadtische Galerie im Zone D—Innenraum, Forderkreis der Lenbachhaus, 1981). Leipziger Galerie fur Zeitgenossische MarcelOdenbach: Video-Arbeiten, Kunst, Leipzig Installationen, Zeichnungen, 1992 YvonLambert collectionne,Musee 1988-1993/Videos,Installations, dArt Moderne de la Communaute Drawings,1988-1993, ed. Renate Urbaine de Ville, Villeneuved'Ascq Damsch-Wiehager(Stuttgart: Edition Manifeste, MuseeNational dArt Moderne, Cantz, 1993). Marcel Odenbach Centre GeorgesPompidou, Paris Video-Skulptur:Retrospektiv und aktuell Born 1953, Cologne MoltepliciCulture, Museo del Folklore, 1963-1989, eds. Wulf Herzogenrath and Lives in Cologne Rome; Chateau de Beychevelle, Edith Decker (Cologne:DuMont, 1989). Beychevelle Wiensowski,Ingeborg, and Rudolf Bonvie. MovingImage, Fundacio Joan Miro, Berlin: Marz 1990 (Brunswick: Barcelona; Kolner Kunstmarkt, Cologne; BraunschweigerKunstverein, 1990). Kunsthalle Diisseldorf Zeitzeichen:Stationen bildender Kunst in Pour la Suite du monde, Musee dArt Nordrhein-Westfalen,ed. Karl Ruhrburg Contemporain de Montreal (Cologne:DuMont, 1989). 1993 Deutschsein, Kunsthalle Diisseldorf Ziige, Ziige: Die Eisenbahn in der zeitgenos- Fireproof,Wandelhalle, Cologne sischen Kunst, eds. Werner Meyerand Mediate, Deichtorhallen, Hamburg Renate Damsch-Wiehager(Stuttgart: 1994 Ziige, Zilge:Die Eisenbahn in der zeit- Edition Cantz, 1994). genossischenKunst, Stadtische Galerie Goppingen Cocidoy crudo, MuseoNacional Centro de Arte Reina Sofia, Madrid 4x1, MuseumAlbertinum, Staatliche Vicious Dogs. 1991. Three-channel video Kunstsammlungen,Dresden installation with text. Shown installed at 1995 ARS'95 Helsinki, Museumof the Jack Schainman Gallery, New York, ContemporaryArt, Helsinki 1992. Produced by the artist. Selected Bibliography Collection of Art from Cologne(Liverpool: Tate Gallery the Stadtische Liverpool, 1989). Galerie im Asher, Dan. "Marcel Odenbach,"Journal of ContemporaryArt 7 (Summer 1994). Lenbachhaus, Bellour, Raymond, Catherine David, Munich Christine van Assche, et al. Passages de I'image (Paris: MuseeNational d'Art Moderne,Centre GeorgesPompidou, 1990). Blanchette, Manon, and Max Wolfgang Faust. Blickpunkte(Montreal: Musee d'Art Contemporain de Montreal, 1989). Cocidoy crudo (Madrid:Museo Nacional Centro de Arte Reina Sofia, 1994). Fuller, Gregory.Endzeitstimmung: Diistere Bilder in goldener Zeit (Cologne:DuMont, 1994). German Videoand Performance:Wulf Herzogenrath, UlrikeRosenbach, Marcel Odenbach,Jochen Gerz,Klaus VomBruch (Toronto:A Space, 1980). Magnani, Gregorio.Sei Artisti tedeschi (Turin: Franz Paludetto, 1989). Marcel Odenbach(Boston: Institute of ContemporaryArt, 1986). Marcel Odenbach(Madrid: Museo Nacional Centro de Arte Reina Sofia, 1989). System for Dramatic _ 1994. Ten-channel FEEDBACK video/sound installation with nine small video projectors that animate a group of rag dolls, and one large pro jection. Shown installed at Portikus, H Frankfurt-am-Main, 1994. Produced by . Portikus. Collection of the artist

Cl

The Weak Bullet. 1980. Videotape. Color. Stereo sound. 13 min.

