CIRCULATING VIDEO LIBRARY

The

Table of Contents

Foreword William Sloan 5 Copyright c 1983 The Museum of Modern Art, J . London 7 All rights reserved Introduction Barbara Catalog MaritaSturken 10 Designed by Bill Thomason Selected Bibliography 49 Typeset by Anthony Vaughan Index 50 The Museum of Modern Art Titles 11 West 53 Street Videomakers New York, N .Y. 10019

Printed in the of America FOREWORD

This is a propitious moment to establish a circulating library of indepen- dently produced videotapes . Today there exists a large and widely rec- ognized body of work from which a meaningful video collection can be built. Moreover, we find ourselves at a point in time when the video field of is rapidly expanding . Over the past fifteen years an increasing number unique artists have been attracted to video because of the medium's characteristics for artistic expression. A large number of independent offers filmmakers has also joined the ranks of video artists, since video . The a viable and sometimes less costly alternative to film production financial factor is but one of the reasons why filmmakers, as well as other artists, are turning to video. Rapidly developing technology presents the potential for new and wider audiences; high-definition video offers large-screen projection that may rival large-screen film projection. Such technical innovation creates excitement and an energy that revitalizes the video community. The titles in this collection, organized chronologically, represent some of the finest work produced during the past decade . The works form a the core around which a collection of significant will be built in coming years . Each title in this catalog is accompanied by a descriptive annotation and a selected videography of single- and two-channel video- tapes. Circulating The Circulating Video Library is a parallel service to the work on a Film Library, and like that collection it rents, leases, and sells Michael Miller, nationwide basis . The selection of titles was made by collaboration Assistant Film Librarian in the Circulating Film Library, in Department of with Barbara London, Assistant Curator of Video in the Center at the New Film . Formerly head of the Video Library and Study exten- York Public Library, Michael Miller has brought to this project his grateful to sive experience in video archiving and programming . We are for a cir- Barbara London for her assistance in establishing guidelines Marita culating collection and for writing the Introduction to this catalog . and writing Sturken gave unstintingly of her time and effort in researching Lori Zippay of the catalog entries . We also thank Howard Wise and the project, for their assistance in launching for its Chris Holme for the production of the catalog, and kill Thomason Depart- design . We are also grateful to Mary Lea Bandy, Director of the Video ment of Film, for her guidance in establishing the Circulating State Library, and we extend our deep appreciation to the New York Council on the Arts, whose funding made this project possible. William Sloan Librarian Circulating Film Library Department of Film

INTRODUCTION

is a The launching of the Circulating Video Library Art's video logical step for The Museum of Modern video was program, which began in 1968. In that year when integrated into the Museum's exhibition program Paik were two videotapes by Korean-born Nam June of the Machine as Seen at the End . NarAJunePalk Peelo Kate KeIler presented in "The TV Buddha 1974 video Mechanical Age." At that time, the portable years, and pioneering artist camera had been on the market for three of videotapes and assemblage Paik had already produced a group witty as off-the-air footage sculptures . Paik used the television set itself, as well distorted these elements in chal- of familiar, newsworthy figures, and he artists from Latin America, Europe, lenging ways. In 1970 video works by the mixed-media show Canada, and the United States were included in "Projects" exhibition series "Information," The Museum inaugurated its by Keith Sonnier. Then in in 1971 with a closed-circuit a continuing video exhibition 1974 the Museum began "Projects: Video," videotapes and ten installations program . Since that time four hundred been shown, covering a wide by artists from eighteen countries have . In 1975 a video collection was range of experimental uses of the medium lecture series was initiated as begun, and in 1978the "Video Viewpoints" discuss their work . a forum for artists 1o present and will not only have access to In the new Video Study Center researchers to consult important source original works, but also they will be able over four-hundred works materials . At present, the video collection of overview of the video field . provides a historical as well as an aesthetic lecture series, will be These tapes, as well as the "Video Viewpoints" exhibition spaces and the new presented publicly in the enlarged video to the Rene d'Harnoncourt Roy and Niuta Titus Theater 2, adjacent Galleries. categorized into three distinct the genres of video can be In general political devel- work covering social and areas of concern: documentary either linear or nonlinear progres- opments; narrative work produced as viewers with new experimental work intended to challenge sions; and , applies to the equipment-camera ideas. The term video essentially and videotape . Television may deck, monitor or television set, recording and broad- delivery to homes through cable be defined as the electronic video programs, whereas of both live and prerecorded casting systems the work that has been produced over independent video art refers to largely outside the network system . last two decades a a personal, expressive form in Artists have been using video as Keeping abreast of these developments variety of ways since the 1960s . continuing programs, the Modern Art has presented, in The Museum of in- video: multi-monitor or sculptural two basic formats of independent

densely lay- neously. Richard Foreman has produced stallations, which generally refer to a particular envi- theater, and, more recently, tapes, like the works in ered video ronment; and single-channel In crudely both narrates and acts out fantastic stories this circulating collection . Artists' use of video evolved made sets reminiscent of "new image" paintings . naturally from their experience in such traditional Since the late 1960s. a number of videomakers have arts as film, theater, music, still photography, paint- created projects frequently conceived as alternatives ing, and sculpture. A video work often reflects the portable to news reportage . With the relatively light, same formal or poetic concerns as its antecedents, these documentarians have worked its content. video equipment, and similar wording is used to describe spon- alone or in groups, often achieving remarkable What characterizes and differentiates video from other projects. The equipment enables the the boxlike television taneity in their media are: its presentation on just-recorded artists instantly to rewind and screen the set, its intimate scale, its image available simulta- documentaries often convey a sense light-emitting screen, and its results, and their neous to recording, its Using a of immediacy, a "you are there" intimacy . colors, which are electronically derived. With image- simple black-and-white camera, in 1971 John Reilly processing equipment, it is possible to construct and Stefan Moore brought viewers face-to-face with complex, collagelike, or spatial configurations. Broad- war-torn Ireland . Skip Blumberg captured the rhythm cast television provides the artists with a lexicon of performers . An Photo Shlgeuao=a : and energy of competition jump-rope He Weeps lerfaa 1976 . such SKlgepo KuaoW Photo:. Peter Moore formulas that have become recognizable "types," Aude Descending aSrarrease. 1976. . Com- early New York documentary group, Downtown as the "talking heads" of news anchor-people, sports closely with its local munity Television Center (DCTV), has been involved instant-replays, and the short-story formal of thirty-second commercials. has Directed by Jon Al pert and Keiko Tsuno, DCTV them- Manhattan neighbors . Richard Serra and Peter D'Agostino, for example, have addressed produced for public a no-nonsense style, reflected in its longer projects selves to the elements that define broadcast television, while the Ant as in its short essays made for NBC-TV . television into its work television as well Farm group has incorporated the conventions of documentary, narrative, and ex- In addition to their classification as In the 1960s, when a number of artists were questioning the use of such videotapes can be distinguished by types of equipment, found alter- perimental, traditional materials and formal exhibition spaces, some Innovators Steina and Woody as image processors and computers. natives in "land art" and performance and , as well as video. Sandin, Tom DeFanti, and Vasulka, Ed Emshwiller, Jane Veeder, Dan Artists accustomed to painting alone in their studios a1 first worked sophisticated hardware for nearly have not only lived with this independently with rudimentary video equipment Pointing the camera at to serve have mastered electronic language systems television a decade, but they themselves, they composed scenes for the area framed by the similar equipment to ma- their creative ideas. Other artists have used screen, and monitored their now-live images while they recorded them. Buckner and "reality" in order to explore perception . Barbara performer, the artist could work sponta- nipulate As producer, camerman, and abstractions of their prerecorded materials, Acconci Shalom Gorewitz rendered neously and control the subject matter. Thus former poet Vito the pace of taped events . whereas Bill Viola and Edin Velez subtly altered carried out autobiographical "actions" on camera, while William Wegman audiences public programs it has become clear to often per- Through continued developed short vignettes and created humorous alter egos, diverse as the artists them- today that the applications of video are as forming with his dog, Man Ray. exploration . What distin- selves, who follow a poetic idea or technical Artists also explored the formal characteristics of the medium, focusing gained better control video in the early 1980s is that artists have what "now," guishes on the properties inherent in video . Lynda Benglis examined understanding of their technical options. of the equipment and a greater or the present, meant for a medium that could be used live and whose Ashley's Perfect Lives are pro- For example, large projects like Robert recorded images always looked live. began by exploring extensive funding and numer- duced with the best equipment and require unedited "real time," and performed in works that were centered on such scale can be made with the ous collaborators, while works on a smaller characteristics as the unstable, rolling picture frequently found on a market and yet achieve improved equipment developed for the home television set. Peter Campus used studio equipment to carry out stream- that their venues are simpler but equally valid results. Artists also know lined, psychological actions in austere settings . More recently, Bob Snyder clubs, cable arts pro- broad, ranging from pay television to rock-music produced a sophisticated analytical work based on the facades of sub- changes, the Circulating grams to gallery screenings. Reflecting these urban homes ; whereas Dan Reeves and James Byrne used the camera as responsiveness to the Video Library is representative of the Museum's a sensor of their internal and external environments . newest developments in contemporary art. Given the intimate nature of video, whereby the audience sits face-to- face with personalities on the screen, a number of early videomakers spoke directly to viewers. Colin Campbell has developed narrative works in which he casts himself as different characters who address the camera Barbara J. London to discuss the daily tribulations of their lives . Artists well known for their Assistant Curator, Video work in the performing arts have created video hybrids, responding to Department of Film the shallow, in-focus area in front of the video camera. Collaborators Charles Atlas and Merce Cunningham have produced strong "videodance" pieces in which, for example, five Merce Cunninghams move simulta- 8 . Undertone (1972) U .S_ A. By Vi Io Acconci Selected Works, Reel 4 (1972) J_ $-A- By William Wegman .

available for sale . 30 min . B&W. Sound . Rental 550.001 Not 20 min . 8&W . Sound . Rental $50 .001 Not available for sale .

multi- Vita Acconci's work as a performance and The small screen of the video image provides an the media artist has centered on breaking down intimacy many artists have used as an aspect of barrier that exists between artist and audience by performance . William Wegman's videotapes consist challenging the passive role of the viewer . A poet in of short, comic skits that center on a single, simple the early 1960s, Acconci moved into performance idea. His understated humor finds its roots in the art as a natural step from his poetry readings . He comedy of Buster Keaton and Ernie Kovacs; he works was one of the primary exponents of "body art," in alone, always recording his pieces in short, unedited performances often VITO ACCOHCI which he used himself as the subject. His intense takes. This aspect of his style closely ties his working process in video William Wegman an aggressive attitude incorporated autobiographical information and AssociatiopArea (1971)60min B&W to his extensive work in photography and drawing . His use of a station- demonstrate his view of Selected Works, Reel 1(1970-72) 30 min. 9&W toward his own body. Acconci's videotapes Centers (1971) 20 min. B&W ary camera and a few ordinary props adds to the intimate, ironic Selected Works Reel 2(1972) 30 min . B&W individual, a gestalt Claim Excerpts (1971) 60 min . B&W performance as a , power-field" radiated by an of which is a naive, unsuspecting Selected Works, Ree13(1972) 20 min. B&W are Contacts (1971) 30 min . B&W quality of his humor, at the center or objects in a given space. These tapes Selected Works, Reel 4 (1972) 20 min . B&W encompassing all people Focal Point (1971) 30 min . B&W character-portrayed by his well-trained weimaraner, Man Ray . This level and designed Selected Works, Reels (1972) 30 min B&W confrontational, directed at the viewer on a personal Pryings 11971) 20 min . B&W. Silent skits exhibits the range of his comic sense compilation of Wegman's Selected Works, Reel 6 (1975) 20 min B&W the viewer feel uncomfortable . Pull (1971) 30 min. B&W very often to make . (Two-channel) and his ingenious use of the dog as a straight man . Semi-Buffet, with Iwo or three variations which could take. He sits Remote Control (1971) 60 min. 8&W Undertone is performed by Acconci in a single, unedited be very possible: A Televised Dinner (1975) 20 min. Two Track (1971) 30 min. 8&W The tape begins with Man Ray sleeping in a bed next to an alarm assuming the stance of a Color at the end of a table before the camera, Waterways: 4 Saliva Studies (1971) 20 min . B&W clock . When the alarm goes off, the dog leaps out of bed, like any he alternates Selected Works, Reef 7(1977)17 min . Color politician delivering a televised address. In monologue, Face-Oft (1972) 30 min. B &W person bound for work, and runs off. Wegman shows the predictability Anthology (1977-78) 10 min. Color that fantasy, and Recording Studio from Air Time (1972) 35 min. B&W between constructing a fantasy for himself, negating of Man Ray's canine response by placing the dog in controlled situations the viewer: "I Undertone (1972) 30 min. B&W the viewer with it. He begins by addressing (1973) 50 min. B&W the confronting Command Performance designed to bring out specific reactions . AS Wegman describes prove I'm not hiding anything ." min B&W need to look you straight in the eyes, to Full Circle (1973) 30 globe, using a tennis ball as a point of reference, Man Ray's nose he alternates Movies (1973) 30 min. 8&W his hands under the table and his eyes lowered, Home the ball. Then, with (1973) 30 min B&W appears at the edge of the frame, in anticipation of catching girl here under the table . She's Stages between "I want to believe there is a Theme Song (1973) 30 min. B&W Similarly, Wegman uses obedience as a comic ploy. In one scene, is no one here under the touching my leg," and "I want to believe there Walk-Over (1973) 30 min. B&W Wegman and a woman sit on opposite sides of the screen and alter- becomes more Earth (1974) 20 min. B&W table, that I am doing it myself ." AS this monologue Face of the in turn at each one until finally, in Open Book (1974) 10 min. B&W nately call the dog . Man Ray looks places the viewer increasingly in the graphic in its detail, Acconci Shoot (1974) 10 min. B&W exasperation, he stares between them at the camera. In a hilarious you to be there," position of voyeur. He relentlessly insists that "I need Turn-On (1974) 20 min. B&W parody of a teacher-student relationship, Wegman corrects Man Ray's an audience to participate (1976) 140 min. B&W a statement that also reaffirms his need for The Red Tapes spelling test while the dog watches him with a very concerned expres- stationary presence in his work. The tension that is created by Acconci's sion of remorse and puzzlement . ending of Undertone, at the end of the table is increased by the abrupt In the scenes without Man Ray, Wegman constructs tongue-in-cheek and get up to turn off He does not, as one would expect, change roles skits using visual puns and off-beat metaphors . He parodies several the piece ends when the the camera as he began the tape . Rather, commercials, including one for an unspillable glass, the top of which is to let us simply watch ; it thirty-minute tape runs out. Acconci refuses covered by a steel plate . He also experiments with voice-over while forced into a personal is his intention to make us feel that we have been gesturing in sign language, creating disparate audio and video elements . relationship with him . His visual metaphors are simple and unique : in one scene, Wegman describes the storylines of three movies while holding circular and straight blades of a saw to demonstrate their plot structure ; in another, he talks about the pyramids while grasping the "V" of his V-neck sweater . The spare, concise quality of these scenes in addition to their unmanipulated form, reinforce Wegman's humor and render these vig- nettes examples of exceptional satire . Godfrey Vertical Roll .A(1972)U.S . By Joan Jonas . Photographed by Global Groove (1973) J .S.A. By and John . Directed Roberta Neurnam Produced by the Television Laboratory at WNETIThirteen by Merrily Mossman. Narrated by Russell Connor. Film Footage . by Jud Yalkut and Robert Breer. Music by KarIheinz Stock hausen Alien and Mitch Ryder and the Detroit Wheels. With . Schulman Ginsberg, . Nam June Paik, Alan and Jud Yalkut

20 min . B&W . Sound . Rental S50 .00 i Not available for sale . 30 min. Color. Sound. Rental $50 001 Sale S200.00.

