Video and Environment
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REWIND a Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980
REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND 1995 edition Editor: Chris Hill Contributing Editors: Kate Horsfield, Maria Troy Consulting Editor: Deirdre Boyle REWIND 2008 edition Editors: Abina Manning, Brigid Reagan Design: Hans Sundquist Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968–1980 1995 VHS edition Producer: Kate Horsfield Curator: Chris Hill Project Coordinator: Maria Troy Produced by the Video Data Bank in collaboration with Electronic Arts Intermix and Bay Area Video Coalition. Consultants to the project: Deirdre Boyle, Doug Hall, Ulysses Jenkins, Barbara London, Ken Marsh, Leann Mella, Martha Rosler, Steina Vasulka, Lori Zippay. On-Line Editor/BAVC: Heather Weaver Editing Facility: Bay Area Video Coalition Opening & Closing Sequences and On-Screen Titles: Cary Stauffacher, Media Process Group Preservation of Tapes: Bay Area Video Coalition Preservation Supervisor: Grace Lan, Daniel Huertas Special thanks: David Azarch, Sally Berger, Peer Bode, Pia Cseri-Briones, Tony Conrad, Margaret Cooper, Bob Devine, Julia Dzwonkoski, Ned Erwin, Sally Jo Fifer, Elliot Glass, DeeDee Halleck, Luke Hones, Kathy Rae Huffman, David Jensen, Phil Jones, Lillian Katz, Carole Ann Klonarides, Chip Lord, Nell Lundy, Margaret Mahoney, Marie Nesthus, Gerry O’Grady, Steve Seid, David Shulman, Debbie Silverfine, Mary Smith, Elisabeth Subrin, Parry Teasdale, Keiko -
Conference Schedule
Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 1 (Friday, 7 August 2015) 08.00 – 08.30 : Registration 08.30 – 10.00 : Parallel Session 1 10.00 – 11.30 : Parallel Session 2 11.30 – 13.30 : Lunch + Friday prayer 13.30 – 14.00 : Ngremo (Opening Ceremony and Cultural Performance) 14.00 – 14.30 : Opening Remarks 14.30 – 15.00 : Coffee Break 15.00 – 16.00 : Keynote Speaker (Abidin Kusno) 16.00 - 17.30 : Plenary 1 1. Hilmar Farid (Institute of Indonesian Social History, Indonesia) 2. Chua Beng Huat (NUS, Singapore) 3. Prigi Arisandi (Universitas Ciputra, Indonesia) Day 2 (Saturday, 8 August 2015) 08.30 – 10.00 : Parallel Session 3 10.00 – 10.30 : Coffee Break *Book Series Launch, Asian Cultural Studies: Transnational and Dialogic Approaches (at Room 14 (snacks/beverages are provided) 10.30 - 12.00 : Parallel Session 4 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 5 15.00 – 15.30 : Coffee Break 15.30 – 17.00 : Parallel Session 6 17.00 – 18.30 : Plenary 2 1. Diah Arimbi (Universitas Airlangga, Indonesia) 2. Firdous Azim (BRAC University, Bangladesh) 3. Goh Beng Lan (SEAS Dept. NUS, Singapore) 1 Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 3 (Sunday, 9 August 2015) 08.30 – 10.00 : Parallel Session 7 10.00 – 10.30 : Coffee Break 10.30 – 12.00 : Parallel Session 8 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 9 15.00 – 16.00 : IACSS Assembly Meeting 16.00 – 16.30 : Coffee Break 16.30 – 17.00 : IACS (Reader) Book Launch 17.00 – 18.30 : Plenary 3 1. -
18 at 2Pm TRISHA BROWN SON of GONE FISHIN
-I Friday, October 16 at 8pm I Saturday, October 17 at 8pm Sunday, Octob~ 18 at 2pm n-1 TRISHA BROWN SON OF GONE FISHIN' (World Premiere) Choreography by Trisha Brown z Music by Robert Ashley Commissioned in part by BAM with other funding provided by the New York State Council on the Arts, the National Endowment for the Arts and various private sources. GLACIAL DECOY Choreography by Trisha Brown Costumes and visual presentation by Robert Rauschenberg OPAL LOOP/CLOUD INSTALLATION #72503 Choreography by Trisha BrdWn Cloud sculpture by Fujiko Nakaya Thursday, October 29 at 8pm MUSIC + NEW RESOURCES: COMPUTERS & BEYOND THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor New works by Morris Cotel (Yetzirah); Vladimir Ussachevsky (Celebration); Morton Subotnick (Ghost Piece) and others using the latest innovations in computer, electronic valve and microtuning techniques. Friday, October 30 at 8pm Saturday, October 31 at 8pm Sunday, November 1 at 2pm LAURA DEAN TYMPANI (New York Premiere) Choreography and music by Laura Dean Scored for two grand pianos and tympani Co-commissioned by BAM, the Walker Arts Center and the American Dance Festival. DANCE Choreography and music by Laura Dean Scored for two amplified autoharps plus other works . Friday, November 6 at Spm Saturday, November 7 at 7pm Thursday, November 12 at Spm Saturday, November 14 at Spm Sunday, November 15 at 7pm SATYAGRAHA (New York Premiere) An opera in three acts by Philip Glass libretto by Constance De Jong (adapted from the Bhagavad-Gita) book by Philip Glass and Constance De Jong Brooklyn Philharmonia conducted by Christopher Keene sets and costumes by Robert Israel lighting by Richard Riddell staged by Hans Nieuwenhuis after the production by the Netherlands Opera Thursday, December 17 at Spm MUSIC + MOVEMENT THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor New Mime, modern dance and ballet, plus marionettes, featuring works by Miriam Degan (shadow play); Daryl Gray (ballet); Satoru Shimazaki and Toby Armour (modern dance) set to new music by Robert Cornman, George A. -
Creating Continuity Between Computer Art History and Contemporary Art
CAT 2010 London Conference ~ 3rd February Bruce Wands _____________________________________________________________________ CREATING CONTINUITY BETWEEN COMPUTER ART HISTORY AND CONTEMPORARY ART Bruce Wands Chair, MFA Computer Art Director of Computer Education Director, New York Digital Salon School of Visual Arts 209 East 23 Street New York, NY 10010 USA [email protected] www.mfaca.sva.edu www.nydigitalsalon.org Computer art was started by a small group of pioneering artists who had the vision to see what digital tools and technology could bring to the creative process. The technology at the time was primitive, compared to what we have today, and these artists faced resistance from the traditional art establishment. Several organizations, such as the New York Digital Salon, were started to promote digital creativity through exhibitions, publications and websites. This paper will explore how to create continuity between computer art history and a new generation of artists that does not see making art with computers as unusual and views it as contemporary art. INTRODUCTION The origins of computer art trace back over fifty years as artists began to experiment and create artwork with new technologies. Even before computers were invented, photography, radio, film and television opened up new creative territories. Many people point to the photographs of abstract images taken of an oscilloscope screen that Ben Laposky called Oscillons as some of the first electronic art images, which foreshadowed the development of computer art. While the system he used was essentially analog, the way in which the images were created was through mathematics and electronic circuitry. Another artist working at that time was Herbert Franke, and as the author of Computer Graphics – Computer Art, originally published in 1971, and followed in 1985 by an expanded second edition, he began to document the history of computer art and the artists who were involved. -
Japan Video Art Festival
• Japan Video Art Festival 33 Artists at CAYC April 1978 Center of Art and Communication Buenos Aires 33 Participating Artists Besson Hans Fleischner Hiroshi Fujii Mako ldemitsu Taka limura Norio lmai Shoji Kaneko Etsuo Kawamura Hakudo Kobayashi Hori Kousai Shigeko Kubota Duck Jun Kwak Masafumi Maita Shoji Matsumoto Toshio Matsumoto Yutaka Matsuzawa Kyoko Michishita Setsu Miura Toshi Morinoh Hidetoshi Nagasawa Tsuneo Nakai Kou Nakajima Yoshio Nakajima Masaaki Nakauchi Fujiko Nakaya Hitoshi Nomura Kishio Suga Noboru Takayama Yoshio Uemura Morihiro Wada Aki Yada Katsuhiro Yamaguchi Keigo Yamamoto An Open Spirit In the last five years, the Center of Art and Communication (CAYC) has organized