TV As a Creative Medium
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The Artist's Voice Since 1981 Bombsite
THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall. -
The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts. -
Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
A One Day Exhibition
New Video at EAI: A One Day Exhibition New Video at EAI: A One Day Exhibition Saturday, September 8, 2001 12 - 6 pm, 535 West 22 Street, 5th floor New Video at EAI is presented in conjunction with the Downtown Arts Festival's Chelsea Art Walk day and with the cooperation of Dia Center for the Arts. Monitor 1 Joan Jonas Mirage 2, 2000, 30 min, b&w Mirage 2 is a reconsideration of the past, a new work edited by Jonas from footage recorded in the 1970s as part of her Mirage project. Eder Santos Projeto Apollo, 2000, 4 min, color Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing, using simulation to interrogate representation. Ursula Hodel Cinderella 2001, 2001, 12 min, color Cinderella 2001 is a vibrant performance tape with an unnerving, compulsive narrative concerned with image and obsession. Phyllis Baldino 16 Minutes Lost, 2000, 16:54 min, color Baldino's 16 Minutes Lost is the perfect portrayal of scatterbrainedness, testament to the clutter of modern living and the inevitable failings of manmade systems. Monitor 2 Cheryl Donegan The Janice tapes: Lieder, 2000, 4 min, color; Whoa Whoa Studio (for Courbet), 2000, 4:30 min, color; Cellardoor, 2000, 2 min, silent In her new performance trilogy, Donegan sets up a series of charged relationships -- between artist and model, art object and artistic "gesture," performer and viewer. Mike Kelley Superman Recites Selections from 'The Bell Jar' and Other Works, 1999, 7:19 min, color, sound "In a dark no-place evocative of Superman?s own psychic ?Fortress of Solitude? the alienated Man of Steel recites those sections of Plath?s writings that utilize the image of the bell jar." Mike Kelley Kristin Lucas Involuntary Reception, 2000, 16:45 min, color Involuntary Reception is a double-imaged, double-edged report from a young woman lost in the telecommunications ether. -
Folder: 12/7/79 [2]; Container 141
12/7/79 [2] Folder Citation: Collection: Office of Staff Secretary; Series: Presidential Files; Folder: 12/7/79 [2]; Container 141 To See Complete Finding Aid: http://www.jimmycarterlibrary.gov/library/findingaids/Staff_Secretary.pdf THE WHITE HOUSE WASHINGTON December 7, 1979 MEMORANDUM. FOR: THE PRESIDENT }· FRm,.: Ray Jenkins /.. SUBJECT: Breakfast with network correspondents This breakfast, at 8:45 a.m. Dec. 8 in the First Floor Private Dining Room, will consist of an hour of back ground briefin0, not-for-broadcast, not-for-quotation, for a dozen network correspondents. The three TV networks will be represented, but the briefing has been aimed at radio. All are White House regulars. Obviously Iran will be the chief topic of discussion, and perhaps you will w.ant to continue to hammer on the theme that the safe release of the hostages is paramount. I suspect you will also get some political questions. Lesley Stahl might ask about the Kennedy campaign staff's recent "whine session," as it was described by two Washington Post �eporters who were there. In this session, we gather, you were accused of "muzzling" all other candidates with the Irarr issue while privately pursuing "ward politics." The response we have been giving -- strictly on background -- is that we have never asked anyone to stop campaigning. A photo chart has been prepared, and Jerry Schecter is getting some briefinns transcripts for your perusal. lk!iectrost2tlc Copy M£�Jde for Pr�sefVat!on Purpoaes .. :)�"· . · ·� ,·�i-�L:_:·: MEMORANDUM THE WHITE HOUSE WASHINGTON INFORMATION December 7, 1979 MEMORANDUM FOR: THE PRESIDENT FRm.1: JERRY SCHECTER 9·� • SUBJECT.: Background Information for Your Saturday Morning Press Breakfast Jody.asked me to mark .and send to you the r.elevant portions of his and Hedding's briefings this week on Iran, with particular reference to the hostages and their treatm�nt. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
FIGURE 7.1. Demonstration/Performance by The
07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art. -
Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko
Campus' Closed-Ci rcu it Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko Lr) oo oo f_E Die Uberwindung der empha- rischen Praktiken zwischen dem ln order to arrive at an impartial As we all know, the writing ai his- ==OC) Closet l- l- tischen 0pposition zwischen dem hermeneutischen Kontextuber- view of media art that derives its tory like 'directness' * is a C)(J - schen 13Etl (I)(l) ,spezifisch Medialen' und dem druss und semiotischer Kontext- pertinence from the spheres of construct. A discourse abou; the <t) a gerat oo ,historisch Gewordenen' ist eine euphorie. both media theory and art history, 'directness' of media from an (J (J br/Pr Voraussetzung fiir den unbefange- Das Historieschreiben ist ebenso it is essential to overcome the art-historical perspective mev -(n -u) auditit nen Blick auf die Medienkunst, wie die,Unmittelbarkeit' bekannt- emphatic opposition between what illuminate the conflux of technical (f_== o_ lung, t (\,EE (g der seine Kompetenzen sowohl lich eine Konstruktion. Ein Diskurs is 'specific to media' and what and human viewpoints and rrreigh (JO ftir die Bereich Medien- 'has aus dem der [iber die mediale,Unmittelbarkeit' become historical'. up the opportunities and the bildet. theorie wie auch der Kunstge- aus kunsthistorischer Perspektive A future history of media art will dangers brought about by their sowol schichte beziehen will. Eine krlnfti- kann das Ndherbringen von have to counter 'post-historical' convergence, even their mul,.:al deren ge Medienkunstgeschichte wird technischen und menschlichen apocalyptic paranoia and fantasies penetration, schen der,posthistorischen' End zeitpar a- Sichtweisen durchleuchten und die of abolition with a thesis of conti- The attempts made during trie So ist noia und den Aufhebungsfantasien Chancen und Gefahren ihrer An- nuity which does not construct early period of 'video art'to differ- des e eine Kontinuititsthese entgegen niherung und lnterpenetration 'pre-established harmonies' in entiate it from other media r;f des b setzen mtlssen, welche nicht abwagen. -
Arts and Cultural Programs on Radio and Television. Research Division Report No
DOCUMENT RESUME ED 165 205 CS 502 358 AUTHOR Katzman, Natan; Wirt, Kenneth TITLE Arts and Cultural Programs on Radio and Television. Research Division Report No. 4; INSTITUTION National Endowment for the. Arts, Washington, D.C. PUB DATE Sep 77 NOTE 94p. EDRS PRICE MF-$0.83 Hc-$4.67 Plus Postage. DESCRIPTORS Adiinistrator Attitudes; Broadcast Industry; *Cultural` Activities; *Fine Arts; Material Development; *Media Research; Planning;.*Programing (Broadcast); *Radio; *Television ABSTRACT The findings of a planning study of arts and cultural programing on commercial and public radio and television are summarized in this report. Focusing on the decision making process on arts and cultural subjects in the broadcast industry, the report presents information on the following topics:Alow the phrase "arts and cultural programing" is understood by key broadcast executives, the terminology_USed in the industry to describe significant artsand cultural,programing, the kinds of programing designated by the industry as "arts and cultural," how the amount of money and broadcast time for arts and cultural programs compare-with those provided for other types'of programs, the method used in the industry to determine audiences for arts and cultural programing, the meansof support for such programing, sand the kinds of programs that wouldbe used if they were available. (FL) a 3 *********************************************************************** Reproductions supplied by EARS are the best that can be made from the original document. *****************************4t***************************************** -
Broadcasting Florida, St
appointed director of program administration, ing Dave Cochran, named news producer. David Everett and Charles Bocan, district East Coast, for ABC Entertainment. Robert M. managers, Sony Corp., Chicago, join JVC In- Dan Rosen, reporter, KKYX(AM) San Antonio, Silberling, program executive, ABC Enter- dustries, Maspeth, N.Y. in same posts -Mr. Tex., assumes same post at KIRK -TV Houston. tainment, Los Angeles, elected to newly created Everett in portions of Wisconsin, Michigan, position of director, current prime -time comedy Mike McCall, from wcce -TV Charlotte, N.C., Iowa, North and South Dakota and Nebraska programs. joins WGHP -TV High Point, N.C. as news pro- and Mr. Bocan in parts of Illinois, Indiana and ducer /editor. Clark Brinkley, from wNCT -Tv Wisconsin. Stephen Martin, salesman at JVC John Litvak, director of CBS's daytime series, Greenville, N.C., joins WGHP -TV as reporter. dealer, Color Leasing, West Caldwell, N.J., As the World 71srns, named director, daytime joins JVC as district manager covering New programs for network. Meg Merchant, from noncommercial KUON -TV Jersey, Pennsylvania and New York City. Terry M. Keegan, development VP, Para- Lincoln, Neb., joins noncommercial KRNU(FM) mount Television, New York, promoted to there as news director. Elven Harvey Jr., audio sales manager, Dyma Taos, elected VP. senior VP, creative affairs. Art Frankel, busi- Engineering, N.M., ness affairs VP, named senior VP, business affairs. Cable Robert W. Goodwin, assistant to Arthur Austin O. Furst, assistant to Time Inc. group Allied Fields Fellows, senior production VP, Paramount VP, J. Richard Munro, New York, joins Home Television, Los Angeles, named program de- Box Office there as VP for programing. -
Performance Art Context R
Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles