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From Video to Intermedia: a Personal History / Barbara London

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From Video to Intermedia: a Personal History / Barbara London FROM VIDEO TO INTERMEDIA: A PERSONAL HISTORY / BARBARA LONDON During the late 1960s, in the spirit of counterculture and Fred Waldhauer and artists Robert Rauschenberg and revolution, artists took up the new portable video camera, Robert Whitman with the mandate of establishing with its grainy black-and-white images and crudest of better relationships among interdisciplinary artists with editing systems. The medium had previously been the a scientific bent, to help select contemporary works. domain of commercial television, with hefty cameras EAT arranged a competition, and out of two hundred locked onto enormous tripods in broadcast studios, submissions Hultén selected nine computer experiments, but now women artists flocked to this wide-open field, including a kinetic sculpture by Lillian Schwartz, a com- attracted to its clean slate and lack of old-boys network. puter artist who also made short experimental films and Merging a strong sense of independence with this recently videos. Proxima Centauri (1968), Schwartz’s collaboration accessible medium, they experimented with time-based with Bell Laboratories engineer Per Biorn, was a highly (and therefore intangible and difficult to collect) art, in polished black box that opened to reveal a translucent a seat-of-the-pants style well suited to the artist-run, glass dome emitting an astrophysical glow, activated by rough-and-ready venues sprouting up everywhere. viewers standing on pressure-sensitive pads installed Viewers became participants, engaging in a more under a carpet. active relationship with image and sound. Video offered Video gained a forum in 1971, when the Museum a more immediate form of expression, with inexpensive launched its Projects series in order to adapt to the ex- distribution possibilities that echoed the “spreading the panding practice of site-specific installations. One of the word” also essential to feminism’s forward momentum. first, Eleanor Antin’s mail-art narrative 100 Boots (1971– With these new tools, women artists investigated their 73) chronicled an army of galoshes marching across the identities, defying the romantic notions of beauty dis- United States, storming New York, and finally invading seminated by advertising and the consort roles offered the Projects galleries.2 by movies and soap operas, in interdisciplinary projects, My own work with video and intermedia—a concept characterized by vitality and candor, that formed alterna- developed in the mid-1960s by Fluxus artist Dick Higgins tives to and a critique of male-dominated modes of art and Hans Breder to describe the often confusing activities production. As the categories of Miss and Mrs. were torn that occur between genres—began in the early 1970s, apart, so were those of traditional art practice, reception, when as a young curator in the Department of Prints and circulation. and Illustrated Books I became absorbed in how artists The first exhibition at The Museum of Modern Art to stretched and manipulated time, that most elusive of feature the era’s new electronic mediums was The Machine materials.3 In 1971, for example, to inaugurate Ileana as Seen at the End of the Mechanical Age in 1968, organized Sonnabend’s SoHo gallery, the living sculptures Gilbert by Pontus Hultén.1 The show opened with drawings of & George—dressed in tweed suits, their skin covered Leonardo da Vinci’s flying machines and included works with gold powder—stood for weeks on a table and sang up through the present. Hultén invited the group Exper- “Underneath the Arches,” in a nonstop looped action iments in Art and Technology (EAT), which had been that managed to emulate both robotic mechanization 1. Laurie Anderson (American, launched the previous year by engineers Billy Klüver and and over-the-top grandeur. born 1947). O Superman. 1983. Video (color, sound), 8 min. The Museum of Modern Art, New York. Gift of Warner Bros. 352 Records 353 My interests settled on cutting-edge mediums, and film’s in the more established film theory exemplified by was the norm, she carried out her project with extreme masculine”—an aesthetic, social, and political act.6 She on how artists harnessed new technology in a world where such journals as Cahiers du cinéma, founded in 1951. The precision, standing motionless in an empty gallery, reso- began her experiments with film in 1969, mixing different that technology was perpetually shifting. I sought out fundamentals of expanded cinema (an expedient generic lutely facing four video cameras set at different distances. colored liquids on a mirror and projecting the reflections independent voices, looking for work that expanded term for radical experimentation with the moving image) The live images were cycled onto an adjacent monitor as abstract swirls. These erratic, “live” projected shapes, boundaries. In nosing around makeshift venues (such as included intermedia techniques, participation from the using carefully scripted switching and split-screen effects, rather than recorded (and thus mediated) celluloid images, the Kitchen and 112 Greene Street) and talking with artists audience, and the destruction and abstraction of imagery all synchronized with audio composed from four synthe- formed her reality. In the early 1970s she carried out a (such as Antin, Beryl Korot, and Hermine Freed), I discov- and film projection, all used toward decoding reality as it sizer tones, so that her impassive body made a sharp series of hard-hitting performances that tested her physical ered a dynamic counterculture, the offspring of the Beats was manipulated in commercial film and toward breaking contrast with her aggressively in-motion, on-screen self. limits and questioned physical and mental identity in a and Woodstock, flourishing in Manhattan’s desolate SoHo out of film’s two-dimensionality by transporting the Space Seeing—Space Hearing, with its paradox of feminist critique that she called Media Aktionism, as neighborhood and in rural communes in upstate New York cinematographic apparatus into an installation of time physical stasis and electronically generated motion, can be in Hyperbulie (1973, no. 3), in which she navigated, nude (such as Lanesville TV, in Lanesville, and Experimental and space. This, it was thought, would lead to the opening seen as part of EXPORT’s uncompromising investigation for the most part and often crawling on her hands and Television Center, in Owego), operating on the fringes of of our usual patterns of perception and representation; into the social position and physical being of women— knees, the narrow passage of an electrified metal fence, the art world, with its prevailing modes of Conceptual and otherwise we were limited in our ability to tell the differ- like her pseudonym, adopted in 1967 in light of receiving a formidable jolt every time she inadvertently Minimal art. With other like-minded souls I climbed dank ence between natural and artificial images, as well as in her refusal to cater to a “system that is defined by the brushed against the edge. One of her goals in performance staircases and congregated in dusty lofts for impromptu our conception of truth and reality.5 screenings of black-and-white videos and for interdisci- These fundamentals were manifest in the work of the plinary performative experiments that stretched into the audaciously spirited Clarke, a modern dancer long before night. Process took precedence over saleable product, and she became passionate about video, which she felt shared information from the hardcore reached out-of-the-way the spontaneity of dance; her early videos explored the pro- artists through publications such as Radical Software cess of their own making, and were about instantaneous (founded by Korot, Phyllis Gershuny, Ira Schneider, and image and live, two-way communication among partici- Frank Gillette), a theory and grassroots how-to magazine; pants. In 1974 I visited the Video Teepee, her rooftop and Avalanche (founded by Liza Bear and Willoughby studio at the Hotel Chelsea, where she taught workshops, Sharp), an in-depth interview magazine that captured the setting up multiple cameras and monitors on the roof grit of downtown New York. and in stairwells, and where other Hotel Chelsea dwellers, At MoMA’s Open Circuits conference in 1974, I including Viva and Agnès Varda, would drift by. I met observed practitioners of expanded cinema from around Clarke’s lively followers, including a socially engaged the world argue about the distinctions between video and collective, the Videofreeks, who explored public-access film, with the former represented by such upstarts as cable, using live phone-ins to create two-way, interactive Nam June Paik, Shigeko Kubota, and Woody and Steina cablecasting and transmit whatever was on their minds Vasulka, and the latter including the veterans Shirley Clarke at the time. and Jonas Mekas, who had bucked the Hollywood system Several months later I made my first curatorial in the 1950s, along with Maya Deren and John Cassavetes. research trip abroad. At Projekt ’74, an exhibition of video Clarke went on to found the Filmmakers Cooperative with installations organized by the Kölnischer Kunstverein, I Mekas in 1962, joined by Stan VanDerBeek, Robert Breer, witnessed VALIE EXPORT, who had been the only woman 4 2. VALIE EXPORT (Austrian, Michael Snow, and others. These moving image practi- to participate in the visceral events staged by the Vienna born 1940). Space Seeing— tioners spoke different languages: video’s nascent critical Actionists, create a new work, Space Seeing—Space Hearing Space Hearing. 1973–74. Video discourse was rooted in the visual arts, with essays in (1973–74, no. 2), on the eve of the opening. Although she (black and white, sound), 6:19 min. The Museum of Modern Studio International and Arts Magazine, and experimental worked very much in the make-it-on-the-spot spirit that Art, New York. Purchase 354 FROM VIDEO TO INTERMEDIA LONDON 355 was to separate the female body from eroticism: “I felt it By then playback equipment had become relatively that moved very stiffly, like a puppet or a figure in with digital TV sets); and video’s live, simultaneous was important to use the female body to create art.
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