The exploration of video as a hybrid art form in Nam June Paik began altering television sets in the combination with dance, music, and performance early 1960s and in 1965 became the first artist to use art has been integral to its development, Joan Jonas a portable video camera . He is the most influential and is a performance artist who has used video as well video artist today. Paik, who was born in Korea music as sculpture and dance to redefine space . Jonas has a background in classical and avant-garde has integrated live video in her performance pieces and , was involved with the to add another time frame to her work and to direct group, multimedia artists whose primary intent was and its audience . The group had its NAM JUNE PAIK the attention of the audience. Vertical Roll is a seminal work of per- JOAN JONAS to break down barriers between art formance video that also explores an intrinsic element of the television roots in the Dada movement of the 1920s, Dieter Rat on Canal Street (1966)` B&W Duet (1972) 4 min . B&W and sculpture as well image: the vertical roll caused by a desynchronization of the electronic Palk's work incorporates music, performance, (Not in distribution) LeftSide, Right Side (1972) 7 min. B&W his most significant Variations on Johnny Carson us charlotte Moorman signal between the camera and the monitor. Jonas used the tape as the Dada strategies of humor and chance . One of in Vertical Ro/1(1972) 20 min . B&W (1966)" B&W. (Not in distribution) avant-garde musician Charlotte Moorman, who has 1973-74 in her performance piece Organic Honey's Vertical Roll. Organic Honeys Visual Telepathy (1972) 23 min. B&W collaborators is Variations on George Ball On Meet the Press (1967)' part of Pal k's work is She begins the tape by confronting the viewer with two unusual Two Women (1973) 20 min . B&W . Silent performed with him since the late 1960s . A major B&W. (Not in distribution) Barking (1973) 3 min . B&W Moorman), in which he under- Opera No.1(1969) 5 min. Color contexts : the continuously rolling image on the screen that moves his video sculpture (sometimes worn by Electronic Three Returns (1973)12 min. B&W Experiment with David Atwood (1969)' Color. (Not of television by placing TV sets in new contexts . 9123 down and then snaps back up, and Jonas banging a spoon loudly Disturbances (1974) 11 min B&W mines conventions indisthbution) min . B&W for broadcast that have had an against a translucent surface before the camera, giving the impression Glass Puzzle (1974) 26 Paik has also produced videotapes Video Commune (1970) 4 hours Color . (Nat Merle (1974) 16 min. B&W television and have incorporated his distribution) that she is hitting the lens . The banging and the snap of the vertical roll important impact on video and in Good Night, GoodMorning (1976) 11 min. B&W Electronic Opera No. 2 (1970) 8 min . Color interest in expanding mass communications . are coordinated so that they establish the staccato rhythm of the tape . May Windows (1976) 14 min . B&W PaiklAbe Video Synthesizer with Charlotte Moorman for broadcast TV . Produced under Jonas drapes cloth before the camera to create a sensuous inundation 1 Want to Live in the Country (And Other Romances) Global Groove is his classic work (1971) 30min . Color (Nat in distribution) (1977) 28 min . Color Laboratory at WNET in New York (begun in York (1972) 8 min . Calor of fluid patterns . She performs a dance with a mask, her movements the auspices of the Television The Selling of New Upsidedown and Backwards (1980) 28 min . Color Commercial (1972)" Color, (Not in distri- made with the Paik-Abe synthesizer, a device Waiting far abstracted by the roll. 1971), the tape was bution) 5huya Abe. The synthesizer . Reedited 1976, Jonas undermines the nation that television is a realistic medium by designed by Palk and his collaborator A Tribute to John Cage (1973) 60 min and adds . manipulates distorted electronic signals of television images 30 min taking what is considered a defect and decontextualizing it. She also Global Groove (1973) 30 min. Color. In collaboration A highly complex collage of found subverts the gravitational space of the television screen by dancing color to black-and-white imagery . with John Godfrey images, Global 150 min Cola r. Reedited 1977, 30 min. footage from broadcast TV and Paik's own idiosyncratic Suite 212 (1975) above the camera on a translucent surface. The roll becomes a chore- Requiem (1977) 55 min . Color. Reedited state-of-the-art technology and still is an Guadalcanal ography of movement in which our eyes capture details just as the Groove was a milestone of 1979, 30 min . work . Paik combines Part 2: Merle and Marcel effective synthesis of the many aspects of Paik's Merle by Merle by Paik, image jumps back up on the screen . Jonas orchestrates a series of min. Color. In collaboration with Shigeko his idea of multicultural programming . (1975) 15 gestures that are transformed into entirely new movements by the East and West in Global Groove, Kubota Western go-go dancers are brought York (1978) B&W and vertical roll : with one hand and down with the other, Highly edited images of Korean and Media Shuttle: MoscowlNew as she slaps up relief ; min, In collaboration with Dimltri Devyatkin Cage provides a slower tempo and anecdotal Color. 30 the roll creates two hands clapping together ; when she dances with her together; John You Can't Lick Stamps in China (1978) 30 min. Colof Cello" (an Instrument made of three body close to the camera, her torso creates a continuous form, Finally, Charlotte Moo rman plays Paik's "TV In cc 11aboration with Gregory Battcock Nixon's face '80 (1980) 4 min. Color monitors) juxtaposed with a classical cellist ; Richard Lake Placid Jonas's face appears in front of the rolling images and confronts the Mein Kolner Dom (1980) 5 min. Color. In collaboration viewer. This undermines the already fragile space she has constructed, appears as a distorted swirl of lines. with Ingo Gunther will be like (1982) 30 min. Color. In col- Paik, the visionary, predicts that this is what television Allan 'n' Allen's Complaint and creates yet another layer of video space as she turns and moves with Shigeko Ku bota the Manhattan telephone book." He laboration slowly out of the frame . when "TV Guide is as thick as images in a fast- layers, "colorizes," multiplies, and abstracts these them with Japanese 'Running time is not available paced broadcast style, occasionally interrupting will still have Pepsi commercials to remind us the TV of tomorrow experience, sponsors. He also envisions future TV as an interactive to close telling viewers "this is participation TV" and instructing them burst of their eyes and turn off their television sets . With its dynamic television and a imagery, Global Groove is a manifesto for universal art form . pivotal work in demonstrating the potential of the video 13 1 2 S.A By Peter Campus . Produced Peter campus Program (1973-76) U Be nglis . New Television Workshop Now (1973) U .S .A . By Lynda by the WGBH Three Transitions (1973) 5 min. Color min. Color set of Co-incidence (1974) 13 . Color East Ended Tape (1976) 6 min

Rental 5100 00 I Not avail- Total program 24 min. Color Sound. able for sale I Not available for sale . 13 min. Color. Sound. Rental 540 00

and video Peter Campus's tapes explore perception and performance artists . Campus Many painters, sculptors, space through straightforward video effects when it first became accessible with background in experi- explored video came to the medium with a portapak . One such artist was film . He has the advent of the mental psychology and commercial sculptor, who worked in video in whose 'im- Lynda Benglis, a since worked in Polaroid photography, the Her work in video combines elements instant replay early 1970s. mediate imagery is an extension of the sculptural work of an abrasive sensuality from her and in large-format photog- he explored in video, PETER CAMPUS with concerns of layering both time and space . camera's illusion of objectivity ; he raphy . Campus's work subverts the Now begins with a profile view of Benglis standing before a static- LYNDA BENGLIS subjective, psychological states. These series (1971) 25 min . B&W uses the medium to portray Dynamic Field filled screen . A prerecorded image of Benglis's profile facing in the of Campus's explorations, Double Vision (1971) 20 min. B&W Document (1972) 8 min . B&W three tapes, which represent the diversity a series of intrinsic Three Transitions (1973) 5 min. Color opposite direction then appears on the screen . She performs Name Tape Revised (1972) 28 min. B&W exercises that center on one consist of several self-contained Set of Coincidence (1974) 13 min. Color recorded image-opening her mouth, stick- Mumble (1972) 20 min . B&W gestures in response to her medium . R-G.B(1974)12 min. Color 7 min. 9&W aspect of the ing out her tongue, and kissing the air . These gestures become erotic in Noise (1972) presents three introspective portraits Four Sided Tape (1976) 3 min. Cal or On-Screen { 1972) 7 min . B&W In Three Transitions, Campus The soundtrack is an amal- created by East Ended Tape (1976)6mln C01Or combination with her prerecorded image. Collage (1973)10min. Color dry humor. He begins with an image that'Incorporate his Third Tape (1976) 5 min . Color gamation of Benglis's recorded and live voices asking, "Now?," "This Discrepancy (1973) 13 min . B&W paper wall . His back to the cameras facing opposite sides of a Six Fragments (1976) 5 min Color four times, Enclosure (1973) 8 min . B&W two if he image? ." "Are we recording?" This segment is repeated through the paper so that it appears as is The Grunions are Running (1973) 5 min . B&W camera, Campus cuts each time with a recorded image of an-increasing number of layers of is both disconcerting Now 11973) 13 min. Color through his back, a double-image that cutting of Benglis's profile. Female Sensibility (1974)14 min. Color the "chroma-key" effect and tongue-in-cheek . Campus then uses The sensuality the by the abrasiveness of Ben- How's Tricks (1976) 34 min . Color. In collaboration with image. He of imagery is offset Image on a blue area of another video Stanton Kaye superimposing one glis's voice. As the tape begins to disintegrate into different colors and it reveals yet another image of The Amazing Bow Wow (1977) 32 min. Color. In col- paints his face with blue paint so that becomes more abstract with each succeeding layer, the repetition of his image on a piece of blue laboration with Stanton Kaye himself behind it; he then superimposes questions becomes a collage of different voices . It is impassible to tell Transitions moves from deadpan paper, which he sets afire. AS Three which image her voice is coming from, thus her question "Now?" the limits of perception as humor to self-destruction, Campus explores becomes rhetorical . She has layered the visuals and sounds so that a barometer for measuring reality . there is no "now." The temporal space of the tape is obscured and the of video imagery, and Set of Co-incidence investigates the layering visual space flattened. There is a deliberately unfinished quality to the environments . In the tape's pri- the "coincidence" of superimposing tape. Benglis ends Now by implying that the tape will cyclically continue walk in a line through moving mary segment, 1hree images of Campus to layer; she says, as she has been saying for each segment, "Let's run size toward the York's Holland Tunnel . Decreasing In that through and imagery of New see how it is." angle of the camera lens in op- viewer, these three figures echo the tunnel . position to the vanishing point of the a formal study of video effects, East Ended Tape, which is also begins with Susan Dowling explores the relationship of two people . It spotlit from combination of two halt-images of her face, each seen as a a face . She turns slowly, each face at opposite sides to form a whole split image. The scenes in which slightly different pace, creating a aggressive quality . He wraps his Campus appears have an inwardly and compresses his features face in clear cellophane, which distorts him from view . Each of these and begins to suffocate him, obscuring disparity between mechanical per- tapes confronts the viewer with the Campus using himself more as a ception and human perception, with the convincing aspects of the prop than as a performer . He plays our expectation of each medium against themselves, always reversing reality he constructs,

14 . U .S .A . By John Reilly and Stefan Moore Television Delivers People (1973) U.S .A . By Richard Serra. Copro- The Irish Tapes (1974) in association with Global Village Associate duced with Carlota Fay Schoolman. Produced by Reilly Photographed by Denver, producer and narrator : Louise Denver . 6eller, Joel Mass . David Moore . Reilly, Laura Adasko, Claude What televWon and Jeffrey Kleinman . Reedom . and Bob Wagner . Edited by Moore teaches through cornmerciallism is Rental 575.00 I Sale 5275.00. 6min . Color . Sound. Rental S45.001 Not available far sale . materiaNstic 46 min. B&W. Sound cof1sul'IVtlom documentaries made Many video artists have investigated the format and One of the first major video The Irish Tapes the corporate structure of the broadcast industry as with half-inch portable equipment, mobility made pos- a reaction against the associations tied to viewing is a convincing example of the as of the gritty their work on a television monitor. Richard Serra, The NEW MEDIA STATE sible by this equipment, as well Reilly, cofounder who is recognized primarily as a sculptor, worked I~ r+ra~lia9taA nq realism it produces . Made by John a production group briefly in video in the 1970s . In Television Delivers of New York-based Global Village, and Stefan Serra subvert and media center for documentary video, People, uses a didactic approach to Presumed of TVG Documentary Arts Project (see JOHN REILLY the experience of viewing images on the television screen The tape RICHARD SERRA Moore, cofounder shown as a three-channel, twelve- with consists of a series of statements excerpted from television conferences Innocent [19791), it was originally Transsexuals (1971) 30 min. B&W. In collaboration Anxious Automation (1971) 5 min . B &W about the nature of television advertising, its corporate structure, and monitor installation . Global Village students Surprise Attack (1973) 2min . B&W of in Feedback (1971) 60 min . B&W . their crew shot more than one hundred hours Lifestyles--A Study its relation to the viewer . The text begins with the statement : "The Rei11 y, Moore, and Village Workshop Television Delivers People (1973) 6 min . Color. Copro- played In collaboration with the Global from 1971 to 1973, during which time they product of television, commercial television, is the audience," thereby duced with Carlota Fay SchooIman videotape in Ireland Group provide a more objective Boomerang (1974)10 min . Color back tapes for local residents in an effort to WBAi-A Profile (1971) 20 min . B&W reversing the common notion that we control the role of television in Stefan Prisoner's Dilemma (1974) 60 min . B &W . Go produced with calling the project The Irish Tapes, these Attica (1972) 30 min. 9&W. In collaboration with our lives. Serra goes on to state that "popular entertainment is basically view of these events By Robert Bell that this is a selection Moore' and Global Village students define their medium and imply In propaganda for the status quo," to define the "inherent conflict between videomakers The Irish Tapes (1974) 46 min . B&W . collaboration commerce, information, and entertainment," and to establish that "cor- from a larger body of work. with Stefan Moore Tapes establishes a combat Birth: Four Portraits (1976) 60 min. Color. In porations mitigate information ." From its opening sequence . The Irish Giving of drums, there are collaboration with Julie Gustafson Accompanied by the constant beating Julie The direct approach with which Serra structures these statements environment. (1979) 90 min. Color, In collaboration with battling in the rubble of burned- Nome images of soldiers on patrols, children Gustafson creates a train of thought that is analogous to turning pages, but the at- in masks . All portray the volatile Fox Hunt (1980) 60 min . Color. In collabo- intentionally raises out buildings, and IRA gunmen Joe Albert's format by which he chooses to present this text and Gustafson and Karen Mooney Ireland at a peak of violence in 1972 . Reilly ration with Julie the problem of an enter- mosphere in Northern min . Color . In collab- some interesting paradoxes . While discussing Parade The Pursuit of Happiness (1983) 90 turmoil with scenes of the St. Patrick's Day tainment medium disseminating information, Serra chooses a rolling Moore intercut this oratlonwith Julie Gustafson glimpse bath of the disparity between print format. He contrasts these words with a Muzak soundtrack, which in , providing a Ireland, and of the strong ties the Irish-Americans and the Irish of Northern represents the music of mass culture just as television represents Stefan Moore's videography, see Presumed the two cultures. "For quintessential mass entertainment medium . The supposedly soothing that still exist between innocent (1979) document the violence and rage of the effect of the music runs counter to Serra's didactic and alarming text. Reilly and Moore skillfully occupying British army They interview many In fact, the Muzak becomes more prominent than the ambient sound it Northern Irish toward the internment camps, and people, follow families on visiting days to is intended to be. Serra also sets his text against a "chroma-key" blue of of Derry. What emerges is less a portrait background, which is the most soothing color on TV according to chronicle the barricading the toll this situation has taken the actual struggle than a document of scientific studies on television . Finally, Serra underscores the aspect are especially the women and children . The women of corporate manipulation in the television medium : he controls the on the community, : the children are accustomed seen acting as the community's witnesses speed and spacing of the rolling text as well as the words' emphasis . political are eerily mature. Reilly and Moore end this The ultimate paradox created by Serra in Television Delivers People is to the violence and while in her own home, documentary with the image of a woman who, that he, like commercial television and its sponsors, uses specific years rubber bullet from a British soldier's gun . Ten devices to manipulate his audience into accepting his message was blinded by a one of the most tumul- later, this portrait is still a powerful reminder of well as of the social tuous times in Northern Ireland's struggle, as commitment of early video documentaries . Chip Lord . Doug Michels. Media Burn (1975) U.S .A . By : Schreier . Executive producer : Tom Weinberg . With Atlas and Merce and Curtis Blue Studio : Five Segments (1975) U .S .A . By Charles at WNETI Doug Hall . Cunningham . Produced by the Television Laboratory Thirteen .

25 min. Color. Sound. Rental $50.001 Sale $20000,

16 min . Color. Silent . Rental S50.001 Sale S250 .DO

One of the first objectives of many video artists was television : its pervasive Film and video artist Charles Atlas has collaborated to address the subject of communication . sincethe mid-1970s with Merce Cunningham, a major influence and its enforced one-way collective based in San figure in modern American dance for almost forty Ant Farm was a multimedia founding mem- years . Cunningham's choreography emphasizes the Francisco from 1968 to 1978, whose Curtis Schreier body's natural articulation, incorporating ordinary bers-Chip Lord, Doug M'ichels, and Burn, their best- gestures and movements . His work has been pivotal -have practiced architecture . Media by Ant Farm on July 4, ANT FARM in disassociating dance from narrative and musical known work, is less a record of an event staged coverage of news events and the in structures, and in treating dance and music as independent activites CHARLES ATLAS and 1975, than a commentary on media Ant Farm's Dirty Dishes (1971) 14 min. B&W (Not event consisted of two Ant Farm that are performed simultaneously on stage . Whereas video has been MERCE CUNNINGHAM television viewing experience. The distribution) redesigned 1959 Cadillac Johnny Ramao in Performance (1971) 4 min. B&W (Not used often to document a dance performance, Cunningham was one of members driving the "Phantom Dream Car," a Joints (1971) 12 min Color . Silent . (Super8film) sold in distribution( specifically for the camera of burning TV sets. Souvenirs were (Nat in the first to experiment with choreographing TV Rerun Movies (1972) 25 min. Calor . Silent . El Dorado, through a pyramid From the Warehouse Tapes (1971( 7 min B&W interviewed, and an "artist- and the TV screen . Blue Studio is defined by Atlas and Cunningham as (Super 8film) before the event began, bystanders were distribution( 'Walkaround Time (1973) 48 min. Color. (16 mm film) control in an uncanny imper- The Opening (1972) 20 min. B&W a "videodance ." In this tape, they used abstract space and layering President" delivered a speech on media Westbeth (1974) 32 min . B&W Architectural Tapes (1972) 30 min. B&W and video, a performance . techniques to achieve a synthesis of dance Blue Studio : Five Segments (1975) 16 min. Color. Silent sonation of John F . Kennedy 4"2' Maro (1973) 25 min. Color. with 2020 Vision humor, creating a that would be impossible to stage . Squaregame Video (1976) 27 min . Color Ant Farm staged its event with ingenuity and Art Stars in Hollywood : The Oeccadance (1974) 52 min. min. B&W and Color of cultural anarchy . collaboration with Willoughby Sharp and In each of the five segments, Cunningham, m a different color cos- Fractions f & 11 (1977) 33 striking image that has become a classic symbol B&W. In Torse (1977) 55 min Color. (16 mm film, two-screen) local news- Megan Williams tume, performs a series of movements superimposed on film footage and tape is framed by opening and closing montages of "Locale (1979) 30min. Color (16mm film) This Art Stars Interviews (1974) 60 min. B&W of obvious bemusement . Juxtaposing an abstract color field . The title is derived from the technique 'Roamin'l (1979) 15 min. B&w and Color, (16 mm film) casters reporting on Media Burn with The Cadillac Ranch Shaw (1974) 25 min . B&W and snippets, Ant min . "chroma-keying," whereby imagery can be superimposed upon the blue 'Channelslinserts (1981) 32 min Color. (16 mm film) their thorough and elaborate coverage with brief news color . Reedited for television . 14 Exchange (Work-in-progress) Color. (16 mm film) Burn's coverage. Media Burn (1975) 25 min . Color. Reedited far area of a video image . Thus Cunningham begins by performing a sliding Farm offers a glimpse of the superficiality of Media television,16 min a street . His satirize the news media's thirst for sensa- dance over imagery recorded from a car driving down CHARLES ATLAS Ant Farm's objective is to Off-Air Australia (1976) 30 min. B&W and color violence and splashy and color. In movements are weightless yet energetic as he faces the camera and tional events such as this one, which incorporates The Eternal Frame (1976) 22 min. B&W Lengths and long Shots (1970) 25 min. Color. convention : closed- collaboration with T. fl . Uthco performs a series of hand gestures while the space around him fills with Cartridge visuals . The tape employs every possible broadcast Silent (Super8film) Car footage of the controls in the Phantom Dream video snow. VegetableShow (1971) 10 min . Color. Silent circuit television and slow-motion pho- In the second segment, Cunningham performs a dance simultaneously (Super8film) parodies space-flight coverage-, instant replays 12 min. Color. Silent . satirize sports and with a black, electronically-generated outline of his figure. Atlas creates Mayonnaise . Number One (1973) tography of the actual brief moment of impact (16 mm film) to the by combining shots of Cunningham coverage . Finally, Media Burn draws attention a choreography in the third segment Circus BandMarch(1974)3min Color action news dimension television viewing experience, a passivity warming up. An overlay of animal images adds yet another Douglas Dance (1974) 9 min . B &W . Silent enforced passivity of the "Haven't you ever to Cunningham's dance movements . (Super 8fiIm) against which it rebels by asking the question, Grand Dance of the Jolly Three (1974) 8 min. B&W and set?" In the fourth segment, Cunningham performs a dance in an abstract wanted to put your foot through your television color. Silent . (Super 8 film) layered color space that is simultaneously shot from several angles and Heebie Jeebies (1974) 1 min. Color. Silent together so that the seams between images are undetectable . As he Vertige (1980) 10 min. Color min. Color. (Two-channel) leaps out of the frame on one side. he reappears on the other side from Double Dunn (1981) 15 Men (1982) 90 min . Color. (Two-channel) reflection . More a different angle, as if he were dancing with his own Decibel Diary (1983) 30 min Color . (16 mm film) Blue Studio culminates with five simultaneous images of Cunningham Secret of the Waterfall (1983) 29 min. Color, In collab- dancing in the blue space . In this "videodance," Atlas and Cunningham oration with Douglas Dunn extend video beyond its previous limits as a hybrid form, using the medium to create an entirely new dance space. 'Available in both film and videotape Gary Hill Program (1978-1983) U .S A. and narrated Out of the Body Travel (1976) U.S .A . Written, directed, Windows (1978) 8 min Color. Silent Dance Festival . by Richard Foreman. Produced for the American Sums and Differences (1978) 8 min . B&W by the students Photographed by Babette Mangolte Performed Ring Modulations (1978) 4 min. Color of the American Dance Festival . Around andAbout (1980) 5 min. Color Processual Video (1980) 11 min. B&W PrimarilySpeaking (1983) 20 min. Color