ten International Open Encounters on Video, according to the following list: I, at the Institute of Contemporary Art, London, 1973; II, Espace Cardin, Paris, 1974; Ill, Palazzo del Diamanti, Ferrara, Italy, 1974; IV, CAYC, Buenos Aires, 1975; V, lnternationaal Cultureet Centrum, Antwerp, Belgium, 1976; VI, Museum of Contemporary Art, Caracas, 1977; VII, Joan Mir6 Foundation, Barcelona, Spain, 1977; VIII, Continental Gallery, Lima. 1977; IX, Alvar and Carmen Carrillo Gil Museum, Mexico City, 1977; and X, which will be held next May at the Sogetsu-Kaikan Building, Tokyo. As their title indicates, these encounters are open, in order to encompass all tendencies and authors, an attitude demanded by video art itself. We believe that the best explanation of the need for this spirit, and of the scope of the medium, was formulated in February 1977, during the Barcelona Encounter, by Katsuhiro Yamaguchi, one of the most important creators of Japanese video art and one of the 33 participants in CAYC's Japan Video Art Festival. -
A History of Computer Animation 3/20/92 1
tea:1 i20SZ bu :J1, Chapter 4 : A HISTORY OF COMPUTER ANIMATION 3/20/92 1 A History of Computer Animation . .. .. .. .. .. .. .. .. .. .1 The Origins of Animation . .. .. ... .. .. .. .. .. .. .. ..1 Animated phase pictures and roll media (1828- 1895) . .. .. .. .. .......... .. .. .. ................. ..........1 The early trickfilmsters and technology (1895- 1909) . .. .. .. .. .. .. .. .. .. .. .. .. ............ .. .. ............. ...2 The animation studio and techniques (1910-1920) . .5 The Classical Period (1920-1960) . .. 1 0 The Origins of the Computer . ............................ .. .. .. .. .. ...... .. ..14 Analog computers.... .. ... .. ... ... .. .. .. .. ... .. .. ..14 Digital computers . .... .. .. .. .. .. .. .. .. .. .............. .. .. .. .. ..16 Analog Computer Animation .... .. .. .. .. ............... ..21 Electronic Analog Computer Animation . .. .. .. ............. .21 Mechanical Analog Computer Animation . .. ..... ...... .. .23 Computerizating the Animation Stand and Optical Printer. .. .... ... .. ..... .. .... ..... .... ... .. .. .. ... .2 7 Benefits of Computer Animation Stand . .2 9 Motion Control . .............. .. .. .. .. .. ........ .. .. ..3 0 Benefits of Computerized Motion Control .............. .. .... .. .32 Synthetic Imagery. .. .. ... .. ... ... .. .. ... .. .. .. .. .. .. .3 3 Computer hardware fusions. .. .. .. .. .. .. ..3 3 The interactive cathode ray tube display. .3 3 The mechanical plotter. .. .. .. .. .. .. .. .. .. .3 5 Film recorder CRT's. .. .. .. .. ... .. .. ... .. .. .. .. .. -
Download File
Still from Idemitsu's video Hideo, It's Me, Mama, 1983. Courtesy Museum of Modern Art. work, when seen as a whole, forms a kind of away from her cultured and traditional fam and friends, she began to develop compli mandala. ily to study film at Columbia University in cated scripts and to hire professional actors New York. She subsequently lived for eight and production crews. In the context of Jap A !though Video Hiroba was short-lived as years in California, where she experimented anese video, her use of plots is her most Man organization-by the late 1970s the with both film and video, returning to Japan distinctive feature. group disbanded as its members pursued in time to be a founding member of Video Idemitsu spent nearly a decade creating radically different matters, from computer Hiroba. Her innovative video work began in videotapes on the "Great Mother" theme. In graphics to fiction to sculpture-several of California with her attempts to study the these she scrutinizes the emotional interac the original members are still important fig people around her, to penetrate their psy tions of mother-child relationships, reveal ures in Japanese video as artists, curators or chology and understand how they related to ing the underlying volatility of seemingly teachers. Fujiko Nakaya abandoned the others, by asking pairs of people to discuss placid households. Her fictive episodes form of political documentation exemplified spontaneously on camera their relationships might depict a spoiled daughter who inso by her Minamata videotape to concentrate or a specific psychological topic. When Ide lently picks up men but is incapable of leav on nonvideo "fog installations" that are mitsu returned to Japan she continued such ing her dispassionate professional mother, often used as settings for music and dance. -
