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22 November 1993 Dear Stena and Woody Vasulka; I Am Preparing An

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22 November 1993 Dear Stena and Woody Vasulka; I Am Preparing An 22 November 1993 Stena and Woody Valsulka Route 6, Box 100, Santa Fe, 87501, New Mexico, U .S .A . Dear Stena and Woody Vasulka ; I am preparing an exhibition at the National Gallery of Canada for the fall of 1994, which will deal partly with the works of video pioneers who developed and worked with early video synthesizer . Of course your work would be featured . As you may know, the National Gallery of Canada has some of your work in its collection and I intend to include more works of yours . For the moment, I am writing because I recently met with Jean-Pierre Boyer who mentioned to me that you had sent him a catalogue or a publication that presented video pioneers works . I was wondering if you could provide me with a copy of this publication or indicate where to find it . If you want to sell it to us, please join an invoice and we will pay soon after its reception . Concerning your own early works, you may want to give me information . Otherwise, I will go through the regular channel, such as Electronic Arts Intermix in New York . I thank you in advance for the attention you will give to my request . Sincerely, Jean Gagnon Associate Curator Media Arts . The Video and Film by Artists Series Message from the Director Electronic Landscapes nother busy summer season has begun, and we welcome all 6 July - 4 September our visitors from Ottawa, Canada, the U .S ., and abroad . The National Capital Region - the Ottawa-Hull area - last year Video Gallery attracted some 4,000,000 tourists . This year we hope for even more first contradiction in guests, especially now that the new Museum of Civilization has lectronic Landscapes seems at to be a terms . But in this late twentieth century, where hydro pylons opened . Here at the Gallery the dramatic and moving exhibition of E1 and telephone poles have replaced trees and sky as major photographs Karsh: The Art of the Portrait has just opened . The elements in the visible world, the phrase implies an altered spectrum artist will give a public lecture in our Auditorium on Sunday 9 July of our surroundings . at 3 pm . I hope you will all be able to visit this exhibition and The In spite of or perhaps because of this, nature holds renewed Cherished Image: Portraits from 150 Years of Photography, a com- fascination for us . For artists working with electronic tools, turning to plementary history of portrait photography from the early daguerreo- nature for reflection types to contemporary works drawn from our collections. and inspiration is a This year during July, August, and September all six national deliberate decision : to museums (including the War Museum and the Aviation Museum) will establish links with a take part in a "passport" pilot project. The passports are to be sold personal and cultural at the museums and will contain one adult admission to each "otherwise" or to museum for $15, a 25 percent discount for the whole package. salvage the sites and To help visitors tour the capital's attractions, "Visibus," a daily icons of an earlier bus service from 9 am to 6 pm, makes a number of stops at key day. locations at ten-minute intervals. It runs until 4 September (except The exhibition on Canada Day) and is a bargain at $2 per adult pass or $5 for the brings together multi- whole family . Passes are available on board or at the Visitor Centre screen video installa- at 14 Metcalfe Street near Parliament Hill . The museums will also tions by Tomiyo take part in an "exit survey" of visitors, to help us find out how we Sasaki (The Dreams can better serve them . So if you are approached by a personable Mica-TV, Cascade of Christopher young student with a clipboard and a few questions as you leave the Columbus, 1987) Gallery, I hope you will spare a few moments to help us in this and Tom Sherman survey . For many of you, July and August are holiday months . I wish you (Equidistant Relationships, 1989) with single channel tapes by fourteen artists from Canada and the United States, including Kate Craig a happy and safe summer - and I look forward to seeing you at the Bill Viola National Gallery. (Mary Lou, 1989), Luc Bourdon (Distance, 1984), (Hatsu-Yume "First Dream," 1981) and Gary Hill (Incidence of Catastrophe, Dr . Shirley L. Thomson 1988). The selection is framed by language, but natural forces and raw landscape play crucial roles in these works, acting as both foil to human action and balance to human thought . Peggy Gale is the guest curator of Electronic Landscapes, part of the Video and Film by Artists Series organized by Susan Ditta, the National Gallery's Assistant Curator of Video and Film . Doug Hall Storm & Stress Yousuf Karsh Pierre Elliott Trudeau 4 November 1968 I ~~~Iilt ' I!r! i 11~E,E I ~ A O i fif !azi~f~ fi isaia~t5 "trra F " r1 t3 s 7 IliI6 {1N ' 111 :C ' ' . ra a il£it4~i~u P i {. {I ~ Isrsgri ;/1ih'/ l fYf AFeF1FlF~}lillffl~{a~ Fe~Fr rgi,r sNy r 1FFU FiF~ HFi rnfAiN7M~ A7aq F 17 IIHeFITi1q I : Prito ELECTRONIC I t r . f " t IMNFxslF" a1+r . ".rXFianf. :1 r . ' w 1 1 neywF r!0 Irr re ~ t 1 y :NSF t t 1 1 . .. F11 717111lIt1tltfte13 11 F y !1/t1t61{It nt 3 IY V t ~~ "~ " t iliflHfifl4 7 r r tFy LANDSCAPES 1 A ', ppp~j~~`ulrtlm} nt3 I e . flPl'I}'ItIf1Mi}j~4Ht 1 I " I~,.t rifIN4Pa N 1 t } :7b q! 1 xAFiE 6 J U L Y 1 Y " 3F1 L 4 SEPTEMBER 1 9. 8 9 rF .rr"t .1 .HHa.Ha. 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";'.3 THE VIDEO AND FILM BY ARTISTS SERIES 1 mrllllirarail 1 la 7 `! r lakgb.IWptH,7lar . b" .ga.LNFAFIYli1H1Y~ ullarfegRitlt ! 1 ..v .»r ill " il1Y4V nntEHi414rluulfun, . " . 11na 7 AN ONGOING PROGRAM 11 (1Hlf171 1 "F I o H17PMHH1rl 1 s}t1`I OF SCREENINGS, INSTALLATIONS, 1 ~ . LECTURES, AND SPECIAL EVENTS IN THE MEDIA ARTS The phrase electronic landscapes seems a contradiction in ELECTRONIC LANDSCAPES brings multi-channel video Doug Hall is fascinated by raw power, and Storm and terms - or implies an altered spectrum in this late twentieth installation pieces by Tomiyo Sasaki and Tom 'Sherman Stress gathers together rolling cloud-formations, heaving century, where hydro pylons, technology, and the "informa- together with fourteen single-screen tapes by artists from seas, bolts of lightning, and the genesis of tornadoes. The tion revolution" have replaced trees and sky as major ele- Canada and the USA . The selection is framed by language, majesty of these natural systems is offset by heavy man- ments in the visible world. as represented by two remarkable conceptualizations : Inci- made forms, massive turbines and power plants and smelters, dence of Catastrophe by Gary Hill and Art of Memory lumbering earth-moving devices, laboratories for collecting In fact, Nature has a renewed fascination for us . As individ- by Woody Vasulka. Natural forces and raw landscape play scientific data; tension and comparison between the natural uals and as citizens we are rooted in this wide land, this crucial - if opposing - roles in these two works, acting and the man-made is maintained through editing - juxtaposi- largely open space, this still-new collection of farms and as foil to human action and counterbalance to human tion, intercutting - and through alteration of pace . We track cities . The land is our history and backdrop to our present. thought. tornadoes with awe, anticipation . But for artists working with electronic tools, a turning to Nature for reflection and inspiration is a deliberate decision Incidence of Catastrophe begins with rushing water, sand Entirely different in mood is Tom Dean's Fear of Blue, a - to establish links with a personal and cultural "other- crumbling at the borders of a stream that tumbles to the lyrical fifty-four-minute study of sensations and perceptions wise," or salvage the sites and icons of an earlier day. sea. This flow and the collapsing banks are quietly inexo- around the colour and sound of blue(s) . Gently gliding through rable, establishing natural landscape as locus for action and Vancouver suburbs, along the Pacific coast, or through Prairie The natural landscape is separate from a cultural milieu, from indicating its controlling role .
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