Selected Solo Exhibitions 1981The School of the Art Institute of Chicago University Art Museum,University of California, Berkeley VideoViewpoints, The Museumof Modern Art, New York 1982 Boston Film/VideoFoundation CompleteWorks, The Kitchen, New York A Scene, P.S. 1, New York Soho TV,Manhattan CableTelevision WalkerArt Center, Minneapolis Grand Mai. 1983 Los Angeles Contemporary Exhibitions 1981. La Mamelle,San Francisco Videotape. My Sets, Media Study, Buffalo Color. Stereo Son of Oil,A Space, Toronto sound. 23 min. X Catholic(performance with Mike Kelley), Beyond Baroque, Los Angeles 1984 Anthology Film Archives, NewYork L-7, L-5, The Kitchen, New York Mo David Gallery,New York 1985 The American Center, Paris Espace Lyonnais dArt Contemporain, Lyons Kijkhuis, The Hague Schule fur Gestaltung, Basel 1986 Boston Film/VideoFoundation New Langton Arts, San Francisco Nova Scotia Collegeof Art and Design, Halifax Spheres d'influence: TonyOursler, Musee National dArt Moderne, Centre Georges Pompidou, Paris 1987 The Kitchen, NewYork 1988 Constellation:Intermission, Diane Brown Gallery,New York 1990 Diane Brown Gallery,New York Hallwalls,Buffalo The Kitchen, NewYork On Our Own,Segue Gallery,New York 1991Diane Brown Gallery,New York The Cinematheque, San Francisco Dummies,Hex Signs, Watercolours,The Living Room, San Francisco The Pacific Film Archives, San Francisco 1992 F/X Plotter, 2 Way,Kijkhuis, The Hague The Knitting Factory, NewYork The Space, Boston EVOL.1984. Videotape. Station Project (with James Casebere), Color. Stereo Kortrijk, The Netherlands sound. 1993 Kunstwerke, Berlin 29 min. IKONGallery, Birmingham; Bluecoat Gallery,Liverpool The Living Room, San Francisco Phobic/WhiteTrash, Centre dArt Contemporain, Geneva;Andrea Rosen Gallery,New York; Kunstwerke, Berlin 1994 Jean Bernier Gallery,Athens, Greece Dummies,Flowers, Alters, Clouds,and Organs, Metro Pictures, New York Judy, Salzburger Kunstverein, Salzburg Galleria Galliani, Genoa Lisson Gallery,London Systemfor Dramatic Feedback, Portikus, Frankfurt-am-Main 1995 Centre dArt Contemporain Geneve, Geneva TonyOursler: Installations, video, objets, et aquarelles, Musee des Art Moderne et Contemporain, Strasbourg

Selected Group Exhibitions 1984 The Luminous Image, Stedelijk Museum,Amsterdam 1987 Documenta VIII, Kassel L'Epoque,la mode, la morale, la passion, MuseeNational dArt Moderne, Centre GeorgesPompidou, Paris Japan 1987 Televisionand VideoFestival, Joy Ride. Spiral, Tokyo 1988. Schema, Baskerville+ Watson Gallery,New Videotape. York Color. Stereo 1988 TheBiNational: American Art of the sound. 14 min. Coproduced Late 80s, GermanArt of the Late 80s/ AmerikanischeKunst der spaten 80er with Constance DeJong Jahre, DeutscheKunst der spaten 80er Western Front, Vancouver Jahre, Institute of ContemporaryArt and TonyOursler and ConstanceDeJong, Los Museumof Fine Arts, Boston; Stadtische Angeles Center for Photographic Kunsthalle, Dusseldorf;Kunsthalle Studies/EZTVVideo Gallery,Los Angeles Bremen; WtirttembergischerKunstverein, TonyOursler's Works, Le Lieu, Quebec Stuttgart 1989 Bobo Gallery,San Francisco Festival International du Nouveau Cinema Collectivefor Living Cinema, New York et de la Video, Montreal Drawings,Objects, Videotapes, Delta Infermental 7, Hallwalls, Buffalo Gallery,Dusseldorf; Museum Folkwang, New YorkDagen, Kunstichting, Rotterdam Essen Replacement,Los Angeles Contemporary Museumfur Gegenwartskunst, Basel Exhibitions Relatives (video/performance with Serious Fun Festival (installation), Alice Constance DeJong), The Kitchen, New Tully Hall, Lincoln Center for the York; Rockland Center for the Arts, West PerformingArts, NewYork Nyack; Seattle Art Museum;Mikery Third Videonale, Bonn Theatre, Amsterdam; ECG-Studios, Twilight:Festival Belluard 88 Bollwerk, Frankfurt-am-Main Fribourg Kepone Drum. 1990. Single- Judy (detail). 