Total program: 56 min. B&W and color. Rental $75.00 1 Sale 5300 .00. 43 min. B&W. Sound. Rental $75.001 Sale 527500.

working in video in 1973. Before Richard Foreman is an experimental playwright/di- Gary Hill began a sculptor . His videotapes rector who has directed his own Ontological-Hysteri - that he was primarily significant progression, from explora- cal Theater in New York beginning in 1968. He has have made a to more recent studies produced numerous plays in the United States and tions of synthesized imagery imagery and text. abroad . Foreman's theatrical work focuses on the of the relationshl p between displays the diversity of relationship that exists between text and visuals This program of tapes PrimarilysPe3B;ng from silent imagery to an visual elements and spoken texts often seem dis Hill's work and his shift of words and objects. Windows is a visual GARY HILL parate, only to reconnect. He has defined his work as "about a visual RICHARD FOREMAN emphasis on the relationship of windows in a dark room as the tension which is resolved by saying something or a verbal tension exercise in which Hill uses the image Rock City Road (1974)12min.CaIor Silent Out of the Body Travel (1976) 43 min B&W "Colorizes," superimposes, and transforms . Silent which is resolved by showing something ." He uses loud buzzers, thuds, primary motif, which he then Mirror Road (1975) 7 min . Color City Archives (1978) 29min. Color . Sums and Differences is Bits (1977) 3 min Color. Silent noises to startle the audience and to add complexity into a purely abstract set of geometric shapes and other heavy Bathing (1977) 4 min. Color. Silent of sound and image. Hill uses three musical instruments to what he considers to be the blandness of the English language. an examination Electronic Linguistics (1977) 4 min. B&W musical/visual composition . He begins by Foreman's work primarily questions how theater is made, how we and their sounds to create a Windows (1978) 8 min . Color . Silent and then accelerates their interplay Sums and Differences (1978) 8 min. B&w perceive our environments, and how things work. He has also translated introducing the three elements, and Ring Modulation (1978) 4 min. Color effects, building a crescendo of flashing images his work into video and film . with special Elements (1978) 2 min. B&W Modulation Hill divides the screen into a Out of the Body Travel is a theater piece in which Foreman substitutes synthesized sound. In Ring Primary (1978) 2 min. Color sound /visual correlation . One segment con- (1978) 1 min. Color the frame of the video camera for the proscenium arch of the stage, triptych to further explore Mouthpiece "colorized" view with Destinations (1979) 4 min. Color . Silent he tains a computer-generated spinning ring ; another a objects creating scenes that are more intimate and abstract than those that Picture Story (1979) 7 min. Color metal wire into a circular shape ; and rigidly orchestrates on stage. The loosely structured narrative, delivered of Hill's hands bending a piece of Soundings (1979) 17 min . Color by Foreman in his deep, dramatic voice, concerns "a young woman the third, a close-up of his hands. Equal Time (1979) 4 min. Color of (1980) 1 min . Color culture, and three tapes in this collection explore the interrelationship Commentary who finds herself in a library surrounded by the relics of The last SlacklWhitelText (1980) 7 min . B&w About. Hill constructs an interplay of her problems in confronting an invisible audience that waits to see her text and imagery. In Around and Around andAbout (1980) 5 min Color Depending on how it is performing a presentation of her own imagining and the imagining of text and images that is directed to the viewer . Processual Video (1980) 11 min. B&W one person or to an (1980-81) 14 min. B&W others ." The tape is constructed as a series of tableaux in which the read, his monologue could be addressed either to Videograms Primarily Speaking (1981-83) 20 ml n. Color an ambiguity that is underscored by the camera remains stationary as different elements are manipulated in entire audience, creating Happenstance (Part One of Many Parts) (1983) animate objects-such as a and out of the frame . Foreman flattens the video space, and then imagery . Hill uses a divided screen to 6min . B&W coats hanging from a door. In divides it with string to create a false perspective. He structures the lamp, a ruler, a cement wall, or several very simple image-a rotating action with several elements that relate to the experience of learning : Processual Video, Hill reads a text over a Hill's text becomes increasingly books (the "relics of culture") litter each scene, their pages laid open in line against a black background . contexts to the moving line; for a delicate way to obliterate the action ; the protagonist (according to abstract, relating horizontal /vertical the ocean and a diagonal line to Foreman's narration) learns certain words by using them in sentences . instance, a horizontal line is related to She is constantly being hit with a pillow, as it she is being beaten into a story about skiing on a mountain. is composed of a series of idioms, response, while a buzzer and metronome dictate the rhythm. As the The text of Primarily Speaking A two-channel piece orches- scene progresses from the library to outdoor environments, the action each of which relates to the phrase before articulates many of Hill's touches on themes of director-actor and teacher-student relationships, trated on a single screen, Primarily Speaking from everyday speech, such as and of ritual . concerns. Hill uses common phrases and interweaves a synthesized Outof the Body Travel is very stylized theater. The actors are not so "of course there's an ulterior motive," suitcase moving across the screen, much characters as props in a series of still lifes. Foreman choreo- voice with a collection of images-a close-ups of a mouth's expressions. The graphs their action so that limbs, faces, books, and other props all hands pulling on a belt, and including the interaction of the converge to form visual wholes. He himself appears enigmatically at tape thus contains several dialogues, and that between the text and the the end, concluding his drama with a veiled explanation: "That happened images of the opposing screens, constructs an elusive narrative that derives 1o me once, many years ago . It never happened again ." objects on the screens . Hill its strength from its ambiguous intent .

20 . 23 min Health Care : Your Money or Your Life (1978) U .S .A . Produced by Jon Pictures of the Lost (1978) U.S .A . By Barbara Bu ckner . Alpert and Keiko Tsuno for Downtown Community Television Hearts (1979) U .S .A . Barbara Buckner.12 min. Color Center (DCTV) with the Television Laboratory at WHET/Thirteen Directed and narrated by Alpert Photographed and edited by Alpert and Tsuno. Assistant producers Karen Ranucci and Victor Sanchez

min. . Sound. Rental $75.001 Sale$275 .DO 550.001 Sale 5250 .00. 60 Color Total program 35 min . Color. Silent . Rental

Downtown Community Television Center (DCTV) was Barbara Buckner's videotapes convey a personal established in 1972 by Jon Alpert and Keiko Tsuno iconography of enigmatic, abstract images. Although in New York's Chinatown Since its inception as a Buckner employs electronic tools to manipulate her small community organization and video collective, images, her work is based on a romantic vision and it has become a significant center for the production spiritual thought. This sets it apart from the work of an of independent documentaries that have been broad- those artists who use the electronic signal as Hearrs cast on public and network television. end in itself . movements . These BARBARA BUCKNER In 1974 Alpert and Tsuno were the first American journalists to be JON ALPERTand KEIKO TSUNO: She structures Pictures of the Lost in twenty-two invited to Cuba since the . Cuba: The yet not definitive : "To The 1959 revolution There they made DOWNTOWN COMMUNITY TELEVISION are identified by titles that are suggestive, "Collected Works" (1973-76) 156 min. 8&W and Color. and Hemisphere." Each People . DCTV went on to make Chinatown: Immigrants in America, a CENTER (DCTV) Gates," "Stranger in the Beloved," "Curtain Silent several minutes, is an "Collected works" (1977) 36 min. Color. Silent powerful depiction of the neighborhood where they live and work; picture, which ranges from a few seconds to Cuba : The People, Part 1(1975) 60 min. Color. Part 11 trans- Mese. 2 min. Vietnam. Picking up the Pieces, which they made as a consequence of exercise, described by Buckner as "light/energy (1976) 25 min Color intense visual Waters. 2 min, of spiritual enfoldment ." their trip to Vietnam as the first American journalists allowed in the Chinatown' 1mmigrants in America (1976) 60 min. Color. missions which depict contagious states The Blue. 3 min. rhythms . She takes min. country since the fall of Saigon ; and Third Avenue: Only the Strong Vietnam: Picking up the Pieces (1977) 60 min. Color Buckner structures these movements with intuitive Gathering In. 3 Health Care Your color, pauses, Mast. 2 min. Survive (1981), a portrait of people who live along New York City's Money or Your life (1978) saturates it so that it expands with intense 60 min. Color each image, Grace. 6 min. Third While many of the images are Avenue. Fidel Castro Comes to New York (1979) 35 min Color and then returns it to its original state. Body. 3 min. images there- Health Care : Your Money or Your Life is a disturbing investigation of Warin Nicaragua (1979) 30 min Color purely abstract, others serve as glimpses of identifiable Night. 2 min. the Strong Survive (1980) 58 min. Lamb- 2 min. the disasterous state of health care in this country . Alpert and Tsuno Third Avenue. only by creating a tension between abstraction and reality. Color Landscapes. 2 min. spent six months shooting in two Brooklyn hospitals: Kings County work that goes beyond Pictures of the Lost in SoutheastAsia: Cambodia-Vietnam-China (1980) . Part Hearts is a dynamic A Table- 2min. central image is a Hospital, a city-run, overcrowded, and understaffed institution ; and I, 30 min. Color. Part II, 30 min Color terms of its more sophisticated technology . The Axis. 3 min. imagery and Downstate Medical Center, a well-financed private hospital . Health Care El Salvador: Nowhere to Run (1981) 25 min . Color heart-shaped fruit that serves as both a window on other Hours. 3 min. InvisibleCitizens min. The Men. 3 min. documents the priority of medical research over proper health care for -JapaneseAmericans (1983) 57 that pulsates on the screen . While the piece operates Color a separate shape Image of the Kingdom 1 min . the medicine use of this heart shape and individual: the irony of financial-aid cuts to preventive on the level of pure abstraction, Buckner's Pictures at the lost (1978) 23 min Color. Silent powerful romantic (1978) 11 min . Color . Silent programs in order to keep overcrowded hospitals open; the role of Blue of kinetic bursts of synthesized imagery make i1 a "Collected Works" min. Color. Silent Cross and Medicare in worsening these conditions ; and the paradox of a Hearts (1979) 12 metaphor . Heads (1980) 6 min. Color. Silent space reveals a multimillion-dollar pharmaceutical industry in a country where many The sensuality of the images within an ambiguous The Golden Pictures (1980) 6 min. Color. Silent Brakhage. Like cannot afford adequate health care . At Kings County, which has "the lyrical style that relates closely to the ii Irn work of Stan Mifenia (1981) 5 min. Color. Silent thereby giving it Greece to Jupiter: It's a Matter of Energy (1982) 5 min . busiest emergency room in the world," DCTV captures harrowing scenes Brakhage, Buckner does not use sound in her work, Color. Silent of staff members trying to save lives with equipment that is outdated quality that underscores the authority of the an inward, contemplative Analogs (1983) 30 min. Color. (Two-channel) drawing viewers and malfunctioning, and of an outpatient clinic with a five-month imagery . These are personal works; they are seductive, into a meditative waiting period for an appointment. They deftly juxtapose these scenes into the silent, exquisite visuals and putting them with Downstate, where an impressive new research division is under state of mind . construction and where one has to be recommended by a staff doctor in order 1o be admitted . In Health Care information is presented in a direct, fast-paced style that takes its cue from broadcast television : the narration summarizes the action, and visuals support the commentary . DCTV's interview technique is unabashedly straightforward, eliciting very candid re- sponses. The overall impact of the tape is both informative and riveting . As one patient puts it: "Health care? For whom? For the rich it is; for the poor it's not."

23 22

rne. Chott el-8lerid IA Portrait in Light and Beat) (1979) U S.A . By Bill One Way (1979) U.S .A . By James By viola. Produced by the Television Laboratory at WNETIThirteen. Production assistant Kira Perov.

28 min. Color. Sound Rental $75.00 / Sale $300 .00 e min . B &W . Sound. Rental 535.001 Sale 8150 .00.

Bill Viola has created multiiayered videotapes and James Byrne's early videotapes and Installations the installations since the early 1970s. Viola's work, are reflexive perceptual exercises, influenced by which progresses from tightly structured, perceptual psychological explorations of Peter Campus . In these the exercises to rich tableaux of light, color, and move- works, By rne used himself as a prop to confront ment, explores intrinsic aspects of the video medium : viewer, emphasizing a strong physicality and all the way it reacts 1o light, heat, water, and movement. aggressive attitude Far his installation Number Five According to Viola: "My goal is to produce audio (1976), the viewers were asked to lie down on the tennis ball at the JAMES BYRNE visual compositions in time using the language of experience, the BILL VIOLA floor under a monitor that featured Byrne throwing a lens. In Works for sounds and images of the real world as collected on videotapes . ... In camera (and the viewer), sometimes hitting the Limitations (1972) 3 m'rn. B&W Wild Horses (1972) 15 min. B&W. (Not in Horizontal Tape 1(1972)10 series of commerical spots for local . B&W the visual sense, my video works are more related to music than the min. B&W. (Not indIstribution) Broadcast, Byrne produced a Stairs (1972) 5 min viewers ; Tape (1973) 2min. B&W printed word. They are visual poems, allegories in the language of Passage Series (1973) 15 min . B&W (Not in distribution) television in Minneapolis designed to confront unsuspecting An Everyday 3 min . B&W Level {1973) 8 min. B& W, (Not in distribution) hanging from the camera . Surfaces (1973) subjective perception, open to diverse individual interpretation, yet one featured him jumping up and (1973) 8 min. B&W Cycles (1973) 8 min. B&W. (Not in distribution) Unison each thematically expressing specific concepts that derive from every- is an extension of these early works It is also a precursor (1973) 6 min . B&W Eclipse (1974) 22 min. B&W. (Not in distribution) One Way Vision explores his environment with Wavelength (1974) 3 min B &W day life experience ." -August'74" (1974) 18 min Color. (Not in distribution) of his more recent projects, in which he min. B&W Instant Breakfast. 7min . Color handheld camerawork with music and Handheld 11(1974) 7 In Chottel-Djerid, Viola explores the way the electronic eye reacts to the camera, combining fluid B&W Olfaction. 6 min. Color the precious- Both (1974) 4 min extreme heal, creating waves of impressionistic imagery, and to ex- impressionistic imagery . In One Way, Byrne examines (1974) 5 min . B&W Recycle. 5 min . Color Translucent begins with the camera scraping 7 min. B&W treme light, diffusing and obliterating the visuals. He taped in the snow Information (1973) 30 min. Color ness of the video camera. The tape Tangent (1975) his (1975) 14 min. B&W fields of Saskatchewan, Canada, and central Illinois, and in the Sahara Red Tape" (1975) 30 min. Color making a harsh, metal-on-metal sound . Byrne bumps Series 29 along a fence, Broadcast (1977) 4 min. B&W Playing Soul Music to My Freckles. 4 min . along the ground, scrapes Works for desert of Tunisia. Enigmatic and textural, Chott el-Djerid begins with camera into trees, uses it to push rocks HaveAnyidentification?(1977)9mln B&W A Non-Dairy Creamer. 6 min. Do You vistas of all-encompassing metal surface with the lens, and runs it along a wire Activity (1978) 3 min. B&W white snow punctuated by an occasional The Semi-Circular Canals. 8 min . peeling paint off a Lens "One Way" sign . Four Square (1978) 14 min . B&W farm house. Viola balances this imagery with the expansive space of A Million Other Things . 2. 5 min. Under his direction, it careens cc mically into a fence. min B&W Return . 7 min. object, Byrne challenges our Axifla (1978) 5 the desert, delineated by the line of a sharp horizon, thus creating an By treating his camera like a worthless Mechanics Magazines (1978) 7 min B&W Migration (1976) 7 min . Color He hike analogy between these two polar environments using how one handles a piece of expensive equipment. min. B&W . By a telephoto "Four Songs" (1976) 35 min. Color preconceptions of One Way (1979) 8 and as an extension Place (1980) 9 min. Color lens in the extreme heat, Viola transforms the Sahara into a series of Junkyard Levitation. 5 min. uses his camera as an instrument to create sound of Water, of TikalaSoom(1981)23rnIn Color mysterious, Songs of Innocence. 11 min. surroundings. Thus, the built-in microphone, ever-moving compositions evocative of the "colorized" of his arm to sense his always falls back to earth. . . (1982) 4 min Color The Space Between the Teeth. 9 min. movement, . . .desire effects o1 synthesized video . The telephoto lens foreshortens and dis- which often unintentionally amplifies the videomaker's . . this fountain is a field of fire. . . (1982) 7 min. Color Truth Through Mass lndividuation.10 min. of the camera's movement . By turning his looks neverending. . . (1982) 6 min . Color torts the scale so that objects and their relationship to one another "Memory Surfaces and Mental Prayers" (1977) creates an audio equivalent sense of gravity . The several dreams final in nature. . . (1982) 7 min . become ambiguous. The heat waves produce a fluid effect in which 27 min Color camera sideways, Byrne reorients the viewer's The Wheel of Becoming . 7 min. them into textural Color figures emerge and disappear in the whiteness as if moving in and out proximity of his camera to these objects abstracts me to this. . . (1983) 5 min. Color The Morning A fter . . .a detourled the Night of Po we r.10 mi n. them into rhythmic sounds. In One Way, Byrne of water. While the camera remains still, the imagery continuously Sweet Light. 10 min. surfaces and transforms literally feeling it with his undulates. The natural sound of the desert wind creates a tension with Memories oIAncestraI Power (The Moro Movement in sensually explores his environment by the stationary camera, as well as with spatial relationships: through The Soloman Islands) (1978) 36 min . Color camera. Palm Trees on the Moon (1978) 22 min Color Viola's telephoto lens, we see cars approaching on a road long before Ch oIt el-Ojerid (A Portrait in Light and Heat) (1979) we hear their motors . The pacing of the tape corresponds to the 28 min . Color viewer's attention span ; each image is held for a length of time anal- "The Reflecting Pool (Collected Work 1977-80)"(1977-80) min ogous 1o that spent looking at a painting on a gallery wall . 61 Color The Reflecting Pool (1977-79) 7 min. Moonblood (1977-79) 13 min. Silent Life (1979) 14 m I n Ancient of Days (1979-81)12 min. Vegetable Memory (1978-80)15 min. Ha tsu-Yame (FirstDream) (1981) 56 min. Color Reasons for Knocking aI an Empty House (1983) 19 min. B&W

25 24 by Sunstone (1979) U.S .A . By Ed Emshwiller . Computer animation Presumed Innocent (1979) U.S .A . By Cl aude Bell er and Stet an Moore. Alvy Ray Smith, Lance Williams, and Garland Stern at the New Produced by TVG Documentary Arts Project and the Television York Institute of Technology . Laboratory at WNET/Thirteen. Photographed by Beller . Sound by Victor Sanchez. Edited by Moore

3min . Color. Sound . Rental S50.001 Sale 515000. 60 min . B&W. Sound. Renta1$75.001 Sale $35000 .

Emshwiller began his artistic career as a painter Presumed Innocent, made by Stefan Moore (see The Ed science fiction illustrator. After a decade of ex- Irish Tapes [1972]) and Claude Beller, founders of and perimental filmmaking, he began working in video the TUG Documentary Arts Project, examines the early 1970s, his first videotapes being explo- detention center at Rikers Island, New York, where in the synthesized imagery combining dance and 2,000 inmates-who cannot afford bail-are housed . rations of Computer animation, in-which he "paints The opening statement of the tape notes that these fantasy . palette," is the culmination of his stay is three months-although with a digital men, whose average medium for his experience as a painter and filmmaker, and is the ideal ED EMSHWILLER some have remained for as long as two years-"have not been con- CLAUDE BELLER and STEFAN MOORE surreal imagery . The most recent and technically advan- as their central issue the fantastic and images (1971) 30 min. Color victed of the charges against them ." Taking a period March Against Racism-Boston 1974 (1975) his animated tapes is Sunstone, which was made over Computer Graphics #1(1972)17 min. Color. {Short ver- injustice of detaining these men at length, Beller and Moore examine ced of 20 min. Color Institute of Technology (NYIT), where sion titled Thermogenesis [1972112 min . Color) system of eight months at the New York the ineffectiveness and economic discrimination of the bail 'Turning Points (1978) 30 min. Color (16 mm ti tm) is Scope-mates (1972) 29 min. Color the world's most advanced computer-animation systems well as the miserable conditions that A Man's Place (1979) 25 min. Color. (16 mm film) one of Positive Negative Electronic Faces (1973) 30 min. B&W. that produced this situation as video and a Presumed Innocent (1979) 60 min. B&W . is a pivotal work in computer-generated with Tony Bannon these men must endure. They interview numerous inmates, guards, housed Sunstone In collaboration A Complicating Factor (1981) 45 min. Color of the three-dimensionality possible Pilobolus and Joan (1974) 58 min. Color they get is highly sophisticated exploration judges, lawyers, and correction officials. The response (16 mm film) Crossings and Meetings (1974) 23 min . Color on the video screen . unanimous: the system doesn't work. 'Trouble on FashionAvenue (1982) 60 min. Color Inside Edges (1975) 16 min. B&W rocklike surface on which a round sun (16 mm tilm) The tape begins with a gray, Family Focus (1975) 59 min. Color Beller and Moore were given unprecedented access in making Pre- sun's facade . It opens very realistic eyes, and smiles. The NewEngland Visions Past and Future (1976) view of the dally routine at face emerges sumed Innocent . They provide an intimate extraordinary . In collaboration with William Irwin cracks, and brilliant colors radiate from its head with 29 min . Color Rikers : the morning lockout, the random searches, the arrival of new 'Available in both film and videotape this Thompson . In a surrealistically stunning display of high technology, and the evening lock-in. They capture details intensity Collisions (1976) 4 min. Color inmates, the visiting hours, cube whose other surfaces face then appears on one side of a rotating Self-Trio (1976) 8 min. Color of the inhumane conditions, from overcrowding and oppressive noise still video images . Zooming in on one of the stills, Sur Faces (1977) 59 min. Color establish the fact that those feature moving or levels to the fights and suicides . They also figure Dubs (1978) 24 min. Color Emshwiller presents an electronic landscape in which a walking who go to trial from prison, as opposed to those who are released on Sunstone (1979) 3 min. Color becomes a rainbow-colored series of outlines . 16 min. Color bail, are more likely to be convicted . Finally, the image they construct Eclipse (1982) While Sunstone is a remarkable example of the three-dimensional consists of an overtaxed corrections and legal system where, as one animation that can be accomplished by using computers, it goes beyond lawyer puts it, "the judges are diminishing courts to arenas" of plea technology as an end in itself . Emshwiller's imagery evokes Marshall bargaining . "cool" (the cool gray rock surface) and "hot" reform legislation McLuhan's theory of Presumed Innocent has been used to support bail image the media (the bright, pulsing orb). By using the universal of and was important in exposing to the public the conditions of Rikers in stone and then a cubelike satellite revolving in have only wor- sun, initially etched Island-conditions which, due to financial cutbacks, Emshwiller's space, he recapitulates a variety of artistic mediums . sened . of walking figure, frozen in a series of stills, is subtly reminiscent Eadweard Muybridge's photographic motion studies, and, by extension, Marcel Duchamp's painting Nude Descending a Staircase. Sunstone's multidimensional palette fondly refers to earlier art and celebrates the future of electronic art. "Travels" (1979-1980) U .S .A . By Shalom Gorewitz . Sleina and Woody Vasulka Program (1980-1981) t1 S.A . Measures of Volatility (1979) 6 min . Cantaloup (1980) Produced by Steina in collaboration with for the TeIevision Laboratory El Corandero (1979) 5 min . Jeffrey Schler and Woody Vasulka Excavations (1979) 5 min . at WHET/Thirteen.28min . Color Autumn Floods (1979) 6 min . Artifacts (1980) By Woody Vasulka 22 min. Color Delta Visions (1980) 5 min . in Search of the Castle (1981( By 5teina and Woody Vasulka . 12 min. Color

ogram:62 min. Color. Sound Rental $75.001 SaleS275 00. Total program :27 min . Color . Sound . Rental 550 .00 / Sale5200 .00. Total pr

Shalom Gorewitz creates textured, expressionistic are pioneers of comput- videotapes that relate visually to abstract painting er-generated video art . Steina, who is from Iceland, He has a distinct handheld camera style that exem- trained to be a violinist; Czechoslovakian-born plifies his response to the environments he is taping . Woody studied engineering and worked in film . In Gorewitz then "colorizes" and layers this material, 1971 the Vasulkas founded The Kitchen, a small electronic-media theater in New York that has since using an image processor like a musical instrument . Arlilacrs El Corandero per The Abstract Expressionist's emphasis on gestural become a major avant-garde center for video, years later, in collaboration with brushstrokes and the role of the artist as an individual is related to the SHALOM GOREWITZ formance, music, and dance . Several STEINA Jeffery Schler, they developed the Digital Image Articulator, a complex central concerns of Go rewl1z's work. His videotapes have the energy of From Cheektowaga to Tonawanda (1975( 36 min. Seven Events (1977) 10 min . Color digital computer that is central to the production of their work . Color t Signifying Nothing (1975) 15 min. B&W ! Sound action paintings. Moly (1978) 10 min . Color The primary aspect of the Vasulkas' work is its technical innovation. andFury (1975)15 min. B&W / Switch!Monitor!Drift! "Travels" explores five different environments, and Gorewitz creates a Parataxis (1978) 9 min. Color (1976) 50 min. B&W / Snowed Tapes (1977) 15 min. Many of their tapes serve as explanations of their pioneering techniques . sensual impression of each location as well as an overall feeling of Measures of Volatility (1979) 6 min. Color B&W / Land of Timoteus (1976) 15 min. Color / Flux El Corandero (1979) 5 min. Color While they-have created many works together, they also work on their search and movement. Each tape is a collage of colorful imagery, and (1977) 15 min. Color / Violin Power (1970-78) 10 min. Excavations (1979) 5min . Color own separate productions. (Steina produces individual works under her Color / Cantaloup (19B01 2B min. Color I Urban Episodes provides a distinct mood . In Measures of Volatility, Gorewitz constructs Autumn Floods {1979) 6 min . Cal or first name.) Cantaloup is Steina's document/essay about the design, (1980) 9 min. Color / Selected Treecuts (1980) 10 min an image of mobility that reflects on American scenes . Turnpikes, trucks, Delta Visions (1980) 5 min. Color Color f Exor (1980) 4 min. Color ! South-Western Land- S. Sweat (1982) 16 min . Color Articulator. The tape was urban street scenes, and distant city skylines are combined to create a U. construction, and use of the Digital Image scapes (1982) 18 min . Color Process Studies (1982) 7 min . Cal or made when the Vasulkas and Schler were eighteen months into the frenetic view of American life, El Corandero, which was taped in Spain, Subatomic Babies (1983) 7 min. Color design device. the processor designed by Dan Sandin begins with frozen, brushstroke images of water, heightened by a rush of of this Like image WOODY VASl1LKA (see Spiral PTL [19811) the Digital Image Articulator (or Imager) was water sounds . It moves from an elusive nocturnal landscape Explanation (1974) 12 min. Color f Reminiscence (1974) designed specifically for the purpose of studying "real-time" video image to scenes of villages evocative of a remote past. In Excavations, 5 min. Color I C-Trend (1974) 10 min. Color 1 The Matter performance. Steina's casual explanations of the machine are heard as (1974) 4 min. Color / Artifacts (1980) 22 min. Color f Gorewitz uses a more direct narrative approach to portray the modern- we see the digital effects that she creates using the spherical shape of a The Commission (1983) 45 min . Color izing of Israel. Juxtaposing imagery of ruins with scenes of planting and cantaloup as an image source . She describes the varying sizes of pixels harvesting, he employs a divided screen as a motif . The images become STEINA and WOODY VASl1LKA (picture elements), the possibilities of multiplying the images, the layers bands of different colors and patterns, providing a glimpse of the myriad (or slices) of color and tone that can be derived from one image, and the Sketches (1970) 27 min. B&WICalligrams (1970)12 min. possibilities for transforming any given image with the synthesizer. In advantages of storing imagers in the computer memory . B&W/ Sexmachine (1970) 6 min. B&WI Tissues Autumn Floods, Gorewitz constructs a global view of New York City by (1970) 6 min. B&WIJackie Curtis's First Television continues defining the potential of the Imager . using a fish-eye lens. Concentrating on the grid structures and tunnels Artifacts, by Woody, Special (1970) 45 min B&WIDon Cherry (1970) 12 min . those images produced specifically by Woody, and Milosh/Decay #1 that define the perimeters of the city, he creates a colorful, rotating orb "Artifacts" refers to Color. Coproduced with Elaine those arrived a1 by chance through experimentation, establishing a (1970) 7 min. GolorIDecay g2(1970) 7 min. Color! that distorts our sense of gravity. Delta Visions is an impressionistic Evolution (1970) 16 min . B&WIDiscs (1971) 6 min . B&W/ collaboration between man and machine. He manipulates an image of essay of water and texture. created with Florida imagery, Gorewitz echoes Shapes (1971) 13 min. B&WIBlack Sunrise (1971) 21 min . a sphere into myriad colors, pixels, and grids, and transforms the the flatness of the landscape in his two-dimensional series of color- ColorlKeysnow(1971)12 min. Color /Elements (1971) 1(1972)15 min . B&WIDistant palms image of his own hand until It takes on a magical, surreal quality . 9 min. Color/Spaces saturated tableaux . He weaves together tropical elements, such as (1972) min. Cal or ISpaces1/(1972)15 min When the Vasulkas take their technical innovations out of the studio, Activities 6 and flamingos, with a hypnotic, intermittent soundtrack . B&WISoundprints (1972) Endless loops. Color/ they add a startling dimension to their imagery. In Search of the Castle Gorewitz's style ranges from aggressive to introspective. While most Home (1973)17min. Color/Golden Voyage (1973) abstraction of real min. Color/ recent is an essay on exploration that combines Steina's 29 min . Color/Vocabulary (1973) 6 of his videotapes are purely impressions, others, such as his more min. images and Woody's digital effects . The imagery was taped from a car Noisefields (1974)13 min. CoIarf 1-2-3-4 (1974) 8 U.S. Sweat (1982), center on political concerns . Gorewitz's use of sound Color/Solo for3 (1974) 4 min. ColorlHeraidic View in New Mexico, where the Vasulkas now live . Steina taped the landscape provides an audio equivalent 1o his imagery. He layers natural (1974) 4min. ColorITelc (1974) 5 min. Cc Iorl reflected in a sphere-a theme of her recent work-that provides a SoundgatedImages (1974) 9 min. ColorISoundsize sounds that evoke images in themselves, and extends these with distorted, circular image. As they drive through the flat landscape, we (1974) 5min. CoIorIUpdate (1977) 30 min . CoIorl moments of silence, creating an audio-visual dialogue that underscores Update (1978) 30 min. Color/"Six Programs for see the Vasulkas in combination with their environment, moving through the personal nature of his work. Television" (1979) 174 min. Color/in Search of the Castle it as if searching . Encapsulated in this computer globe, the (1981) 12 min. Color/Progeny (1981) 19 min . Color. Cc- Vasulkas' imagery of America is revealed to us as an electronic journey . produced with Bradford Smith

29 28

Dangling by Their Mouths (1981) Canada . By Colin Campbell Camera The Weak Bullet (1980) U .S .A . By Tony Oursler . Mary by Rodney Werden . Dramaturge Rina Fraticellr Sound by J. Card . Music by Orchestral Manoeuvers and Brian Eno. With Campbell Doug Durand, John Greyson, Kerri Kwinter, David MciIwraith, and Tanya Rosenberg .

60 min . Color Sound . Rental $75.001 Sale $300 .00. 15 min. Color Sound. Rental 550.001 Sale 5200.00.

Colin Campbell is a Toronto-based video artist who Tony Oursler's work combines makeshift, rough sets has produced innovative performancelnarrativc with macabre humor and social satire . Using an works since 1972 . Characterized by portrayals o: array of unusual materials and subjects-clay, card- women, these tapes explore the ambiguous para- board figures, eggs, hands, and feet-Oursler creates meters of sexual roles and the limitations of lan- quirky environments in which the illusion of sets guage to express the complexity of emotion, In and our perceptions of scale are undermined by his Campbell's best-known series, "Woman from Mali extraordinary imagination . bu," he creates a character from a newspaper article about a woman COLIN CAMPBELL "new wave" soap opera of the most bizarre The Weak Bullet is a TONY OURSLER who watched her husband die while mountain climbing in the Himala- Sackville I'm Yours (1972) 20 min. B&W kind . It begins with a mock fight between two siblings, who are repre- Campbell examines Joe. Joe's Transsexual Brother and Joe's Woman (1976) yas. The tape is a series of monologues, in which Smile (1972) 10 min. B&W sented by two plastic figures attached to the tips of Oursler's fingers. 25 min . B&W the woman's emphasis on a seemingly irrelevant inventory of details True lFalse (1972) 15 min. 8&W Tired of play guns, they find their father's gun and fire off "the weak The Phyllis (1977) min. B&W min B&W. Silent Life of 55 concerning the event. Real Split (1972) 15 leaving behind a trail of Diamond(Head) (1979) 25min. B&W This is the Way I Really Am (1973) 20 min B&W bullet." The bullet sets off on an adventure, it Dangling composed of a series of static scenes. It Good Things and Bad Things (1979) 10 min. B&W by Their Mouths is Janus (1973) 20 min . B&W. Silent disrupted scenes of surburban life, always arriving on a troubled scene Life (1979) 10 min, B&W begins with Sean, a young actor, sitting before a screen on which Shoot (1973) 20 min. B&W to make it worse. It ends a lovers' quarrel, kills a prize bull, and The Rosey Finger of Dawn (1979) 12 min . Color slides are projected . He tells a story about the experience of taking Correspondence 1(1974) 20 min. B&W surprises a peeping Tom . It reaches its final goal when it hills one The Weak Bullet (1980)15min . Color Correspondence It (1974) 20 min, B&W care of a psychotic woman . We then find him in Europe, where he The Loner (1980) 32 min Color Love-Life {1974) 25 min . B&W innocent bystander in the testicles (in the form of two eggs and a Campbell . Grand Mat (1981) 23 min. Color meets Anna, an enigmatic free-lance art critic played by This is an EditlThis is Real (1974) 18 min. B&W zipper) and another in the ovaries to create another absurd situation Son of Oil (1982) 16 min. Color Sean encounters Anouk, Anna's lover, who recites the speech of a dead I'm a Voyeur (1974) 20 min. B&W insuring the soap opera's next episode . Theme Song from Science Fiction (1983) 5 min. Color Secrets (1974) 30 min . B&W woman from William Faulkner's AS 1 Lay Dying. Next Anna is sitting in CaliforniaMyth /Reality(1975)25min B&W Oursler's black humor is surprising and inventive. He creates a prize death in controlled, a bar with a young man, telling him about Anouk's Hindsight (1975) 22 min. 8&W a can and a banana, uses a figure-eight cardboard road to bull out of tin detailed terms. In the final sequence, this young man becomes Anna, Insight (1975) 40 min B&W signify the suburban commuter rat race, and narrates this increasingly Foresight 25 min. B&W emphasizing her identity as a role . He is gradually transformed into (1975) min. B&W outrageous drama in a dry, cynical style accompanied by soap-opera the drama full circle . Passage (1976) 17 her persona in a series of slides, bringing min. B&W organ flourishes. Rather than use a set as an environment against Flight (1976) 10 Campbell orchestrates this narrative in a series of tight, intimate "Woman From Malibu" Series (1976-77) 91 min. B&W which to present his ludicrous melodramas, Oursier concocts one whose min. scenes, as stationary as the slides that frame the tape . The camera Woman From Malibu (1976) 10 drama, Deliberately rudimentary The Temperature in Lima (1976) 10 min. materials become part of the actual always remains close to each character, magnifying expression and Cutver City Limits (1976) 10 min . camerawork and the raw quality of his sets elaborate his paint . The nuance. The narrative emphasizes role playing-not only does each Shango Boranica (1977) 20 min. postmodern sensibility with an unpredictably Weak Bullet combines a actor play a part, but each character is trapped within a role . Campbell Last Seen Wearing (1977) 23 min. min. perverse yet disarming humor. expectations of sexual roles. While he plays a Hollywood and Vine (1977) 18 consistently defies our Rat's Country (1978) 12 min. 8&W tantalizing Anna in drag, his character is androgynous, combining Modern Love (1979) 90 min . B&W feminine gestures with a subtle, deep voice. Campbell's characterization Bad Girls (1980) 75 min . B&W and color L.A . Flex (1980) 20 min. Color calls into question the codified gestures traditionally attributed to each Peachiand (1980) 40 min. Color sex. He questions not only the validity of such roles, but also the He's a Growing BoylShe's Turning Forty (1980) any action take 40 min . Color authority of these stories about them . We never see Dangling by Their Mouths (1981) 60 min. Color place, it is only recounted to us by the characters . The style is con- Conundrum Clinique (1981) 35 min. Color. (Two-channel involves the viewer. Dangling by Their version) fessional in a way that forcibly Conundrum Clinique (1981) 15 min. Colar Mouths is representative of the video fiction trend toward alternative Snip Snap (1981) 20 min. Color. Go produced with Werden narrative structures . Its intent is not so much to construct a story as it Rodney is to question the essence of narrative .

Meta Mayan 11 (1981) U.&A- By ln Ed Veiez. Produced by Ethel Veiez Music Word Fire and I Would Do It Again; The Lessons (1981[ U .S.A . and Edin Veiez in association with the Television Laboratory at Conceived and directed by Robert Ashley . Produced by Carlota WNET/Thirteen. Schoolman for The Kitchen Center for Video, Music and Dance and by Carol Brandenburg for the Television Laboratory at WNETI Thirteen . Video director : John Sanborn. Associate director : Kit Fitzgerald . Project director : CariotaSchoolman . Music producer : Peter Gordon . Music by Ashley, "Blue Gene Tyranny. and Gordon . With Ashley, Jill Kroesen, Tyranny, David Van Ti eghem . 20 min. Color. Sound. Rental $50.00 l Sale $200 .00 30 min. Cola r. Sound Rental $100 .00; $250 .001 Sale $350 .00.

Edin Veiez's videotapes are beautifully orchestrated Music Word Fire and 1 Would Do It Again: The Les- works that focus on aesthetic, ethnographic, and sons is part of an opera-for-television project, Perfect political themes. In 1976 Veiez and his wife, Ethel, Lives, directed by Robert Ashley, a composer, poet, videotaped the Cuna Indians who live on an island and leading figure in avant-garde music. Commis- off the Panama coast . The result was TULE, a rich sioned by The Kitchen Center far Video, Music and evocation of the Cuna's traditional culture and a Dance in New York City, Perfect Lives consists of tape that established Velez's unique style of impres- seven half-hour episodes, in addition to The Lessons . sionist documentary, [DIN VELEZ Described by The Kitchen as "a postmodern version of the mythology ROBERT ASHLEY Meta Mayan Ii was made by Veiez on a two-month trip to Guatemala . of small-town mid-America," Perfect Lives focuses on the adventures Legend Days Are Over (1972)10min . B&W Music With Roots in the Aether Total It is an elusive work that creates a delicate balance between images of of Buddy, the world's greatest piano player ("Blue" Gene Tyranny), his (1976) running Andes (1974) 5 min. Color time:14 hours (Seven two-hour segments) Color the Guatemalans, their landscape, friend R (Robert and the underlying social implica- Rainbow (1975) 5 min. Color Ashley), and their relationship with isolde (Jill Kroesen) Title Withdrawn (1976) 50 min. Color tions of Guatemala's political upheaval . Veiez opens and closes the Phaedra (1975) 3 min. Coior and D, the Captain of the Football Team (David Van Tiegham). To Music Word Fire and t Would Do ItAgain: The Lessons Mother Maltard's Portable Masterpiece [from tape with a striking slow image of a group of women clad in the bright Company (1976) realize this project, Ashley collaborated with video artist John Sanborn PertectLives] (1981) 30 min. Color. In collabora- 20 min. Color tion with Kit Fitzgerald and John Sanborn colors of Guatemalan textiles, walking past and composers "Blue" Gene Tyranny Peter his camera. While most of Merian (1977) 15 min Color and Gordon . the women glance at the camera and then look away, one woman Castor Ayala Mask Maker (1977) 15 min. Color The Lessons is an overture to the opera. Consisting of twenty-eight stares in confrontation, both curious and proud. Veiez uses her gaze to On the Road to Atitlan (1977)15 min . B&W one-minute video pieces arranged in four groups of seven, it introduces KIT FITZGERALD and JOHN SANBORN TULE The Cuna Indians establish the strength and individuality of the of San Blas (1979) 28 min . Goior, the four principal characters and recapitulates the visual themes of the people he is portraying . Hart (1980) 5 min . B&W CollectedMonitorWorks (1976-77) 30 min. Color He juxtaposes imagery of the marketplace with audio of an American Meta Mayan /1 (1981) 20 min. Color seven episodes of the opera. The Lessons is an extremely complex Exchange in Three Parts (1977) 30 min. Color news broadcast reporting the leftist guerilla takeover of the Spanish Oblique Strategist; A Portrait of Brian Eno (1983) 28 melange of innovative music, surreal imagery, and printed and spoken The Last Videotapes of Marcel Duchamp (1977) 30 min. min. Color Color embassy in Guatemala City . This insert of political turmoil underscores texts . The narrative is sung in Episode Three ("The Bank") by Kroesen, Paris a la Carte (1978) 30 min. Color the exquisite imagery of Velez's Van Tieghem, visual collage. He abstracts the action and Ashley, the principal vocalists of the opera. Interpolation (1979) 30 min. Color with extreme close-ups and slow motion : young men in purple religious Perfect Lives is conceived in television language, whereby each of Olympic Fragments (1980) 12 min. Color robes walk slowly past his camera in a graceful, swaying pace that the seven episodes is assigned a specific kind of framing, camera Resolution of the Eye (1980) 40 min. Color "Still Life" becomes a choreography (Series-in-progress) (1981- )Color before the lens ; hands washing cloth are movement, and image content . The Lessons combines imagery of Static. 2 min. transformed by slow motion into a blend of crashing sound and textur- Midwestern farmland with space-age costumes in surreal juxtaposi- Don'tAsk.1 min. al movement. Through glimpses of this culture, Meta Mayan Ii offers a tions. The most current video technology provides Sanborn with an Episode. 3 min. Dialogue. 3 min. layered documentary without employing conventional array of special effects, which in turn allow him to create a unique methods of nar- Black & White. 2 min . ration, interview techniques, or verite nonmanipulation . It is a personal visual texture for each of the one-minute segments . In the segments Man Below (Work-in-progress) vision, a powerful impression of a place and a culture in political corresponding to Episode One ("The Park"), a "low horizon" is created A Tribute to Nam June Paik (Video Portrait of a Man upheaval and yet firmly rooted in tradition . by subdividing the screen . In the segments far Episode Three ("The Who Won't Sit Still) (1982) 28 min. Color "Antartica" (Series-in-progress) (1982- ) Color Bank"), a grid structure multiplies the image until it looks like a never- Ear to the Ground. 4 min. In collaboration with David ending mosaic of TV sets. In "The Supermarket," Sanborn stacks up a Van Tieghem row of images like a deck of cards, reflecting the dominant shape of Wayne Hays Blues (Secretary) 3 min. In collaboration with Jill Kroesen Buddy's keyboard . Siberia. 4 min. In collaboration with Peter Gordon The printed text, which weaves in and out of this fluid imagery, and The Lave of Life Orchestra The Long provides humorous commentary on the tape's structure. Identifying Island 3 min. In collaboration with Peter Gordon and The Love of Life Orchestra the video theme for each segment, the text questions these illusions by Guitar Trio. 3 mIn.In collaboration with Rys Chatham referring to them as a "recreation," a "reenactment," or a "facsimile ." And Now This... 5 min . In collaboration with David Similarily, the text mocks the characters in asides as they are intro- Van Tieghem duced; for instance, Isolde is described as "nearing 30 and not yet spoken for." With Perfect Lives Ashley is creating a new style in both opera and video that is visually appealing and underscored by diverse levels of meaning . 32 33

Pick Up Your Feet : The Double Dutch Show (1981) U.S.A.Produced, photographed . and edited by Skip Blumberg in association with Smothering Dreams (1981) U.S .A . By Dan Reeves with Jon L. Hilton . the Television Laboratory at WNETIThlrteen. Sound recording Produced by Dan Reeves and the Television Laboratory at by Jan Kroeze . Esti Galdi Marpet, Jerry Ross, and Richard Young. WNETIThirteen. Associate producer and production manager Additional camera work by Joel Gold and Bill Marpet . Lighting Debra Schweitzer . Additional camera work by Phillip Mallory by Kroeze . Jones, Robert Shea, Ken Degraff. and Phillip Wacker. Sound by Hilton and Phillip Wilde. Music by Hilton, Van Morrison, Judy Collins and The Kingsmen .

30 min . Color . Sound . Rental S5D.00 f Sale $200 . 00 . 23 min . Color . Sound . Rental 550 00 f Sale 5200 .00.

Skip Blumberg began working in video in 1969 and Dan Reeves has produced several videotapes that was cofounder of several pioneer production groups, examine war, violence, and nuclear suicide by way including Top Value Television (TVTV), Videofreex, of innovative collages of imagery and sound . Reeves and Lanesville TV. His candid, intimate style is a himself was one of several suvivors of a platoon reflection of early community video projects . Blum- attacked in Vietnam in January 1969, and the expe- berg chooses offbeat, energetic characters and gets rience was the focus of his first videotapes . His to know them well . He combines fast-paced editing, examinations of social conditioning to violence and close camerawork, and a direct interview technique that allows his SKIP BLUMBERG his attempts to translate these experiences into video culminated in BAN REEVES subjects to speak for themselves. In For a Moment You Fly: The Big Smothering Dreams, The tape is a powerful collage of war footage, Apple Circus, he documents an unusual one-ring circus in Manhattan. Chicken Dinner (1971) 6 min. B&W Thousands Watch (1979) 7 min. Color Me's and Youse (1971) 5 min. B&W. Coproduced with reenacted scenes of combat, and childhood memories', it is both a Earle Murphy's Winter Olympics is a portrait of an Olympic super-fan Body Count (1980) 9 min. Cola r Videoireex personal, cathartic statement and a critical examination of how our SmotheringDreams (1981) 23min. Color who is the oldest ski-jumper in America and the official ski-jump hill It's a Living (1975) 60 min. B&W and Color. Coproduced society condones and promotes violence. Hey Joe (1982) 5min. Color weatherman at the Lake Placid Games . In Eskimo-Indian Olympics, with Videopolis and Tom Welnberg Arches (1982) 6min Color Unfitted (1975) 30 min. Color. In Smothering Dreams, Reeves traces the mythology of violence and Blumberg highlights unique ancient Arctic sports in Alaska. Coproduced with Haiku (Work-in-progress) (1982- ) Color Jane Aaron heroism in his upbringing that led him to Vietnam We see him in Amida (1938) 9 min. Color Pick Up Your Feet is a virtuoso documentary about the inner-city Probably America's Smallest TV Station (1975) 60 min . reenacted scenes as a small child playing war games, firing a gun, and sport of Double Dutch jump B&Wand color. Co produced with rope, in which a team of four uses two Lanesville TV intercut with JGLNG (Pronounced watching old war movies on television . These scenes are ropes to perform jump-rope tricks . Blumberg centers the tape on the "Juggling") (1976) 5 min B&W When I Was a Worker Like La Verne (1976) 30 min . B&W- fragments of war footage and reenacted scenes of the actual battle, Eighth Annual World Invitational Double Dutch Jump Rope Champion- Co produced with JaneAaron and Tom Welnberg which are effectively shot to evoke the confusion of combat . Reeves ship held at Lincoln Center in June 1981 . The competition consists of a Greetings from Lanesville (1976) 30 min. B&W and Color, juxtaposes the media image of soldiers with the reality of this violence, compulsory routine, With La nesville TV speed jumping (with champions jumping five steps . . . The Five-Day Bicycle Race (1976) 15 hrs. (Five three- explaining in an embittered voice: "I was a winner in any gunfight a second during a two-minute sprint), and a spectacular freestyle hour segments) B&W. With Tom Weinberg and Image silent, strong, loyal, and shedding not a tear . . . We played it by the acrobatic routine. Blumberg intersperses the excitement of the Union. Reedited com- 1976, 30 min book, repeating hand-me-down war stories told by blind men ." Reeves petition with scenes of the girls in practice, focusing on four teams and Resorts of the Catskills (1976) 30 min. Color. Copro- duced with John Margolies successfully combines realistic and surreal elements, such as an image their coaches: the Fantastic Four, the DD Tigers, the Jumping Joints, For a Moment You Fly. The Big Apple Circus (1978) 30 of a child walking through a battlefield of dead soldiers. He uses special and the Dynamos . The effect of this structure is to establish a familiarity min. Color effects 1o extend the psychological implications of both memory and with these The First International Whistling young performers as we see them compete . The seriousness Show (1978) 23 min. arrives at a B&W. violence, Smothering Dreams, as autobiographical essay, of their participation is obvious in the expressions on their faces as Coproduced with Jules Backus No Diablo!(1979) 30 min. Color, Coproducer personal truth that transcends pure fiction or documentary . It is a they jump and in their grueling practice sessions, always accompanied Festival of (Musical) Saws (1980) 15 min. Color. Co- compelling statement on both social violence and the Vietnam war. by the constant refrain of "Picas up your feet!" As the trophies are produced with Jules Backus handed out amid tears, pride, and relief, the Fantastic Four tell Blum- The Ugly Dog Contest (1980) 4 min. Color. Coproduced with Jules Backus berg: "We're never going to stop We're going to be four little jumping . Pat Oleszko Performance (1980) 20 min. Color old ladies with our canes and still jumping rope!" Music for Bicycle Orchestra (1980) 6 min. Color David Byrne's String Octet Piece (1980) 4 min. Color City Beat (1980) 8 min, Color. (Three-channel) Earle Murphy's WinterOlympics (1980) 30 min . Color Pick Up Your Feet : The Double Dutch Show (1981) 30 min. Color Disarmament Video Survey (1982) 30 hrs B&W and color. Reedited 1982, 30 min . Coproduced with the Disarmament Video Survey Committee 21st Annual World Eskimo-Indian Olympics (1983) 30 min. Color

TeleTapes (1981) U.S A. By Peter D'Agostino Produced by D Agos- Spiral PTL (Spiral 5) (1981) U .S .A . Video synthesis by Dan Sandin tino and the Television Laboratory at WNETIThirteen. Additional Computer graphics by Tom DeFanti . Audio synthesis by Mlml assistance from the Experimental TV Center . Shevitz .

28 min. Color Sound. Rental S50.00I Sale $200 .00. 7 min . Color . Sound . Rental $50 .00 / Sale 5150 .00 .

videotapes are examinations of Dan Sandin and Tom DeFanti have been central to the Peter D'Agostlno's the interplay of wards and development of image processing and computer symbols, signs, and "coming and going" on the sub- graphics in Chicago ever since the early 1970s . images . His series systems In Paris, San Francisco, and Washing- Sandin, who came to video and computers from way D .C. explored not only the varying modes of nuclear physics in 1972, built his own image proces- ton transportation but also the signals and information sor (for which he distributes free plans). DeFanti systems that permit these environments to function . designed a computer graphics language, the Graph In 1980 D'Agostino made LA (Century City) and Dayton (MALLiag), PETER DAGOSTINO ics Symbiosis System (GRASS), which he combined with Sandin's image TOM NEFANTI about the architectural and consumer environments of malls . His studies processor. He then created ZGRASS (see Montana [1982]), a computer Projects: 1972-1974, INALLI(Einstein'sBirthday) : WALL Graphics Symbiosis System "Haw- To" Tapes 1-8 (1974) systems that permeate daily life led him to make language designed to allow artists direct access to complex computer of the information ll: 0VERFEET OVERHEAD (1972-74) 30 min . B&W 120 min . Color collage about the way in which we Illinois at TeleTapes, a critical, exploratory The Walk Series (1973-74) 60 min B&W graphics. Both Sandin and DeFanti teach at the University of Internal Algorithms of the Graphic Symbiosis System temple, pyramid intepret and therefore understand "television and everyday life." PLACEPOEMS: pond, pass, peakXiva. Chicago, and designed these systems as teaching tools . Sandin's image (1974)120min . Color (1974-75) 15 min . Color Aura of the Interactive Electronic Visualization Event D'Agostino constructs TeleTapes in three sections : TeleTricks, Tele- processor was designed to teach students about color; ZGRASS was PASSAGES (1974-76) 20 min. B&W min. Color (1975) 20 Games, and Tel ePuzzles. He combines imagery that evokes the passage DIB, B, BID (1976) 6 min . B&W designed to teach computer graphics to engineers and artists . Their The Circle Graphics Habitat (1975) 7 min . Color. In col- ; interviews with children ; audio about tele- Paradise Regain'd, Paradise Lost (1971-76) 15 min. B&W and laboration with Dan Sandin of time; numerous games collaboration emphasizes an alliance between art and technology, AL PRA, TRANS, CHUNG (1977) 20 min. B&W The Interactive Electronic Visualization Event (1975) 60 vision; and printed text to structure his argument . In fact, he shows us the importance of direct access to complex technology for artists and of coming and going: PARIS (Metro) (1977) 5 min. min. Color. In collaboration with Dan Sandin and television's imagery. We hear instant feedback television while presenting very little of B&W and color "real-time" systems (which encourage spontaneity by an others it discussed, but the subject remains, at times, effectively invisible. In coming andgoing: San Francisco (BART) (1978) 20 min imagery and information). Their goal is to design systems that artists National Computer Conference Tape (1976) 15 min of The Color In collaboration with Dan Sandin TeleTricks, D'Agostino examines the advertising that saturates broad- can duplicate and own themselves . Color . coming and going: Washington (METRO) (1979) 8 min . The Second Electronic Visualization Event (1976) 60 cast television, establishing that the average consumer receives 1,200 Spiral PTL is the fifth of a series of "real-time" performances in Color min. Color. In collaboration with Dan Sandin and advertising impressions a day. In TeleTames, he equates television Proposal for QUBE {1978} 10 min. B&W and color which video synthesis was produced "on the spot" by Sandin and others not only from OUARKS (1980) 8 min. Color . (Eight news with a checkers game, an analogy that he derives DeFanti along with other artists. (The "PTL" of the title refers to "prob- GRASS2 "How To Tapes 1-8 (1977) 140 min 15 LA (Century City) (1980) 10 min. Color min. segments .) Color entertainment aspect of TV news, but also from Richard Nixon's image is one they have worked the Dayton MALLing (1980) 7 min. Color ably the last" of the series.) The spiral min. ZGRASSIGrafix (1978) 7 Color famous "Checkers" speech . D'Agostino examines the recent demise of TeleTapes (1981) 28 min. Color on for many years, structuring some performances with music added Establishing Computer Literacy (1979)10 mi n . Co I or many newspapers, the "seeing is believing" aspect of visual journalism, after the imagery was made and others in which the sound dictated the Spiral 4ACM(1979) 7 min. Color min . and the brevity of news reports. In TelePuzzles, he investigates the images, Spiral PTL is tightly structured with Mimi Shevitz's audio, SIGGRAPH'79 (1980) 30 Color ZGRASSInternals (1980) 30 min. Color world of TV movies . As he presents a glimpse of a movie trailer about which varies from electronic buzzes and space-age voices to quieter PTL(Spirai5)(1981)7min Color.Incoilaboratio n Spiral "paranoia and violence," he asks: "What is this doing to people?" sounds evocative of running water. Using the image processor like a with Dan Sandin D'Agostino's use of visual metaphor and fast-paced collage makes musical instrument to perform variations on a linear spiral made of UV- I Paint System Tape (1981) 13 min. Color TeleTapes an intriguing critique that, in the end, centers on broadcast dots, DeFanti and Sandin transform this basic shape into an ever- SANDIN television's inaccurate representation of reality. One way in which he moving gyre. Paced like the ebb and flow of sound waves, Shevitz's BAN makes his point is to present the ill effects of television on children: a audio is constructed in bursts of kinetic imagery that are framed by Five-Minute Romp Through the Image Processor (1973) baby and its pacifier are equated with the television viewer . and a little quiet pauses when the spirals collapse in a Y-shape. Spiral PTL is 6 min . Color. In collaboration with Phil Morton girl explains that commercials "tell you to buy things that we don't representative of the possibilities of aligning art and technology and of Poop For the N.C.C. (1975) 10 min. Color. In collaboration with Tom DeFanti and Phil Morton buy ." As for adults, D'Agostino ends TeleTapes on a questioning note the strong collaboration between audio and video. Now TV Works (1977) 25 min. Color. In collaboration about where new technology is taking us : "Telecommunications, is it a with Phil Morton and Barbara Sykes it's a privilege, then the marketplace prevails Sisters Say Christmas Morning (1977) 5 min. Color right or a privilege? If The First DIC Tape (1978) 14 min . Color and those who can pay for access to the privilege buy what they can Water From Under, Water From Alongside. Water From get . If telecommunications were considered a right, the technology Above, Ice (1978) 10 min Color would be forced to put itself to the service of the people ." Wandawega Waters (1980) 16 min Color Spiral PTL (Spiral5) (1981) 7min Color, In collaboration with Tam DeFanti Compression With Spiral 5(1982)29mia Color

37 36 Montana (1982) U .S .A. By Jane Veeder . Bob Snyder . Camera by John Trim Subdivisions (1981) U.S .A . By Mabey.

3 min . Color. 5ound . Rental S35.00 I Sale 5150 .00 6min Color. Silent Rental $50.00 / Sale$3Koo

Jane Veeder is cofounder and cocoordinator, with Bob Snyder is a musician who has collaborated with Phil Morton, of the Electronic Visualization Center Dan Sandin, Tom DeFanli, and Phil Morton (see Spiral in Chicago. Her work has progressed from image PTL [1981]) on "real-time" performances of video/ processing to computer graphics . Montana is a state- audio synthesis. Trim Subdivisions is a study of of-the-art computer graphics achievement using space employing special effects, delicate timing, and ZGRASS, the computer graphics language designed a formal approach . Snyder takes the imagery of a Tom QeFanti in 1977 (see Spiral PTL [1981]) . The suburban housing tract as his vehicle. He uses the by work touches on issues of nature and technology . JANE VEEDER video "wipe" (in which one image is passed over another) as a symbol BOB SYNBER employs the aesthetics of video games and the informational a correlation to the conjoiners of Veeder BellylHands (1978) 5 min. B&W for the passage of time and as GeometricPieces(1976)8min Color strategies of the spoken word, representational symbols, and printed Loopcycle (1978) 3 min. B&W architectural units in prefabricated housing . By dividing, subdividing, Triplicate (1977) 7 min . B&W as a series of tableaux, of birds, buffalo, Program #7 (Revised for TV) (1979) 30 min. Color. Co- these houses, Snyder explores grid structures Winter Notebook (1977) 10 min Color text. The tape is constructed and layering imagery of produced with Phil Morton ICRON (1978) 10 min. Color mountains, globes, wheat, and video cameras, ultimately producing subtly abstracts the buildings . The camera glides with precision Program #9 (Amateur TV) (1979) 30 min . Color. Copro- and Lines at Force (1979) 10 min . Color ." Veeder roof and foreshortens the slogan "Good Luck Electronically Visualizing Your Future duced with Phil Morton over the grid triangle of a suburban ranch house Trim Subdivisions (1981) 6 min. Color. Silent move across the screen in geological processes, Surface Tension (1979) 10 min. B &W into a patterned surface . It transforms the horizontal makes mountains its ornate facade RGETSIGGRAPH181(1981)16 min Color. Go produced creates new manipulates the demarcations of a compass to establish a feeling of TA lines of aluminum siding into a series of geometric designs, with Phil Morton vast space, dissolves a checkerboard with a snowy white mountain corners as it "wipes" one building over another, and exchanges windows Montana (1982) 3 min. Color video range into an expansive night sky, and finally lines up animals, moun- Floater(1983)6 min. Color between houses. Snyder establishes visual equivalents between the of tains, and urban buildings to offer a visual range of Montana life . The effects of layered planes and "wipes" and the layered architecture soundtrack is a collage of bird chirps, a recitation of bird names, and suburban housing . He investigates the illusion of three-dimensionality flattening it the familiar electronic buzzes, grunts, and beeps of videogame arcades. by using imagery that emphasizes a line of perspective, then Veeder's use of computer graphics and the sentiments expressed in to a two-dimensional plane. her closing message make this tape a clever parody of video-game Snyder constructs deliberate rhythms in Trim Subdivisions . Struc- software . She explains her approach : "I travel with a relief map, geo- tured as variations on a theme, the imagery moves silently and pre- logical highway maps, bird books, etc. I love the physical world out cisely . These vi suals, created out of seemingly banal material, become there and its attendant information aura. I use computer graphics to subtly orchestrated color planes and patterns. Beyond this formal level, get at the views and processes not accessible to my video camera, but the tape comments on the fragile quality of this architecture . By mani- moreover as a medium in which to interact with all of the elements . . . pulating and rearranging these buildings, Snyder emphasizes their images, geo-processes, infoassociations, and future fantasies." ephemeral and nondescriptcharacter . SELECTED U .S . CHRONOLOGY

. Today, twenty years after video was first Paik, , and others . unique tape-loop device introduced as an arttorm, the history of the New York . Festival o1 Lights, Howard Wise Time Situation by David Lamelas in "Beyond medium is beginning to be assembled . This Gallery . Exhibition of kinetic light works that Geometry," Center for Inter-American Rela- chronology is a selection of events and works include video works by Serge Boutourline, tions. An installation using television moni- that have been influential in the development Nam June Paik, Aldo Tambellini, and others . tors in exhibition sponsored by the Instituto Tella Buenos Aires. of video . The compilation of a comprehensive Rockefeller Foundation awards first video Torcuato di . overview of the medium is a major aspect of fellowship . Washington, D.C . Cybernetic Serendipity: The this Museum's video program; we welcome Electronic Blues by Nam June Paik in "Lights Computer and the Arts, The Corcoran Gallery. additional information from readers. in Orbit," Howard Wise Gallery. Viewer-par- Travels to Palace of Art and Science, San 1963 ticipation video installation . Francisco . Director of exhibition, Jasia Reic- hardt. Exhibition originated at Institute of Con- Exhibitions/Events Television/Productions temporary Art, London ; American showing Television Dii-Call/age by Wolf Vos- New York . Boston . WGBH-TV inaugurates artist-in-resi- augmented by work selected by James Ha ri- Gallery. First U .S. environmental tell Smolin dence program with grant from the Rocke- thas . Includes video work by Nam June Paik . installation using a television set . feller Foundation . Organizations What's . Mr . Silver? WGBH-TV. Host, 1964 New York . Black Gate Theater. for electrome- David Silver . Experimental collagelinforma- Television/Productions dia events . and Gate Theater, for experimen- tion series in which several dozen inputs are Boston . Jazz Images, WGBH-TV. Producer, tal independent cinema . Founded by Aldo mixed live and at random . Fred Barzyk Fiveshort visualizations of mu- Tambellini . San Francisco. Experimental Television Work- sic for broadcast: one of the first attempts Origi- shop, KOED-TV. Directors, Bruce Howard and Commediation . Video production group. at experimental television . nal members: David Cort, Frank Gillette, How- Paul Kaufman. Established with Rockefeller Gudstadt, Ken Marsh, Harvey Simon. Foundation grant. In 1969 renamed National ard 1965 Ends 1969 . Exhibitions/ Events Center to r Experiments In Television (N GET), funded by the Corporation for Public Broad- Young Filmakers/Video Arts . Educational or- York . Electronic Art by Nam June Paik, New casting and the National Endowment forthe ganizationwith training services, workshops, Galeria Bonino . Artist's first gallery exhibition Arts . Ends 1976 . production facilities . Director, Roger Larson in U .S . San Francisco, Ant Farm . Artists' media f New Cinema Festival I (Expanded Cinema Fes- 1968 architecture group. Founded by Chip Lord tival)TheFilm-MakersCinematheque Organized and Doug Michels: joined by Curtls Schreier uses Exhibitions/Events by John Brockman . Festival explores in 1971- Other members include Kelly Gloger, New York . Black: Video by Aldo Tambellini of mixed-media projection, including video, Joe Hall, Hudson Marquez, Allen Rocker, in "Same More Beginnings," Brooklyn Muse- sound, and light experiments. Michael Wright . Disbands 1978 . um . Organized by Experiments in Art and 1966 Technology. Land Truth Circus, Experimental video collec- tive Doug Hall, Diane Hall, Jody Electronic Art II by Nam June Paik, Galeria . Founded by Exhibitions/Events Proctor. In 1972 renamed Truthco; In 1975, Boniao New York, 9 Evenings : Theater and Engineering, T. R. Uthco. Ends 1978 . 69th Regiment Armory, Organized by Billy Intermedia'6B. Theater Workshop for Students Eye. Video Kluver . Mixed-media performance events and the Brooklyn Academy of Music. Orga- Santa Clara, Calif. The Electric Tim Barger, Jim Man- with collaboration between ten artists and nized by John Brockman . Funded through collective . Founded by Murphy, Michelle Newman, Skip forty engineers . Video projection used in the New York State Council on the Arts . dis, Jim Ends 1970 . works of Alex Hay, Robert Aauschenberg, Exhibition includes environmental video per- Sweeney. David Tudor, . formances, light and film projections, video- Ken Dewey with Jerry Walter, Television/Productions Selma Last Year by Ken Dewey, New York Film tapes. Video by with George Fan, do Tambellini . New York . The Underground Sundae by Andy Festival at Lincoln Center, Philharmonic Les Levine At Warhol . Warhol commissioned to make sixty- Hall Lobby. Multichannel video installation Iris by Les Levine . First shown publicly in second commercial for Schraffs Restaurant . with photographs by Bruce Davidson, music artist's studio Sculpture with six monitors by Terry Riley. and three video cameras, commissioned by San Francisco. Sorcery by Loren Sears and Mr . and Mrs. Robert Kardon . Collection, Phila- Robert Zagone . Experimental Television Work- 1967 delphia Museum ol Art. shop, KQED-TV. Live-broadcast program using special-effects imagery. Exhibitions/Events The Machine as Seen at the End of the Mechanical Minneapolis. Light/Motion/Space, Walker Art Age, The Museum of Modern Art. Director of 1969 with Howard Wise exhibition, Pontus Hulten . Exhibition includes Center in collaboration Exhibitions/Events Gallery, New York . Travels to Milwaukee Art video art, particularly Nam June Paik's Nixon Howard Center . Includes video works by Nam June Tape, McLuhan Caged, and Lindsay Tape 0n New York . TV as a Creative Medium . Video Projects, Organiza- tapes by Isaac Abrams, Shridhar Bapat, Ithaca, N.Y. Ithaca 1972 exhibition de- rope, Latin America. grams. Founded by Arthur Ginsberg, Skip Wise Gallery . First American Randolph Carter, Douglas tion for promotion of electronic communi- Sweeney. Directors: Joanne Kelly, Skip Swee- Stephen Beck, John Exhibitions/Events voted entirely to video art . Works by Serge Warehouse Show, Leo Castelli Gallery. Includes Emshwiller, cation . Director, Phiilip Mallory Jones. Davis, Dimitri Devyatkin, Ed Minneapolis. First Annual National Video Fes- Boutourline, Frank Gillette and Ira Schneider. video installation by Keith Sonnler. ney. Richard Felclano, Carol Herzer, Joanne Ky- Lanesville, N.Y . Media Bus. Founded by the Design (for- tival, Minneapolis College of Art and Nam June Paik (with Charlotte Moorman), Plainfield, Wt . The First Gathering: Alternate Syracuse, N.Y. Synapse Video Center Alwin Nikolais, Nam . Media center begins producing ger, Richard Lowenberg, Videofreex and . Organized by Tom Relback, Paul Ryan, John Seery, Eric merly University Community Union Video) . Earl Media Project, Goddard College. Media con- June Paik (with Charlotte Moorman), Charles "Lanesville TV," weekly program about the screenings, cen- Drysdale . Consists of workshops, Siegel, Thomas Tadlock, Al do Tambellini, Joe ference. Video production and post-production Siegel, Skip that is the first low-power tele- Phillips, Terry Riley, Eric community panel discussion . Participants include Peter Weintraub. ter. Directors include Lance Wisniewski, San Francisco. Body Works, Museum of Sweeney, Aldo Tambellini, Steina and Woody vision (LPTV) station. In 1979 Media Bus Emshwiller, Nam 1980 . Campus, Russell Connor, Ed . Corridor by , Henry Baker. Closes Woodstock and operates a post- Conceptual Art. Videotapes by , Vasulka, WGBH-TV RobertZagone . moves to June Paik, Barbara Rose, Ira Schneider, Nicholas Wilder Gallery. Installation with facility, distribution and con- Terry Fox, Bruce Nauman, Dennis Oppenheim, Ten Video Performances, Finch College Museum production George Stoney, Al do Tambell ini, Gene Young- video. Television/Productions sulting services, and produces programming Keith Sonnler, William Wegman . Organized of Contemporary Art. Organized by Elayne blood. Boston . Nam June Palk and Shuya Abe de- . Current members: Nancy Cain, To be by Willoughby Sharp. First video exhibition Varian . Works by Vito Acconci, Peter Campus, for cable Bykert Gallery. velop Palk/Abe synthesizer while artists-in- New York . Peter Campus, Organizations on the West Coast. Graham, Alex Hay Bruce Carey, Bart Friedman . Douglas Davis. Dan One-man show with video installations. Cambridge. Center for Advanced Visual Studies, residence at WGBH-TV. Philo T. Farnsworth Video Obelisk by Skip Nauman, Claes Oldenburg, Nam June Paik, New York . Alternate Media Center, School of (MIT). First Women's Video Festival, The Kitchen at Massachusetts Institute of Technology Violence Sonata by Stan VanDerBeek, WGBH- Rauschenberg, Steve Reich, Eric Sie- the Arts, New York University . Funded by Sweeney, Intersection Theater, Multichannel Robert by Susan Established for artists to explore art and TV Live broadcast performance with video- ex- Mercer Arts Center . Organized video installation . gel, Simone Whitman. the John and Mary Markle Foundation to technlogy. Founded by Gyergy Kepes. Direc- tape, film, and participation of studio and Milano . Includes work by Jackie Cassen, in alter- plore the uses of broadcast telecommunica- Waltham, Mass . Vision and Television, Rose Perception, Group of artists interested Maxi Cohen, Yoko Maruyama, Susan Milano, tor, . phone-in audience on theme of violence . tions. Founded by Red Burns and George Art Museum, Brandeis University . Organized native uses of video, explore video program- Queer Blue Light Video, Keiko Tsuno, Steina New York . Channel One. Video theater offering New York . Eric Siegel builds Electronic Video Stoney . Director, Red Burns. by Russell Connor . Works by Frank Gillette, ming in conjunction with Electronic Intermix. and Wood yVasulka, Women's Video Collec- comic programming featuring Chevy Chase. Synthesizer with financial assistance from Kitchen, Screening and perfor- Ted Kraynik, Les Levlne, Eugene Mattingly, Founded by Eric Siegel and Steina and Woody The Electronic tive ; and dancelvideo performance by Judith Director, Ken Shapiro, Technical Director, Eric Howard Wise . center for the electronic arts at Mercer Nam June Paik (with Charlotte Moorman), Vasulka. Subsequent members: Juan Down- mance Scott, Elsa Tambellini . Siegel . Reilly and Rudi Stern, Paul Ryan, Ira San Francisco. Stephen Beck builds Direct Frank Gillette, Beryl Korot, Andy Mann, Arts Center . Founded by Steina and Woody John ey, Ninth Annual New York Avant-Gardo Festival, Global Village. Begins as video collective with Schneider, Eric Siegel, Aldo Tambellini, Jud Video Synthesizer 1 . funded in part by the Ira Schneider. Disbands 1973 . Vasulka, Andres Mannik . Subsequently The Alexander Hamilton Hudson Riverboat. Di- Information and screening center Becomes Yalkut, USCOllntermedia, Videofreex, Joe National Endowment for the Arts. work- Kitchen Center for Video, Music and Dance. T. P, Video Space Troupe . Experimental rector, Charlotte Moorman. Includes special media center devoted to independent video Video Directors include Shridhar Bapat, Di- Weintraub. shop exploring two-way video. Founded by video projects by over fifteen artists. production with emphasis on video documen- Publications members include mitri Devyatkin, Carl ota School man, RoseLee Shirley Clarke . Original . First St . Jude Invitational tary . Founded by John Reilly, Ira Schneider, Film and Video Makers Travel Sheet (Pittsburgh: Goldberg, Jackie Kain, Greg Miller, Tam Santa Clara, Calif Organizations Wendy Cl arke, Bruce Ferguson, Andy Gurian . Art Mu- Stern. Directors. John Reilly and Julie Museum of Art, Carnegie Institute) . Monthly Bowes, Amy Taubin of Video Art, de Saisset Gallery and Rudi Disbands 1977 . Binghamton, N.Y. Experimental Television Cen- seum, University of Santa Clara Organized Gustafson. listing of artists' appearances, new works, Open Channel. Organization for development ter. Originally Community Center for Televi- Women's InterarlCenter.Organization to create by David Ross . Works by , Raindance Corporation. Collective formed for events . of public access Produces community pro- sion Production . Productlonlpost-prod uction interdisciplinary collaboration involving Lynda Benghs, George Bolting, Douglas Davis, experimental production . In 1971 becomes Radical Software (New York : Raindance Foun- gramming, conducts workshops, school pro- center emphasizing synthesized and comput- writers, visual artists, performance artists, deofreex,WitIiamWegman . film and Talk aIimura Vi Raindance Foundation, devoted to research dation) . Alternative video magazine and in- post-production grams, and organizes talent pool of er-generated imagery Directors, Ralph Hock- video artists. In 1972 begins Davis: An Exhibition and development of video as a creative and formation channel for distribution and ex- television professionals to produce public- Syracuse, N.Y. Douglas ing and Sherry Miller . In 1979 moves to center . Offers workshops, produces video- TheaSklo- Inside and Outside the Museum, Everson Mu- communications medium, with screen Ing pro- change of video works. Published 1970-74, . Direc- access programming . Founded by Owego, N.Y . tapes, sponsors artists-in-residence Art, with WCNY-TV. An exhibition gram . Members: Frank Gillette, Michael Sham- vols . 1-2. Coeditors, Phyllis Gershuny and ver. Director of Programming . Lee Ferguson . seum of Por- tor, Margot Lewitin. Video directors include Jaffe: Menlo Park, Calif. Media Access Center, with live telecast, "Talk Out!" berg, Steve Salonis, Marco Vassi, Louis Beryl Korot. Publishers, Ira Schneider and Goldberg, Susan Mi- Ends 1976 . tola Institute . Alternative television resource Carolyn Kresky, Jenny soon after, Ira Schneider and Paul Ryan . and Michael Shamberg . Nam June Paik, . Tapes, emphasizing community and high school lano, Ann Volkes, Wendy Clarke, Veronica then Beryl Korot. installations, and performance, with Char- Expanded Cinema by Gene Youngblood (New Geist. video programs . Original members: Pat Crow- TelevisionlProductions . Videafreex . Experimental video group . Mem- York : E . P. Dutton). First publication to cover lotte Moorman ley, Richard Metter, Allen Rucker, Shelley Media Equipment Resource Center (MERCI, initiat- Boston, Video Variations, WGBH-TV. Collabo- bers Skip BI umberg, Nancy Cain, David Cart, video art. Surpin . Ends 1972. ed by Young Filmakers/Video Arts . Equip- ration between Boston Symphony Orchestra Bart Friedman, Davidson Gigliotti, Chuck and organiza- Russell Connor, New York . Creative Artists Public Service ment loan service for artists and artists Jackie Cassen, Organizations Kennedy, Curtis Ratcliff, Parry Teasdale, 1971 as access service Manos, Nam June (CAPS) awards fellowships in video. tions. in 1977 reorganizes Douglas Davis, Constantine Buffalo, N.Y. Media Study/Buffalo. Center for Carol Vontobel, Tunie Wall, Ann Woodward Exhibitions /Events with TV studio, equipment loan, and post- Paik, James Seawright, Stan VanDerBeek, exhibition . Presi- Electronic Arts Intermix, Founded by Howard videotape production and Berkeley, Calif. Tapes from All Tribes, Pacific production divisions. Tsai Wen-Ying . Produced by Fred Barzyk . /Electronic Arts Wise after he closes his gallery; incorporated dent, Gerald O'Grady, Video Television/ Productions Film Archive, University of California Orga- New Orleans. New Orleans Video Access Center New York, Artists' Television Workshop, WNET- Curator, John Minkowsky. Medium, WGBH- 1971 . Explores video as a medium of personal Boston . The Medium Is the nized by Video Free America. Exhibition of through VISTA to provide through efforts of Jackie expression and communication. In 1972 es- INOVAC). Founded TV . Established New York . Castelli-Sunnabend Videotapes and TV . Produced by Fred Barzyk, AnneGresser, videotapes by over 100 American artists. facility In video access to law-income community. Be- Cassen, Russell Cc nnor, Nam June Paik, with distribution service. Founded works by tablishes editinglpost- production Films. Videotape Pat Marx . First presentation of The Television Environment, University Art Mu- production center with access . grant from New York State Council on 1973 begins Artists Videotape Distribution comes initial by Lea Castelli and IIeana So nnabend . Direc- independent video artists aired on television . Adler and John projects by Service. seum . Produced by William Syracuse, N.Y. Everson Museum establishes the Arts to support experimental tors include Joyce Nereaux, Patricia Brun- Thirty-minute program with works by Allan Margolies for Telethon . Circulates through museum, independents . New York State Council on the Arts forms first video department in a major dage . Kaprow, Nam June Paik, Otto Piene, James Arts . American Federation of under direction of James Harithas . Video cu- New York City mandates public access as (OCTV] . Seawright, Thomas Tadlock, Al do Tam bellini. TV/Media Program. Directors include Peter Downtown Community Television Center York Avant-Gardo Fes- Richard Simmons franchise . Bradley, Paul Ryan, Russell Connor, Gilbert New York. Eighth New rators include David Ross, part of its cable Educational and production organization . New York . Subjectto Change, SON Productions Regiment Armory . Director, Char- . Konishi, Lydia Silman, Nancy Legge, John tival, 69th Department closes 1981 Providence, R.I . Satellite program of the Founded by Jon Al pert, Keiko Tsuno for CBS. Produced by Don West . Program of lotte Moorman. Individual video projects by National Endowment for for Experiments in Television Giancola . Washington, D.C . National Center Fill Corday Productions. Organization to assist videotapes initiated by Don West with CBS Shirley Clarke, Douglas Davis, Ken Dominick, the Arts Initiates Public Media Program Direc- (NCET) established by Brlce Howard at Rhode Founded by Carlota and produced by Vi deotreex and other mem- People's Video Theater, Alternative video jour- or artists' production Ralph Hocking. Nam June Paik, Eric Siegel, tors Include Chloe Aaron, Brian Doherty . Island School of Design ; also at Southern bers of the video community. Videotapes pro- nalism collective emphasizing community Schoelman. Steina and Woody Vasulka, Videotreex . In 1977 becomes Media Arts Program . Methodist University, Dallas . and Southern duced on ail aspects of the counterculture video and political Issues . Conducts weekend Survival Arts Media. Video collective empha- Electronic Art III by Nam June Paik and Shuya Illinois University, Ed wardsville . (alternate schools communes . radicals . screenings in which the audience discussions Washington, D.C . Fifty independent produc- sizing community education and health pro- Abe with Charlotte Moorman, Galeria Bo nino . . Electronic Hokkadim I by Black Panthers, riots, demonstrations, etc.)- are taped and replayed Founded by Elliot ers from numerous video collectives join Washington, D.C grams, programs on artists and artistic pro- Exhibition with Paik-Abe synthesizer Davis, Corcoran Gallery of Art, and Never broadcast. Glass, Ken Marsh. Members include Judy together to videotape Mayday anti-Vietnam Douglas cesses, and multimedia shows. Members in- Bill Beck- with two-way Fiedler, Howard Gudstadt, Molly Hughes . Installation works by Vito Acconci, War demonstration. Their videotapes of po- WTOP-TV. Live broadcast piece clude Gail Edwards, Howard Gudstadt, Molly at 93 Grand . 1970 Ben Levine, Richard Malone, Elaine Milosh, ley, Terry Fox, William Wegman litical speeches and organizations, riots, ar- communication via telephone Hughes, Ben Levine, Danny Luciano, Richard Willoughby Sharp. Exhibitions/Events Richard Nusser . Street . Organized by rests, and events are collectively edited at Malone Art Projects: Keith Sunnier, The Museum of Modern Videofreex Prince Street studio, New York . New York. A.I .R . by Les Levlne in "Software," San Francisco. Museum of Conceptual the Publications Rochester, N.Y. Portable Channel. Video re- . Alternative museum created for per- Art. Environmental video installation . Begin- visiting artists the Jewish Museum . Curator,Jack Burn ham. (MOCA) Guerrilla Television by Michael Shamberg and source center with workshops, multimedia art. Founded by ning of "Projects" exhibition program. productions. Di- Eighteen-monitor video installation . formance and Organizations Raindance Corporation (New York Holt, Rine- series, equipment access, Tom Marioni. A Special Videotape Show, Whitney Museum of alternative rectors include Bonnie Klein. $anford Rock- information. The Museum of Modern Art. Cu- Chicago. Videopolis . Video /resource teaching hart, and Winston) . Manual of America. Video production group American Art. New American Filmmakers owitz, John Ca met io, Robert Shea, Tim Kelly. rator, Kynaston McShlne. Exhibition includes Video Free center . Founded by Anda Korsts . Closes 1978 television with graphics by Ant Farm . pro- Series .Organized by David Bienstock . Video- videotapes and installations from U.S .. Eu- with post-production and screening