A History of Japanese Experimental Film Julian Ross
13 EXPERIMENTAL FILM Forms, spaces and networks: A history of Japanese experimental film Julian Ross The independent film collective [+] has voiced picture of Japanese contributions due to the paucity of an aversion to being associated with the term available resources in other languages. In Japan, and ‘experimental film’ (jikken eiga) in Japan. While jikken elsewhere, experimental film challenges the medium eiga is most commonly used to designate such film- specificity of film and often crosses over into the realm making practices, [+] member and historian Sakamoto of the other arts; something that has also played a role Hirofumi has suggested that some film-makers feel in the situation. the term ghettoises their work and encourages a Although preserving the idea of experimental film false presumption that it is separated from cinema at as a flexible form of classification has allowed for it to large.1 This chapter proposes that the contribution to remain prevalent amid developments in technology, wider film culture made by such peripheral activities industry and the changing status of art, this inclusivity can nonetheless be best illuminated by loosely has also proved problematic for both the purposes grouping them together and assessing certain shared of definition and its critical development in Japan. tendencies in their practice. Tracing Japan’s history Japanese experimental film was first described as of experimental film is to draw together a network of avant-garde (zen’ei) in the late 1920s – the political disparate creative voices each with their own unique connotations of the word often being one reason for history and distinct approach to film-making. -
RARE Periodicals Performance ART, Happenings, Fluxus Etc
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received. -
Here's the 407-Artist List for the Whitney Museum's First Permanent Collection Hang in Its New Building
_____________________________________________________________________________________ HERE’S THE 407-ARTIST LIST FOR THE WHITNEY MUSEUM’S FIRST PERMANENT COLLECTION HANG IN ITS NEW BUILDING BY Andrew Russeth POSTED 04/13/15 1:00 PM The Whitney Museum of American Art’s new Renzo Piano–designed home in the Meatpacking District opens to the public in a little more than two weeks, on May 1, andtoday it released the full list of artists whose work will appear in its inaugural show, “America Is Hard to See,” which will fill the building with pieces from its permanent collection. Florine Stettheimer, Sun, 1931. COURTESY THE WHITNEY MUSEUM OF AMERICAN ART The list has a total of 407 artists and groups, and includes a fairly thrilling range of people, from Bill Traylor to Florine Stettheimer to Jordan Wolfson. Asco? The Whitney’s got it. Horace Pippin? Yes. Louise Lawler, Sturtevant, Lee Lozano, and David Hammons? Check, check, check, check. Gertrude Vanderbilt Whitney, the sculptor who founded the museum in 1931, is on there too. The list: . Berenice Abbott . Michele Abeles . Vito Acconci . Ansel Adams . Robert Adams . Carl Andre . Kenneth Anger . Eleanor Antin . Diane Arbus . Cory Arcangel . David Armstrong . Richard Artschwager . Ruth Asawa . Asco . Charles Atlas . Lutz Bacher . Peggy Bacon . Jo Baer . Alex Bag . Malcolm Bailey . Lamar Baker . John Baldessari . Alvin Baltrop . Lewis Baltz . Matthew Barney . Richmond Barthé . Jean-Michel Basquiat . Romare Bearden . Cecil Beaton . Robert Beavers . Robert Bechtle . Ericka Beckman . Larry Bell . George Bellows . Lynda Benglis . Thomas Hart Benton . Wallace Berman . Bernadette Corporation . Judith Bernstein . Huma Bhabha . David Bienstock . Henry Billings . Ilse Bing . Dara Birnbaum . Nayland Blake . Oscar Bluemner . -
Noordegraaf DEF.Indd 1 08-01-13 14:33 FRAMING FILM