1994. Mixed- channel video media installation with installation with sound. Shown steel drum and installed at the poured glass. Private installa Salzburger tion. Produced by, and collec Kunstverein, tion of, the artist Salzburg, 1994. Produced by the Salzburger Kunstverein and the artist. Collection of the artist

F/X Plotter (#1). 1992. Single-channel video/sound installation. Shown installed at the Kijkhuis, The Hague, 1992. Produced by the artist. Private collection, Belgium Videografia,Barcelona Fargier, Jean Paul. "Installation a WorldWide Video Festival, Kijkhuis, The Beaubourg, Paris," Cahiersdu Cinema, Hague (1988, 1989) no. 380 (February 1986). 1989 Masterpieces,Stadtgarten, Cologne Hagen, Charles. "VideoArt: The Fabulous Nepotism, Hallwalls,Buffalo Chameleon,"ARTnews 88 (Summer 1989). Sanity Is Madness, The Artists Foundation Janus, Elizabeth. TonyOursler: White Trash Gallery,Boston and Phobic (Geneva:Centre d'Art XII Salso Film & TVFestival, Salsomaggiore Contemporain, 1993). Incontri Cinematografici,Rome Labat, Tony."Tony Oursler,"Shift 5 (1991). Tony Oursler Videoand Language, The Museumof Lalanne, Dorothee. "Tony Oursler: Dernier ModernArt, NewYork Soir," Cinema, no. 10 (February 1986). Born 1957, New York Video-Skulptur:Retrospektiv und aktuell Lange, Regina. "Media-Power: Lives in New York 1963-1989, Kolnischer Kunstverein, Videoarbeiten von Tony Oursler,"Apex- Cologne;Neuer Berliner Kunstverein, Heft 7 (1989). Kongrefthalle,Berlin; Kunsthaus Zurich Lintinen, Jaako. "Uudella mediataiteella Whitney Biennial, Whitney Museumof taitaa olla halussaan 90-luvun avaimet," American Art, New York Taide, no. 30 (1990). 1990 The TechnologicalMuse, Katonah Miller,John. "Tony Oursler,Diane Brown Museumof Art, Katonah, NewYork Gallery,"Artforum 29 (October 1990). TendanceMultiples: Videodes annees 80, Minkowsky,John, Christina Ritchie, and MuseeNational dArt Moderne, Centre Christine van Assche. Spheres d'influence: GeorgesPompidou, Paris TonyOursler (Paris: MuseeNational d'Art Video/Objects/Installations/Photography, Moderne, Centre GeorgesPompidou, HowardYezerski Gallery, Boston 1986). VideoTransforms Television— Oursler,Tony. "Phototrophic," Illuminating CommunicatingUnease, New Langton Video:An Essential Guide to VideoArt, Arts, San Francisco eds. Doug Hall and Sally Jo Fifer (New 1991Documenta IX, Kassel York:Aperture; Bay Area Video Coalition, New YorkTimes Festival, Museumvan 1990). Hedendaagse Kunst, Ghent . "Triune: A Workin Progress," Triune,Video Positive Festival, Bluecoat Visions5 (Summer 1991). Gallery,Liverpool . "Vampire,"Communications Video 1993 ARTEC'93, NagoyaCity Art Museum 48 (November1988). LoveAgain, Kunstraum Elbschloss TonyOursler, ed. Friedemann Malsch Privat, Gallery F-15, Oslo (Frankfurt-am-Main:Portikus, 1995). 1994 Beeld/Beeld, Museumvan Puvogel, Renate. "Tony Oursler: System for Hedendaagse, Ghent Dramatic Feedback,"Kunstforum, no. 127 Galleria Galliani, Genoa (November1994). TheFigure, The Lobby Gallery,Deutsche Ramirez, Y. "Diane Brown Gallery,"Art in Bank, New York America 80 (May 1992). Marian GoodmanGallery, New York Sage, Elspeth. "The Joy of Collaboration: Medienhiennale94: Minima Media, Leipzig An Interview with Constance DeJong and Metro Pictures, New York Tony Oursler," VancouverGuide, no. 4 OhBoy, It's a Girl:Feminismus in der (1988). Kunst, Kunstverein Miinchen Sandqvist, Gertrud. "Privat," Parkett, 1995 ARS'95 Helsinki, Museumof no. 37 (1993). ContemporaryArt, Helsinki Schwendener,Martha. "Tony Oursler: Zeichen Wunder,Kunsthaus Zurich Dummies,Flowers, Alters, Clouds,and Organs,"Art Papers 19 (January-February Selected Bibliography 1995). Berlinsky,John. "The Light Fantastic," Tiberio, Margaret. "Method to This Media: Metro (October 1988). An Interview with Tony Oursler," Visions Carr, C. "Constance DeJong and Tony 3 (Summer 1989). Oursler: Relatives, The Kitchen," Artforum 27 (May 1989). Cornwell,Regina. "Great Videos, Shame about the Show,"Art Monthly, no. 159 (September 1992). Decter, J. "Tony Oursler,Diane Brown Gallery,"Arts 65 (October 1990). Duncan, Michael. "Tony Oursler at Metro Pictures," Art in America 83 (January 1995). Slowly Turning

, _ _ _ _ 1992. Computer-controlled, Narrative 1 ^ two-channel video/sound instal lation with two video projectors and two sound systems. Images are projected onto a freestanding wall, 3/4n, 9' V4"x 11' 9 that rotates on a central axis. Shown installed at the Institute of ContemporaryArt, Philadelphia, 1992. Commissioned by the Virginia Museum of Fine Arts, Richmond, and the Institute of ContemporaryArt. Collection of the artist 73 Selected Solo Exhibitions 1973 New VideoWork, Everson Museumof Art, Syracuse 197if Bill Viola: Videoand Sound Installations, The Kitchen, NewYork 1975 Rain—ThreeInterlocking Systems, Everson Museumof Art, Syracuse 1977 The Kitchen, New York 1979 He Weepsfor You,Projects, The Museumof ModernArt, NewYork 1980 Long Beach Museumof Art, Long Beach, California 1981Vancouver Art Gallery 1982 Whitney Museumof American Art, NewYork 1983 ARC,Musee dArt Moderne de la Ville I Do Not Know What It Is I de Paris Am Like. 1986. Videotape. 1985 Bill Viola: VideoInstallation Premiere, Color. Stereo San Francisco Museumof ModernArt; sound. 89 min. Moderna Museet, Stockholm 1987 Bill Viola:Installations and Videotapes,The Museumof ModernArt, NewYork 1988 Bill Viola:Survey of a Decade, ContemporaryArts Museum,Houston Bill Viola: VideoInstallation and Videotapes,Riverside Studios, Hammersmith 1989 The City of Man, Brockton Art Museum,Fuller Memorial,Brockton, Massachusetts Fukui Prefectural Museumof Art Bill Viola:Installations and Videotapes,The Winnipeg Art Gallery Bill Viola:Sanctuary, Capp Street Project, San Francisco 1990 Bill Viola: "TheSleep of Reason," La Fondation Cartier pour I'Art Contemporain,Jouy-en-Josas 1991Bill Viola: VideoProjects, Museumfur Moderne Kunst, Frankfurt-am-Main 1992 "TheSleep of Reason," Dallas Museum of Art Donald Young Gallery,Seattle Bill Viola:Nantes Triptych,Chapelle de I'Oratoire, Musee des Beaux-Arts de Nantes Bill Viola: "SlowlyTurning Narrative," Virginia Museumof Fine Arts, Richmond; Institute of ContemporaryArt, Philadelphia Bill Viola:Two Installations, Anthony d'Offay Gallery,London Bill Viola: UnseenImages, Stadtische Kunsthalle, Dusseldorf 1993 Musee d'Art Contemporain de Montreal

Tiny Deaths (detail). 1993. Three-channel video/sound installa tion. Shown installed at the Biennale d'Art Contemporain de Lyon, Halle Tony Gamier. Collection of the Musee d'Art Contemporain, Lyons The Passing. 1991. Videotape. Black-and-white. Mono sound. 54 min.

Bill Viola:In the Mind'sEye: A Sacred 1985 Currents, Institute of Contemporary Space, Oriel Art Gallery,Cardiff Art, Boston 1994 Bill Viola: "Stations," American Summer 1985, Museumof Contemporary Center (Inaugural), Paris Art, Los Angeles Bill Viola:Territdrio do Invistvel—Site of 1986 Festival Nacional de Video, Circulode the Unseen, Centro Cultural/Banco do Bellas Artes, Madrid Brazil, Rio de Janeiro Venice Biennale WienModern, Konzerthaus Wien, Vienna 1987 TheArts for Television,Stedelijk (premiere of the film Deserts, with music Museum,Amsterdam; Museumof Dream). 1981. by Edgard Varese performed by Ensemble ContemporaryArt, Los Angeles. Traveled Videotape. Color. Modern) in Europe and North America, 1987-89 Stereo sound. 1995 Bill Viola:Buried Secrets, U.S. Avant-Gardein the Eighties, Los Angeles 56 min. Pavilion, Venice Biennale County Museumof Art L'Epoque,la mode, la morale, la passion: Selected Group Exhibitions Aspects de I'art d'aujourd'hui, Musee 1972 St. Jude Invitational Exhibition, De National d'Art Moderne, Centre Georges Saisset Art Gallery and Museum,Santa Pompidou, Paris Clara Japan 87 VideoTelevision Festival, Spiral, 1974 Art Now,Kennedy Center, Tokyo Washington, D.C. Videokunst,Schleswig-Holsteinischer Projekt 74, Kolnischer Kunstverein, Kunstverein and Kunsthalle zu Kiel der Cologne Christian-Albrechts-Universitat,Kiel 1975 La Biennale de Paris, ARC,Musee 1988 CarnegieInternational, The Carnegie d'Art Moderne de la Ville de Paris (1975, Museumof Art, Pittsburgh 1977) American Landscape Video,The Electronic VideoArt, Institute of ContemporaryArt, Grove,The Carnegie Museumof Art, Philadelphia Pittsburgh Whitney Biennial, Whitney Museumof 1989 Image World,Art and MediaCulture, American Art, NewYork (1975-87, 1993) Whitney Museumof American Art, New 1976 Beyond the Artist's Hand: Explorations York of Change,Art Gallery,California State Video-Skulptur:Retrospektiv und aktuell University, Long Beach 1963-1989, Kolnischer Kunstverein, Video-Art:An Overview,San Francisco Cologne;Neuer Berliner Kunstverein, Museumof Modern Art Kongrefthalle,Berlin; Kunsthaus Zurich 1977 Documenta VI, Kassel 1990 Bienal de la Imagen en Movimiento 1978 International OpenEncounter on '90, MuseoNacional Centro de Arte Reina Video,Tokyo Sofia, Madrid 1979 Everson VideoReview, Everson LIFE-SIZE:A Sense of the Real in Recent Museumof Art, Syracuse Art, The Israel Museum,Jerusalem 1981International VideoArt Festival, Passages de I'image, MuseeNational d'Art Theme Pavilion, Portopia '81, Kobe Moderne, Centre GeorgesPompidou, 1982 60'80 attitudes/concepts/images, Paris. Traveledin 1991 to the Centre Stedelijk Museum,Amsterdam Cultural, Fundacio, Caixa de Pensions, Sydney Biennial, Art Gallery of New South Barcelona, and the WexnerCenter for the Wales,Sydney Visual Arts, Ohio State University, 1983 Art video: Retrospectiveet perspec Columbus;and in 1992, to the San tives, Palais des Beaux-Arts de Charleroi Francisco Museumof Modern Art 1984 The Luminous Image, Stedelijk 1991Metropolis, Martin-Gropius-Bau, Berlin Museum,Amsterdam OpeningExhibition, Museumfur Moderne with four pro jectors and sound system. Commissioned by, and collection of, the Museum fur Moderne Kunst, Frankfurt-am-Main Kunst, Frankfurt-am-Main 1992 Art at the Armory: OccupiedTerritory, Museumof ContemporaryArt, Chicago Documenta IX, Kassel Pour la Suite du monde, Musee d'Art Contemporain de Montreal 993 Biennale dArt Contemporain de Lyon, Halle Tony Gamier Feuer, Wasser,Erde, Luft—Die vier Elemente, Mediale,Deichtorhallen, Hamburg Labyrinth of the Spirit, The Hammond Galleries, Lancaster, Ohio New WorldImages, Louisiana Museumof ModernArt, Humlebaek 1994 Beeld/Beeld, Museumvan Hedendaagse Kunst, Ghent Ik + de Ander: Dignityfor All: Reflections on Humanity, Beurs van Berlage, Amsterdam Landscape as Metaphor, Denver Art Museumand ColumbusMuseum of Art Stations. 