42 Rosenbach, Richard Serra with Robert Bell, San Francisco. La Mamelle. Artists' space Festival . initiated by Video Study Center of ter. In 1979 Film Study Center begins work- SL Louis. Double Helix, Media Center with Publications for . audio, and marginal works. Direc- Global Village exhibitions in video. Willoughby Sharp. Keith Sonnier. William video production and post-production facilities, shops and Between Paradigms: The Mood and its Purpose Wegman . tors, Carl Loeffler and Nancy Frank . 1975 Biennial Exhibition, Whitney Museum of audio/video workshops. Rochester, N.Y.-Visual Studies Workshop es- by Frank Gillette (New York : Gordon and Seattle. and/or, Space for multimedia exhi- American Art. Includes work by eighteen tablishes media center . Production facility Syracuse . Vldea'n' Videology: Ham June Paik, San Francisco. Optic Nerve. Documentary Breach). 1979 video artists. 1959-73, Everson Museum of Art . Curator, bitions, productions, performance art. In production collective producing political and with workshops and exhibitions. Begins pub- Print (New York RC Publications). Special establishes 911, Video Library. In 1981 media Projected Video, Whitney Museum of American lication of Afterimage with coverage of video. David Ross . Retrospective of artist's video- social documentaries . Original members in- video issue. Guest editor, Robert de HavilIand . program becomes Focal Point Media Center . by William Adler Director, Nathan Lyons. Media center coor- tapes, with catalog edited by Judson Rose- Art Projected videotapes clude Lynn Adler. Jules Backus, Jim Mayor. Contributors : Fred Barzyk, Rudi Bass, Rose Founded by Ann Focke, Robert Garner . Ken John Baldessari, Lynda dinators include Wayne Luke, Laddy Kite, bush . and John Margolies, Sherrie Rabinowitz . John Rogers, Mya Shone. DeNeue, Bernard Dwelt, Sheldon Satin, Mi- Leback . Video Curators, Norie Sato, Heather Davis, Bill ArthurTsuchlya, Nancy No rwood. Video and the Museum, Everson Museum of Benglis, Peter Campus, Douglas Disbands 1979 . chael Shamberg . Oakson , Nam Art. Organized by David Ross . Funded by the Etra Hermine Freed, Top Value Television (TVTV) . Independent docu- Serra, Keith Sonnier, Rockefeller Foundation . Conference with June Falk, Richard mentary production group forms to provide 1973 Television/Productions Television/Productions Vasulka, William Wegman . workshops for curators and administrators Steina and Woody alternative coverage of the Democratic and Exhibitions/Events New York . Steve Rutt and Bill Etra develop on the role of video in the museum . Concur- Boston . New Television Workshop, WGBH-TV. Philadelphia . Video Art, Institute of Contem- Republican conventions in Miami, the first Rutt/Etra scan processor. Los Angeles. Willian Wegman, Los Angeles rent, exhibitions : Peter Campus, Closed Cir- Established with grant from the Rockefeller porary Art, University of Pennsylvania . Cu- use of half-Inch videotape on broadcast tele- San Francisco Mu- County Museum of Art . Exhibition of draw- San Francisco. Videola, cuit Video, Juan Downey, Video Trans Ameri- Foundation and through the efforts of David rator, Suzanne Delehanty . Exhibition docu- vision . Original production by Hudson Mar- Environmental sculpture by Don ings and tapes. seum of Art . cas De-Briefing Pyramid (a video /dance per- Atwood, Fred Barzyk, Dorothy Chiesa, Ron menting the development of video art through quez, Allen Rucker, Michael Shamberg, Tom with multiple display of synthesized New York . International Computer Arts Festi- Hallock formance with Carmen Beuchat) : Andy Mann, Hays, Rich Hauser, Olivia Tappan . Director, videotapes and installations. Travels to Con- Weinberg, Megan Williams, and members of works created at National Center for val, The Kitchen at Mercer Arts Center. Or- video Video Matrix ; and Ira Schneider, Manhattan Fred Barzyk . Producers Include Dorothy temporary Art Center, Cincinnati : Museum Ant Farm, Raindance, and Videofreex collec- Experiments in Television (NCET), KOED-TV. ganized by Dimitri DevyatkIn.Inc]udes music. Is an Island . Chiesa, Susan Dowling . Nancy Mason Hauser, of Contemporary Art, Chicago, Wadsworth tives. Other members of TVTV include Wendy Works by Stephen Beck with Don Hallock OliviaTappan . and Paulo poetry, film, video . Washington, D.C . Art Now 74: A Celebration Atheneum, Hartford, Conn.; Sao Apple, Michael Couzens, Paul Goldsmith, and Ann Turner, William Gwln with Warner Brazil . The Irish Tapes by John Reilly and Stefan of the American Arts, John F. Kennedy Center Video: The New Wave, WGBH-TV. Program of Biennale, Sao Paulo, Betsy Guignon, Stanton Kaye, Anda Korsts, Jepson, Don Hallock. The Kitchen at Mercer Arts Center . Arts Includes twenty-three video artists, including David Atwood, Ste- San Francisco. Media Burn by Ant Farm, Andy Mann, Elan Soltes . Disbands 1977 . Moore, for the Performing . Installation with three channels and twelve videotapes . phen Beck, Peter Campus, Douglas Davis, Ed Cow Palace . July Fourth pert or mance/media Woodstock, N.V. Woodstock Community Video. Publications monitors . Emshwiller, Bill Etra, Frank Gillette, Don Hal- event. Production center and resource for commu- Spaghetti City Video Manual by the Videofreex Organizations lock Ron Hays, Nam June Paik, Otto Piene, Art Fes- 1973 Biennial Exhibition, Whitney Museum of Alternative equipment Moebius Video Show, San Francisco nity video . Initiates local cable programming. (New York Praeger), Rudi Stern, Stan VanDerBeek, William Weg- in Sayville, N.Y. Inter-Media Art Center pMACI, tival. First exhibition of video in the Art Begins Artists' TV Lab, which moves to Rhine- American Art. First inclusion of video manual . Multipurpose production facility with post- man . Writer and narrator, Brian O'Doherty. Festival . Includes work by Ant Farm, Terry beck in 1976 . From 1975 to 1977 presents Biennial exhibition . Includes videotapes by production workshops and exhibitions. Direc- New York . Cuba: The People by Jon Alpert Fox, Phil Garner, Joanne Kelly, Darryl Sapien, Woodstock Video Expovlsion, a festival of seven artists and installation by Peter Cam- 1974 tor, Michael Rothbard . and Kelko Tsuno, Public Broadcasting System Skip Sweeney. New York State artists . Founded by Ken pus. Exhibitions/Events Calif. Long Beach Museum of Art (PBS). First documentary videotape using Langton Marsh Members include Barbara Buckner, Tenth Now York Avanl-Garde Festival, Grand Long Beach, Walk Series by Peter D'Agostino, 80 Ithaca, N.Y. First Annual Ithaca Video Festival, video exhibition program and col- half-inch color equipment to be broadcast first event at Bob Dacy, Gary Hill, Steven Kolpan, Elaine Central Station. Director, Charlotte Moorman, begins Street . Video installation and Ithaca Video Projects . In 1976 festival begins lection of videotapes . Video curators include by public television . alternative space ini- Milosh . Ends 1978 . Includes special video projects by over seven- 80 Langton Street, an to tour . . In WXXI- teen artists. David Ross, Nancy Drew, Kathy Huffman Rochester, N.Y. Television Workshop, tially sponsored by the San Francisco Art Los Angeles. Collector's Video, Los Angeles 1976 begins production center with funding TV . Directors include Ron Hagell, Pat Faust, Dealers Association. In 1976 becomes an in- Syracuse, N.Y. Circuit: A Video Invitational, County Museum of Art. Organizer, Jane from the Rockefeller Foundation : in 1979 pro- Garvln Elson. Ends 1981 . dependent space with emphasis on alterna- Television /Productions Everson Museum of Art. Curated by David Livlngston . Works by John Baldessari, Peter duction is moved to new facility and called tive art forms . Boston . Music Image Workshop, WGBH-TV. Pro- Ross . Traveling exhibition of videotapes by Campus, Terry Fax, Frank Gillette, Nancy the Station/Annex. Publications ject by Ron Hays using Pa ik-AbesynIhesizer over sixty-five artists. Travels to Henry Gal- Holt, Joan Jonas Paul Kos, Richard Landry, New York . Anthology Film Archives begins Arts Magazine (New York : Art Digest) . Special to produce tapes relating to music and video lery, University of Washington, Seattle, Cran- Organizations Andy Mann . Robert Morris, Bruce Nauman . video program . Director, Jonas Mekas. Video video issue. Contributions by Eric Cameron. imagery. brook Academy of Art Museum, Bloomfield Harford, Conn . Heal Art Ways . Arts center Richard Serra . Keith Sonnier, William Weg- Curators include Shigeko Ku bota, Bob Harris . Russell Connor, Hermine Freed, , The Very First On-the-Air Half-Inch Videotape Fes- Hills, Mich .: Kalnischer Kunstverein Cologne, with video exhibitions and library. Video man. Includes exhibition, preservation, archive of Shigeko Kubota, Bob and Ingrid Wiegand . tival Ever : People Television, WGBH-TV. Pro- West Germany: Greenville County Museum coordinators include David Donihue Gary Minneapolis. New Learning Spaces and Places, videotapes and printed matter, screenings . of the Sacred by Paul Ryan (Garden duced by Henry Becton with Fred Barzyk, of Art, Greenville, S.C . ; and in 1974, Museum Cybernetics Hogan. Ruth Miller . Walker Art Center . Includes installation by In 1983 begins publication of Video Texts, City, N.Y.: Anchor Press/Doubleday) . Dorothy Chiesa Live studio event including at Fine Arts, Boston New York . Independent Cinema Artists and Pro- Frank Gillette and videotapes by James an annual magazine on video art organized home viewer call-ins, tape screenings, and Frank Gillette : Video Process and Meta-Process, Independent Video, A Complete Guide to the Phys- ducers (I CA P) forms to represent independent Byrne, Peter Campus, Juan Downey, Frank by Robert Haller . Bob Harris . of the New Tele- interviews with artists, engineers, business Eversan Museum of Art. Videotapes and in- ics. Operation, and Application film and video artists to cable systems. Pres- Gillette, Andy Mann, Ira Schneider, University Association of Independent Video and Filmmakers people, educators . students. stallations . vision for the Student, Artist and for Community ident, Kitty Morgan . Community Video, William Wegman- (AIVF) Founded by Ed Lynch . Directors in- TV by Ken Marsh (San Francisco: Straight Chicago. Dan Sandin builds Image Proces- The Museum of Modern Art begins collection Projected Images, Walker Art Center . Includes clude Alan Jacobs, Lawrence Sapadin . Arrow Books) . sor, and eventually, with Phil Morton, makes of videotapes . Organizations video installation by Peter Campus and per- National trade association of independent plans avaiIableto artists. The Prime Time Survey by Top Value Television Chicago. University o1 Illinois at Chicago. Dan formance with video with Joan Jones. producers and individuals Begins publishing . Report on status of video and its New York, Scope-mates by Ed Emshwiller, (TVTV) Sandin and Tom DeFanti initiate video/com- The Independent on media issues- In 1975 Television/ Productions . New York . Electronic Art IV by Nam June directions . the Television Laboratory at WHET/Thirteen New York . Video and Television Review (VTR), puter graphics courses Paik GaleriaBonina. establishes The Foundation for Independent Videotape with complex mixing of live actors . Video and Film (FIVE) as an educational the Television Laboratory at WNET1Thirteen. Minneapolis. University Community Video Open Circuits : The Future of Television, The 1975 and computer graphics . Executive Producer, Carol Brandenburg. Year- Center devoted to independent production, organization . WHET/Thirteen. Museum of Modern Art. Organized by Fred Exhibitions/ Events The Television Laboratory at . ly broadcast series of tapes from U.S . and In 1981 begins exhibition and distribution Barzyk, Douglas Davis, Gerald O'Grady, Wil- Anna Canapa Video Distribution (originally Video Dallas . The Eternal Frame by T. R. Uthco and Directors include David Loxton, Carol Bran- Europe-In 1979 renamed Vi deoJFiIm Review . New Cable Arts Foundation . Founded by Dyke . International video conference Distribution . Inc.) . Distribution service of art- Reenactment John F. Kennedy denburg. Founded with grants from the Rock- York . lard Van Ant Farm . of Gonnar .0rganization for production with exhibition of tapes. Participants include ists' tapes. in- efeller Foundation and New York State Coun- Russell assassination for videotape. Presented as 1976 and distribution of anthology and art series museum educators and curators, cable and The Kitchen Center for Video. Music and Dance stallation at Long Beach Museum of Art in cil on the Arts . First year initiates artist-In- to cable systems and for encouragement of educational television producers, artists and (formerly The Electronic Kitchen) relocates Exhibitions/Events residence program with Shirley Clarke, 1976 . local arts programming. art critics from U .S ., Canada, Latin America, to Broome Street and begins daytime exhi- Berkeley, Calif. Commissioned Video Works, Douglas Davis. Ed Emshwiller, Nam June Long Beach, Calif. Southland Video Anthology, awards Europe, Japan . bition program. inaugural show includes vid- University Art Museum . Organized by Jim Paik . John Simon Guggenheim Foundation Long Beach Museum o1 Art . Extended series first video fellowship . Projects: Video, The Museum of Modern Art eotapes and three video installations by Bill five exhibitions by California artists Melchert Fifteen artists commissioned to San Francisco. Electronic Notebooks by Ste- of . Curator, Barbara London . Beginning of con- Viola . make tapes of under four-minute duration . phen Beck, KQED-TV. Series of tapes produced Visual Resources. Director, Eva Kroy Wisbar Americans in Florence, Europeans in Florence, tinuing series of video exhibitions. Program Providence, R.I . Electron Movers . Video art Includes Eleanor Anti n. David Askevold, Siah with Bill Gwin, Don Hallock, Warner Jepson, Distribution/information service including Long Beach Museum of Art. Organized by expands with funding from the Rockefeller collective with gallery space, equipment re- Armajanl, John Baldessari, Robert Cumming, Bill Roarty, Willard Rosenquist . video . Publishes Art & Cinema, including Maria Gloria Bicocchi and David Ross . Trav- workshops, and visiting artist se- John Fernie . Hilla Futterman, Leonard Hunter, coverage of video. Foundation in 1976. sources. eling ex hibltionwith videotapes produced by Washington, D.C . The Federal Communica- Les Levine Paul McCarthy, 112 Greene Street . Video ries Founded by Dennis Hlynsky, Robert Anda Korsts (FCC) requires that all Portland, Ore. Northwest Film Study Center Video Performance, Art/Tapes/22, Florence . tions Commission Jungels, Laurie McDonald . Alan Powell . In George Miller, Dennis Oppenheim, Robert public- initiates Northwest Film and