FRAMING ET AL. (EDS.) NOORDEGRAAF JULIA NOORDEGRAAF, COSETTA G. SABA, FILM BARBARA LE MAÎTRE, VINZENZ HEDIGER (EDS.) PRESERVING AND EXHIBITING MEDIA ART PRESERVING AND EXHIBITING MEDIA ART Challenges and Perspectives This important and fi rst-of-its-kind collection addresses the Julia Noordegraaf is AND EXHIBITING MEDIA ART PRESERVING emerging challenges in the fi eld of media art preservation and Professor of Heritage and exhibition, providing an outline for the training of professionals in Digital Culture at the Univer- this fi eld. Since the emergence of time-based media such as fi lm, sity of Amsterdam. video and digital technology, artists have used them to experiment Cosetta G. Saba is Associate with their potential. The resulting artworks, with their basis in Professor of Film Analysis rapidly developing technologies that cross over into other domains and Audiovisual Practices in such as broadcasting and social media, have challenged the tradi- Media Art at the University tional infrastructures for the collection, preservation and exhibition of Udine. of art. Addressing these challenges, the authors provide a historical Barbara Le Maître is and theoretical survey of the fi eld, and introduce students to the Associate Professor of challenges and di culties of preserving and exhibiting media art Theory and Aesthetics of through a series of fi rst-hand case studies. Situated at the threshold Static and Time-based Images at the Université Sorbonne between archival practices and fi lm and media theory, it also makes nouvelle – Paris 3. a strong contribution to the growing literature on archive theory Vinzenz Hediger is and archival practices. Professor of Film Studies at the Goethe-Universität Frankfurt am Main. -
Independent Video: the First Fifteen Years - Artforum International
10/11/2019 Independent Video: The First Fifteen Years - Artforum International TABLE OF CONTENTS PRINT SEPTEMBER 1980 INDEPENDENT VIDEO: THE FIRST FIFTEEN YEARS THE DEVELOPMENT OF VIDEO as an artistic medium has occurred over a relatively short period of time.1 When artists began using video in the mid ’60s, it was a period of wide experimentation—the Pop Art of Andy Warhol and Tom Wesselmann, the Happenings of Robert Rauschenberg and Allan Kaprow, and the New York Fluxus events of George Maciunas and Nam June Paik—generated by intuition and spontaneity, rather than logic or reason. Video art was initiated largely by small artists’ collectives scattered across the United States, as a form of political and esthetic opposition to commercial television genres and to the more traditional art forms. During the ’70s the nature of video activity changed, along with work in other mediums. Some artists explored alternatives to the formal exhibition space in the creation of environmental and land art works, generally conceptualized in response to a particular situation or setting. At the same time, video installations were being designed for specific spaces and audio and video equipment was being used to explore temporal and spatial https://www.artforum.com/print/198007/independent-video-the-first-fifteen-years-37723 1/18 10/11/2019 Independent Video: The First Fifteen Years - Artforum International relationships, often involving time delays and viewer participation. While performance art continued, video art was employed by many artists to create personal, autobiographical or narrative pieces, in addition to conceptual works. There was extensive activity with the building and exploration of color image processors, which included synthesizers and computers.