1994. Computer-controlled, Selected Bibliography five-channel video/ Bellour, Raymond. "An Interview with Bill Viola," October,no. 34 (Fall 1985). sound installation Published in French in two parts: Cahiers with five black granite slabs, each du Cinema, no. 379 (January 1986); 2V2"x 5' 10" x 9' 3". Commissioned by Cahiersdu Cinema, special issue, "Ou va The Bohen Foundation for the inaugu la video?," ed. Jean-Paul Fargier (1986). ration of the American Center, Paris. Daniels, Dieter. "Bill Viola: Installations Collection of The Bohen Foundation, and Videotapes," Kunstforum,no. 92 New York (December1987-January 1988). Duguet, Anne-Marie."Les Videos de Bill Viola: Une Poetique de I'espace-temps," Parachute, no. 45 (December 1986-February 1987). Feldman, Melissa, and H. Ashley Kistler. SlowlyTurning Narrative (Philadelphia: Institute of ContemporaryArt; Richmond: Virginia Museumof Fine Arts, 1992). Gauville,Herve. "La Compassionselon Bill Viola," Vogue(Paris), October 1994. Hanhardt, John. "Cartografando il visibile. . "Bill Viola: Statements by the L'Arte di Bill Viola," Ritratti: Greenaway, Artist," Summer 1985, ed. Julia Brown Martinis, Pirri, Viola, ed. Valentina (Los Angeles: Museum of Contemporary Valentini (Taormina: Taormina Arte, Art, 1985). Parco Duca di Cesaro, 1987). . "Will There Be Condominiums in Hoberman, J. "Video Art: Paradoxes and Data Space?" Video 80, no. 5 (Fall 1982). Amusement Parks," American Film 6 Bill Viola, ed. Josee Belisle (Montreal: (April 1981). Musee dArt Contemporain de Montreal, Kuspit, Donald. "The Passing," Artforum 32 1993). (September 1993). Bill Viola, ed. Dany Bloch (Paris: ARC, London, Barbara. "Bill Viola: Entropy and Musee dArt Moderne de la Ville de Paris, Disorder," Image Forum, no. 116 1983). (December 1989). Bill Viola, ed. Alexander Piihringer Nash, Michael. "Bill Viola," Journal of (Salzburg: Salzburger Kunstverein, Contemporary Art 3 (Fall- Winter 1990). 1994). Sturken, Marita. "Temporal Interventions," Bill Viola: Images and Spaces, coord. Tina Afterimage, no. 10 (Summer 1982). Yapelli, with Toby Kamps (Madison, Wis.: Torcelli, Nicoletta. "Bill Viola: The Silent Madison Art Center, 1994). Power of the Image," Das Kunst-Bulletin Bill Viola: Installations and Videotapes, ed. (December 1992). Barbara London (New York: The Museum Viola, Bill. "The Body Asleep," Pour la of Modern Art, 1987). Suite du monde, Cahiers: Propos et pro- Bill Viola: Survey of a Decade, ed. Marilyn jets, eds. Gilles Godmer and Real Lussier Zeitlin (Houston: Contemporary Arts (Montreal: Musee dArt Contemporain de Museum, 1988). Montreal, 1992). In French and English. Bill Viola: Territorio do Invisivel —Site of . "History, 10 Years and the the Unseen, ed. Marcello Dantas (Rio de Dreamtime," Video: A Retrospective, Long Janeiro: Centro Cultural/Banco do Brasil, Beach Museum of Art, 1974-1984, ed. 1994). Kathy Huffman (Long Beach, Calif.: Long Bill Viola: Unseen Images, ed. Marie Luise Beach Museum of Art, 1984). Syring (Dusseldorf: Stadtische . "Perception, Technology, Kunsthalle, 1992). Bill Viola Imagination, and the Landscape," Video-Skulptur: Retrospektiv und aktuell Born 1951, New York Enclitic 11 (July 1992). 1963-1989, eds. Wulf Herzogenrath and Lives in Long Beach, . "Sight Unseen —Enlightened Edith Decker (Cologne: DuMont, 1989). California Squirrels and Fatal Experiments," Video Youngblood, Gene. Metaphysical Structural 80, no. 4 (Summer 1982). ism: The Videotapes of Bill Viola (Los . "The Sound of One Line Scanning," Angeles: Voyager Press, 1986). Sound by Artists, eds. Dan Lander and Micah Lexier (Toronto: Art Metropole; Banff: Walter Phillips Gallery, 1990). Published in French as "Le Son d'une ligne de balayage," Chimeres 11 (Spring 1991). . "Video Black—The Mortality of the Image," Illuminating Video: An Essential Guide to Video Art, eds. Doug Hall and Sally Jo Fifer (New York: Aperture; Bay Area Video Coalition, 1990).

