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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. -
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. -
Technological Determinism and Medium Ontology in Film and Early Video
TECHNOLOGICAL DETERMINISM AND MEDIUM ONTOLOGY IN FILM AND EARLY VIDEO A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ART AND ART HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Rudolph Navarro May 2014 © 2014 by Rudolph Navarro, II. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/fd162kx3899 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Pamela Lee, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Scott Bukatman I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Jean Ma I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Claudia Mesch Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
A Chronology of Video Activity in the United States: 1965–1980 - Artforum International
10/11/2019 A Chronology of Video Activity in the United States: 1965–1980 - Artforum International TABLE OF CONTENTS PRINT SEPTEMBER 1980 A CHRONOLOGY OF VIDEO ACTIVITY IN THE UNITED STATES: 1965–1980 This chronology in now way covers all video exhibitions or artists’ video activities in the United States. Instead it concentrates on events and works that have deeply influenced the development of video history. Guaranteed sources for a medium which is only in the process of documenting itself are not always available. Much source material is extremely ephemeral and often contradictory, and many of the enterprises mentioned here are no longer in existence. 1965 Sony introduced the first portable 1/2-inch black-and-white videotape camera and recorder in U.S. (limited availability). https://www.artforum.com/print/198007/a-chronology-of-video-activity-in-the-united-states-1965-1980-37724 1/28 10/11/2019 A Chronology of Video Activity in the United States: 1965–1980 - Artforum International “Third Annual New York Avant-Garde Festival.” Judson Hall, New York City. Included video sculpture by Nam June Paik. Café au Go Go, New York City. First use of Sony Portapak by video artist in U.S. “Electronic Art,” Nam June Paik, Bonino Gallery, New York City, Paik’s first American gallery exhibition. “New Cinema Festival I,” Filmmakers Cinemathèque, New York City. Included videotapes by Nam June Paik, with Charlotte Moorman, John Brockman, organizer. 1967 Sony 1/2-inch black and white portable videotape recorder and Portapak camera marketed for commercial sale in U.S. Electronic Blues, Nam June Paik. -
The Revolution Will Be Videotaped
THE REVOLUTION WILL BE VIDEOTAPED: MAKING A TECHNOLOGY OF CONSCIOUSNESS IN THE LONG 1960s Peter Sachs Collopy A DISSERTATION in History and Sociology of Science Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2015 Supervisor of Dissertation ———————————————————— John Tresch, Associate Professor of History and Sociology of Science Graduate Group Chairperson ———————————————————— John Tresch, Associate Professor of History and Sociology of Science Dissertation Committee Ruth Schwartz Cowan, Professor Emerita of History and Sociology of Science Nathan Ensmenger, Associate Professor of Informatics and Computing, Indiana University Fred Turner, Associate Professor of Communications, Stanford University To my family: Marianne Sachs, Fred Collopy, Andy Collopy, and Deanna Day ii Acknowledgements The history of experimental video that I recount here is one of interactions between participants in many fields, and the process of writing it has also required such collaboration. Thanks first of all to the members of my dissertation committee, each of whom has supported my research and career with great generosity. I began researching experimental video in seminars taught by Nathan Ensmenger and Ruth Schwartz Cowan, each of whom has shaped this work deeply through their advice and questions. John Tresch has been an endlessly creative mentor, suggesting new disciplinary contexts and historical continuities for my research. And Fred Turner has been an inspiration in making technological countercultures a subject of historical research. I also owe particular thanks to the experimental videographers who have supported me with conversation, advice, and access to archives, especially Stephen Beck, Skip Blumberg, Fred Collopy, Davidson Gigliotti, Andy Gurian, DeeDee Halleck, Ben Levine, Richard Milone, Tom Nickel, Ira Schneider, Parry Teasdale, Ann Woodward, and the late Paul Ryan. -
Video: a Selected Chronology, 1963-1983
Video: A Selected Chronology, 1963-1983 By Barbara London The chronology that follows highlights some of the major events that have helped to shape independent video in the United States. Although institutions 'rave provided the context for video, it is he artists' contributions that are of the ~reatest importance. 1963 Exhibitions/Events New York. Television De-Coli/age by WolfVostell, Smolin Gallery. First U.S. environmental installation using a tele vision set. 1964 Television/Productions Boston. Jazz Images, WGBH-TV. Producer, Fred Barzyk. Five short -isualizations of music for broadcast; me of the first attempts at experimental television. 1965 Exhibitions/Events New York. Electronic Art by Nam June Downloaded by [George Washington University] at 20:00 03 February 2015 Paik, Galeria Bonino. Artist's first gal lery exhibition in U.S. New Cinema Festival I (Expanded Cinema Festival), The Film-Makers Cinematheque. Organized by John Brockman. Festival explores uses of mixed-media projection, including vid eo,sound, and light experiments. 966 xhibitions/Events ew York. 9 Evenings: Theater and ngineering, 69th Regiment Armory. rganized by Billy Kliiver. Mixed edia performance events with collabo ation between ten artists and forty ngineers. Video projection used in ,. orks of Alex Hay, Robert Rauschen rg, David Tudor, Robert Whitman. elma Last Year by Ken Dewey, New Bruce Nauman, Live Taped Video Corridor, 1969-70. Installation at the Whitney ork Film Festival at Lincoln Center, Museum, New York. Fall 1985 249 Philharmonic Hall Lobby. Multichan of Art. 1969 nel video installation with photographs The Machine as Seen at the End ofthe Exhibitions/Events by Bruce Davidson, music by Terry Mechanical Age, The Museum of Mod Riley. -
Video and Environment
Volume 11, Number 5-$1 .95 video and environment SUPPORTED BY THE NEW YORK STATE COUNCIL ON THE ARTS Editors in Chief: Beryl Korot and Ira Schneider Address all editorial correspondence, as well as correspondence to Raindance Foundation, to POB 135, Ruby, N .Y . 12475 . Publishers : Gordon and Breach, Science Publishers, Inc., One Park Avenue, New York, N.Y . 10016. Application to mail at second class postage rates is pending at Long Island City, New York . Copyright C 1973 by RAINDANCE FOUNDA- TION . Subscription rates (Volume 2, 9 issues)-United States/Canada: Individu- als, $12.50; Libraries and Institutions, $45.00. Great Britain/Elsewhere: Individuals, £6 .67/516.00; Libraries and Institutions, £20.20/548 .50. Published monthly with the exception of July, September, and December . Single copies $1 .95; back issues, 53 .00. No part of this periodical may be reproduced without the written permission of the publisher. Printed in the United States of America. Address all Radical Software subscription, circulation, and distribution correspondence to Gordon and Breach Science Publishers, One Park Ave ., New York City, N .Y . 10016 . This issue is brought to you by : JUAN DOWNEY FRANK GILLETTE BERYL KOROT IRA SCHNEIDER It presents: diagrams, drawings, photographs, explanations of a variety of video performances, environments, exhibitions; it contains articles on domestic communications satellites, computer gaming, Euclidean Space, theatrical experiments; it includes an updating of the RS worldwide videotape directory, a vt program guide, a video tools report. And more . Thank you: Marilise Downey for helping out with production ; also Titi and Juanfi LaMadrid, Andy Mann, and Barbara Goldberg for joining us on those few long week-ends ; and to Schneider for the feasts .