Heaven and Hell. 1985. Single-channel video/ sound installation in two rooms, with one projector and one monitor. Shown installed at the San Francisco Museum of Modern Art, 1985. Produced by the artist and the San Francisco Museum of Modern Art. Collection of the artist Robert Beck, courtesy Electronic Arts 65 bottom Intermix, New York: 51, 69 bottom ©Tony Oursler: 70 bottom John Beringer, courtesy Nicole Klagsbrun ©Kira Perov: 13, 50 left Gallery, New York: 30-31 (background) Kira Perov, courtesy Bill Viola: 26, 74, Dara Birnbaum, courtesy the Hudson 75, 76 top, 77 River Museum: 17 Georges Poncet, courtesy Donald Young Jan-Peter Boning, courtesy David Gallery, Seattle: 52 bottom Zwirner Gallery, New York: 41 bottom ©Allison Rossiter: 48-49 Javier Campano, courtesy Museo Mike Sale, courtesy Marcel Odenbach: Nacional Centro de Arte Reina Sofia, 65 top Madrid: 60-61 Katrin Schilling, courtesy Tony Oursler: Courtesy Canon ARTLAB:42-43 66-67 Courtesy Cinematheque Ontario, Lothar Schnepf, courtesy Marcel Toronto: 57 top, 58 top Odenbach: 63 top, 64 bottom Michael Danowski, courtesy Electronic Marita Sturken, courtesy Electronic Arts Arts Intermix, New York: 50 right, Intermix, New York: 63 bottom, 68 top 69 top Shiro Takatani, courtesy Dumb Type: 44 Bevan Davies, courtesy Paula Cooper top, 45, 47 top Gallery: 16 Alexander Troehler, courtesy David Stan Douglas, courtesy David Zwirner Zwirner Gallery, New York: 40 middle Gallery, New York: 20, 36-37, 40 top left, 41 top Courtesy Dumb Type: 21 Stephen Tourientes, courtesy Tony Charles Duprat, courtesy Bill Viola: Oursler: 70 top 76 bottom James Welling, courtesy Nicole ! Courtesy Electronic Arts Intermix, New Klagsbrun Gallery, New York: 19, York: 14 bottom 30 (inset) Courtesy Teiji Furuhashi: 44 bottom, 46, ©Brad Wilson: 71 47 bottom W. Zellien, courtesy Marcel Odenbach: ©Davidson Gigliotti: 14 top 64 top ©Dan Hubp: 35 bottom Courtesy David Zwirner Gallery, New Marine Hugonnier, courtesy Donald York: 38, 39, 40 top, 40 middle right Young Gallery, Seattle: 53 bottom Jean-Paul Judon, courtesy Donald Young Gallery, Seattle: 52 top Carl de Keyzer, courtesy Donald Young Gallery, Seattle: 53 top Courtesy Nicole Klagsbrun Gallery, New York: 32, 33, 34, 35 top, 35 middle Jeff Litchfield and Robert Beck, courtesy Electronic Arts Intermix, New York: 62 bottom Richard K. Loesch, courtesy Wexner Center for the Visual Arts, Columbus: 54-55 m Photograph ©Barbara London: 68 bottom Courtesy Mary Lucier: 15 bottom right ©Babette Mangolte: 15 bottom left Credits ©Gary McKinnis, courtesy Bill Viola: 72-73 ©Hollis Melton: 15 top Courtesy Metro Pictures, New York: 70 middle Philippe Migeat, courtesy Musee National d'Art Moderne, Centre Georges Pompidou, Paris : 56 Courtesy The Museum of Modern Art Film Stills Archive, New York: 57 bot tom, 58 bottom, 59 Courtesy Marcel Odenbach: 62 top, The Amazing Decade: Women'sPerfor Resolution: A Critique of VideoArt, ed. mance in America, 1970-1980, ed. Moira Patti Podesta (Los Angeles: Los Angeles Roth (Los Angeles: Astro Artz, 1983). Contemporary Exhibitions [LACE],1986). The Arts for Television, eds. Kathy Rae Ryan, Paul. Cybernetics of the Sacred Huffman and Dorine Migot (Los Angeles: (Garden City, N.Y.: Anchor Press/Double- Museum of Contemporary Art; Amster day, 1974). dam: Stedelijk Museum, 1987). Transmission: Theory and Practice for Bellour, Raymond, Catherine David, a New TelevisionAesthetics, ed. Peter Christine van Assche, et al. Passages de DAgostino (New York: Tanam Press, Vimage (Paris: Musee National dArt Mod- 1985). erne, Centre GeorgesPompidou, 1990). Video, ed. Rene Payant (Montreal: Boyle, Deirdre. Video Classics: A Guide Artextes, 1986). to VideoArt and Documentary Tapes (Phoenix: Onyx Press, 1986). VideoArt: An Anthology, eds. Ira Schnei der and Beryl Korot (New York: Harcourt Davis, Douglas. Art and the Future: A Brace Jovanovich, 1976). History-Prophecy of the Collaboration Between Science, Technologyand Art Video by Artists, ed. Peggy Gale (New York: Praeger, 1973). (Toronto: Art Metropole, 1976).

Delehanty, Suzanne. VideoArt Video by Artists 2, ed. Elke Towne (Philadelphia: Institute of Contemporary (Toronto: Art Metropole, 1986). Art, 1975). Video Culture: A Critical Investigation, Electronic Arts Intermix: Video, ed. Lori ed. John G. Hanhardt (Rochester, N.Y.: Zippay (New York: Electronic Arts Visual Studies Workshop Press; Peregrine Intermix, 1991). Smith Books, 1986).

Frampton, Hollis. Circles of Confusion: Video et apres: La Collection video du Film, Photography, Video (Rochester, Musee National d'Art Moderne, Centre N.Y.: Visual Studies Workshop Press, Georges Pompidou, ed. Christine van 1983). Assche (Paris: Edition Carre; Musee National dArt Moderne, Centre Georges Gruber, Bettina, and Maria Vedder. Kunst Pompidou, 1992). und video (Cologne: DuMont, 1983). Videokunst in Deutschland 1963-1982: Illuminating Video: An Essential Guide Videobander, installationen, objekte, to VideoArt, eds. Doug Hall and Sally Jo performances, ed. Wulf Herzogenrath Fifer (New York: Aperture; Bay Area (Cologne: Kolnischer Kunstverein, 1982). Video Coalition, 1990). Video-Skulptur:Retrospektiv und aktuell Long Beach Museum of Art. Southland 1963-1989, eds. Wulf Herzogenrath and VideoAnthology 1976-77 (Long Beach, Edith Decker (Cologne: DuMont, 1989). Calif.: Long Beach Museum of Art, Youngblood, Gene. Expanded Cinema 79 1977). Exhibition organized by David Bibliography Ross. (New York: E. P. Dutton, 1970).

Lovejoy, Margot. Post Modern Currents: Art and Artists in the Age of Electronic Media (Ann Arbor: University of Michi gan, 1989).

Musee dArt Contemporain de Montreal. Western Front Video (Montreal: Musee dArt Contemporain de Montreal; Art Gallery of Hamilton, 1984).

New Artists Video: A Critical Anthology, ed. Gregory Battcock (New York: E. P. Dutton, 1978). David Rockefeller* Joanne M. Stern ChairmanEmeritus Isabel Carter Stewart Mrs. Donald B. Straus* Mrs. Henry Ives Cobb* ViceChairman Emeritus Jeanne C. Thayer Paul F. Walter Agnes Gund Richard S. Zeisler Chairmanof the Board * Life Trustee Mrs. Frank Y. Larkin * * HonoraryTrustee Ronald S. Lauder Beverly M. Wolff Donald B. Marron Secretary Richard E. Salomon ViceChairmen Ex-Officio John Parkinson III Treasurer Glenn D. Lowry DirectorDesignate Lily Auchincloss Edward Larrabee Barnes* Rudolph W. Giuliani Celeste G. Bartos* Mayorof the Cityof NewYork Sid R. Bass Alan G. Hevesi H.R.H. Prinz Franz von Bayem* Comptrollerof the Cityof NewYork Hilary P. Califano Thomas S. Carroll* Jo Carole Lauder Patricia Phelps de Cisneros Presidentof TheInternational Council Marshall S. Cogan Douglas S. Cramer Barbara Foshay-Miller Ralph Destino Chairmanof TheContemporary Arts Council Gianluigi Gabetti Paul Gottlieb Vartan Gregorian Mrs. Melville Wakeman Hall* George Heard Hamilton* Barbara Jakobson Philip Johnson* Mrs. Henry R. Kravis John L. Loeb* Robert B. Menschel Dorothy C. Miller** J. Irwin Miller* Mrs. Akio Morita S. I. Newhouse, Jr. Philip S. Niarchos James G. Niven 8o Richard E. Oldenburg** Trustees of Michael S. Ovitz Peter G. Peterson The Museum Gifford Phillips* Emily Rauh Pulitzer of Modern Art David Rockefeller, Jr. Rodman C. Rockefeller Mrs. Wolfgang Schoenborn* Mrs. Robert F. Shapiro Mrs. Bertram Smith* Jerry I. Speyer 300293627