Video Festival performances by Vito Acconci, , cable franchises have at least one Annual Video Documentary Watts, William Wegman . Bill Fos- , Dennis Cppenheim, Ulrike 1975 Ed Tannenbaum joins. Disbands 1980 . New York . First access channel . Directors include Robert Sitton and 44 . Peter JaimeDavidovitch . McClard WiIIougInby Sharp. In 1983 becomes Rosler . Herbert Schiller . Allan Sekula Boston . Changing Channels, Museum of Fine Davidovich .IndependentorganizatIonior in- cutive Producer, David LOxlon, Coordinator, show . Director . Cast Iron TV and programming diversifies Wollen . Arts and Museum School Gallery. Exhibition novative arts programming on cable televi- Kathy Kline. Established at the Television Potato Woll . Collaborative Projects . Artists' Producer . Liza Bear . Francisco. First Annual San Francisco of videotapes produced by independent art- sion . ln 1977 becomes Artists' Television Net- Laboratory with grants from the Ford Foun- television series for cable begins as live show San Television, . Broad- Agetstein. As- ists at experimental television broadcast work dation and the National Endowment for the and evolves into diversified programming Non-Fiutiun WHET/Thirteen Video Festival . Director, Steve Arts to stimulate the production of indepen- emphasis on narrative and performance- cast series far Independent Documentary sistant Director . Wendy Garfield Begin pub- centers: WGBH, Boston ; WHET, New York ; Image Union. Independent production company with . lishing Video 80 as festival catalog Now and KQED, San Francisco. forms to offer alternative coverage of the dent documentaries. oriented work involving artists from diverse Fund Regularproducers IncludeCaraBrow- Pro. called SEND and published as a quarterly . Democratic National Convention and Election New York and San Francisco. Send/Re- media Public Interest Video Network. Executive San Francisco, Video Art: An Overview, San Dimartino, Julie Night. The Five-Day Bicycle Race and Mock nell . . Albert ducer. Kim Spencer. Senior Editor, Nick De- Yonkers, N.Y. Alternative Spaces. Hudson Francisco Museum of Modern Art. Organized ceive Satellite Network, Coordinators Liza Bear Harrison . Robert Klein. Terry Mohre . Alan Martino. Independent production company River Museum . Series of exhibitions employ- thirty-three vid- Turtle Soup, taped segments with live phone- and Keith Sonnier with support from the Pub- by David Ross . Exhibition of Moore, Brian Piersol. Gary Pollard. Mindy and Educa- planetarium. Includes video in interviews, are shown on Manhattan Cable lic Interest Satellite Association (PISA) and financed by the Urban Scientific ing Museum's eotapes by twenty-nine artists. Insta¬lotions Stevenson. Jim Sutcliffe. Maria Thompson . presents live satellite Mary Lucier, Francesc Torres Television NASA . Two-way satellite transmission be- tional Research (USER) installations by by Peter Campus, Paul and Marl one Kos, Nam Sally White . antinuclear demonstration in tween New York and San Francisco with si- coverage of an June Paik . casting Organizations Television/Productions multaneous performances . Participants, in Washington, D.C .. on the PublicBroad Syracuse, N.Y. New Work in Abstract Video PBS carries a live . Survival information Television, Video Art: An Anthology (New York : Harcourt . San Francisco: Margaret Fischer, Terry Fox, 1979 System (PBS). First time New Orleans imagery, Everson Museum of Art. Curator, whose editorial con- Installation in local welfare Office Brace and Jovanovich). Editors, Beryl Korot Brad Gibbs, Sharon Grace. Carl Loeffler . Exhibitions/ Events public affairs program NOVAC Richard Simmons . Works by forty artists tent was determined by an organization out- with social issues programming run on a and Ira Schneider. First anthology of video Richard Lowenberg, Alan Scarritt . In New Long Beach, Calif. NIA Vision, sponsored using synthesizers . lasers, and computers. side its system . repeating cycle . criticism and statements by video artists . York : Liza Bear, Richard Landry . Nancy by Long Beach Museum of Art Weekly cir- Television . La Foundation expands to Organizations Video: State of the Art by Joanna Gill (New Lewis, Richard Peck, Betsy Sussler, Willough- culating video screening series at Long Beach San Francisco. Produced for St . Paul . Jerome York : The Rockefeller Foundation) . Report on bySharp, Paul Shavelson, Duff Sc hweiniger, Museum of Art. Foundation of Art and Re- Ma melle and KTSF-TV. Live broadcast of per- award grants to video artists . Boston . Boston Film/Video Foundation, Offers video activity in the United States . Keith Sonnier. sources (FAR) and Highlands Art Agents . formance art Works by Chris Burden, Lynn screenings, educational programs, equipment Hershman and Rea Baldridge, Chip Lord and Television resources. Founded by Jon Rubln and Susan New York . Re-Visions : Projects and Proposals Phil Garner, Barbara Smith. Cambridge. Artists' Use of Telecommunications . 1977 Publications in Film and Video, Whitney Museum of Amer- Wall . Directors include Michelle Schofield and Organized by Center for Advanced Visual Organizations Tha New Television : A Public/ Private Art. (Cam- ican Art. Curator, John Hanhardt . Video Tom Wylie Publications Studies, Massachusetts Institute of Technolo- Atlanta. Image Film/Video Center (Indepen- bridge, Mass . and London : The MIT Press) . installations by Bill Beirne ; David Behrman, Chicago. Video Dala Bank, School of the Art Video-Archiieclure-Television: Writing on Video gy (MIT). Collaborative into ractivesIow-scan dent Media Artists of Georgia, Etc., Inc.) . Manifesto including essays from the Open Bob Diamond and Robert Watts: and Bulky Institute of Chicago . Distribution and resource Video Works by Dan Graham (Halifax, Nova TV conference link between Cambridge . New Media center with screenings, workshops, Circuits Conference at The Museum of Modern Schwartz . and artists and video center for videotapes on Art, New York, in 1974 . Scotia and New York : The Press of the Nova York . San Francisco. Long Beach Toronto, and equipment access . Begins the Atlanta Videotapes by British Artists, The Kitchen . Cu- art. Director, Lyn Blumenthal Scotia College of Art and Design and the New Vienna, Tokyo, and Vancouver. Independent Film and Video Festival (now rator, Steve Partridge. Works by David Crlch- New York . Asian Cine-Vision. Media center in 1978 York University Press) . Three Artists on Line in Three Countries. Three- the Atlanta Film and Video Festival), an an- ley, David Hall . Tamara Krikorian, Stuart Chinatown producing Asian-American pro- between Aldo nual international showcase . Directors in- Exhibitions/Events way slow-scan transmission Marshall . Steve Partridge. and others . 1980 gram series and programming far Chinese Piersimoni, Buffalo Vasufka: Steina-Machine Vision, Tambellini, Cambridge, Torn Klinkowstein, clude GaylaJamison, Anna Marie . Video from Tokyo to Fukui and Kyoto. The Mu- Cable Television . Conducts workshops, media Woody-Description.A]brig ht-Knox Gallery. Cu- Exhibitions/Events Amsterdam and Bill Bartlett, Vancouver. Marsha Rifkin . seum of Modern Art . Curator. Barbara Lon- and production services, and operates an rator, Linda L. Cathcart . Exhibition of tapes Berkeley, Calif. and New York . Video About Los Angeles and New York. Hale-in-Space Houston. Southwest Alternative Media Project don. A survey of the works of thirteen con- Asian-American Media Archive. In 1982 be- and installations. Video: Four French Artists, University Art Mu- by Kit Galloway and Sherrie Rabinowit,-Live (SWAMP) . Originally associated with the Rice temporary Japanese artists. Travels to Long gins Asian-American International Video Fas- seum . University of California, and Tele- interactive satellite project between Los Media Center at Rice University . Media center New York. Aransas. Axis of Observation by Beach Museum of Art. Long Beach, Calif. tival . Director, Peter Chow . . theque-Alliance Frangaise, New York . Works Angeles and New York with education program, lecture series, pro- Frank Gillette, The Kitchen. Travels to Con- Vancouver Art Gallery, Vancouver, B.C . ; and Donnell Library Center, New York Public Li- by Paul-Armand Gette, Philippe Oudard . Phi- d uctlonand post-production technical assis- temporary Arts Museum, Houston; University with "Video New York, Seattle and Los Minneapolis-St . Paul . Minnesota Landscapes . brary, establishes collection of videotapes . lippe Guerrier, Thierry Kuntzel. tance. Conducts Southwest Film and Video Art Museum . Berkeley ; and Academy of Fine Angeles" travels to Japan and Europe . KTCA-TV. Project Director, Peter Bradley. Founded by William Sloan. Video librarians Arts, Washington, D .C . Acquisltioned by Uni- Buffalo N.Y . Installation : Video, Hallwalls Series of videotapes on Minnosotafor broad- Tour, artist-in-residence program, and annual Syracuse, N.Y. Everson Video Revue. Everson have included Mary Feldstein, Michael Miller, versity Art Museum . Exhibition with work by Dara Birnbaum, Pat- cast . Works by Skip Blumberg, James Byrne Texpo film and video festival . Produces local Museum of Art. Curator, Richard Simmons. Michael Gitlin, Lishln Yu, include rick Clancy . Wendy Clarke . Brian Eno, Ken Steve Chrlstiansen . Davidson Gigliotti, Frank PBS series . "The Territory" Directors Video Viewpoints, The Museum of Modern Art. Exhibition with videotapes by over fifty art- Franklin Furnace. Alternative space with ar- Feingold, Dan Graham, Gary Hill, Sarah Gohlke, Cynthia Neal, Steina . Ed Hugetz and Tom Slms . Beginning of yearly lecture series by inde- ists . Travels to Museum of Contemporary Art, chive, bibliography, exhibition . performance Hornbacher, Shigeko Kubota New York . Locus Communications . Equipment pendent videomakers. Chicago; University Art Museum . Berkeley, programs . including video. Director, Martha Lake Placid, N.Y. Art at the Olympics, 1980 access center with workshops, technical pro- Pittsburgh . National Media Alliance of Media Callt ; in 1981, Museum of Contemporary Art, 1981 Wilson Winter Games. Videotapes by Skip Blumberg . duction services . cable programming, screen- Arts Centers (NAMAC) holds first conference . La Jolla, Calif. Exhibitions/Events Fitzgerald and John Sanborn, Nam June New American Filmmaker Series, Whitney Mu' ings . Founding Executive Director, Gerry Pittsburgh Filmmakers . Kit Hosted by Berkeley, Calif. University Art Museum, Uni- New York . First National Latin Film and Video seum at American Art. Continuing exhibition Pallor . Pailk. by Wendy Clarke, Frank Redington Beach, Fla. Chi nsegut FiImlVideo versity of California at Berkeley institutes Festival, El Museo del Barrio . of Independent film expands to include video Gillette, Ira Schneider, Buky Schwartz . Part Washington, N.Y. Port Washington Li- Conference. Founded by Charles Lyman and regular weekend programming . Organized by 1981 Biennial Exhibition . Whitney Museum of art. Director John Hanhardt . Long Beach, Calif. California Video. Long brary begins visiting artists program with Peter Melaragno. Conference with presenta- David Ross . Ends 1981 . American Art. Installations by Frank Gillette Pittsburgh . Independent Film and Video Pre- Beach Museum of Art, Curator, Kathy Huff- ex hibitlonsand presentations. Head of Media tions to promote interchange among invited Association and Buky Schwartz . New York . The Media Alliance . man- Works by Max Almy, Dan Boord, Ante view Network, Pittsburgh Filmmakers . Pro- Services, Lillian Katz participants and film- and videomakers. of media arts organizations and independent Stay Tuned, The New Museum . Organized by gram of organized preview screenings of Boznich, John Caldwell . Alba Cane Helen Venice, Calif. Video night by Same Serious producers in New York State designed juxtaposes artists' films and videotapes around the country. Television/Productions video DeMichiel, Tony Labal, Pier Morton, Tony Ned Rlfkln Exhibition Business . Weekly video screening series . to coordinate resources and promote the Patti Podesta. Joe Rees/ work in video with work in other media. In- Founded by Sally Dixon and Robert Buffalo, N.Y . Steina and Woody Vasulka and Oursler. Jan Peacock, work of the independent video community. cludes Robert Cumming, Brian Eno Charles Holler . Ends 1980 the Digital Image Target Video, Nina Salerno, Ilene Segalove, Jeffrey Schier begin work on programming. exhibition, produc- Pindell, Organizations Includes Starr Sutherland, "Captain Bruce Walker, Frazier. Donald Lipski, Howardena San Francisco. Bay Area Video Coalition foun- Articulator, a digital computer-imaging de- Jackle Chicago. Chicago Editing Center . Production/ tion, distribution . Directors include Bruce and Norman Yonemoto . , Allen Ruppersberg, Irvin Tepper . ded with grant from the Rockefeller Foun- vice . post-production facility with education and Kain . Robin White. Video Classics, Bronx Museum of the Arts . dation . Production1post-production center New York . Love Tapes in Now York by Wendy Chicago, 28RASS. Personal computer-graph- .ln 1980becomes Center with exhibition programs P.S . I begins video exhibition program arke . Live Interactive installation and tapes Curator. RoseLee Goldberg Installations by with workshops and exhibitions . Founding ics system designed by artist Tom DeFanti . Cl for New Television . Directors include Cynthia emphasis on installations. Video Curator. Bob Vila Acconci, Ban Graham, Shigeko Kubota. Director, Gail Waldron . Director, Morrie War- exhibited at the World Trade Center with Los Angeles. The Satellite Arts Project by Kit Neal . Joyce Bollinger- Harris- Rita Myers. Bruce Nauman . Dennis Oppen- shawski. selections shown on cable television and Galloway and Sherrie Rabinowitz . Live inter- WHET/Thirteen heim . Nam June Paik . active broadcast between California, Mary- TelevisionlPraductions Television /Productions Television/Society/Art. The Kitchen. Organized Rochester, N.Y. From the Academy to the Avant- Television/Productions land, and Washington . D.C. Chicago. Image Union, WTTW-TV. Produced Center for by Ron Clark and Mary MacArthur. Colloqui- Garde Visual Studies Workshop . Curator. Tom Weinberg- Weekly broadcast of in- New York . Communications Update . Los Angeles. Video Art. Los Angeles Theta New York . Documenta VI. Curator, Wulf Herzo- by Richard Simmons. Traveling exhibition with New Art Activities . Originally the WARC um presented by The Kitchen and the Ameri- Cable, Long Beach Cablevision. and Santa genrath . Satellite performance project with dependent work . Juan Downey . Howard Fried, (Wor10Admlnistrative Radio Conference) Re- can Film Institute Participants include Ben- videotapes by Barbara Cable TV . Cable series produced by Joseph Beuys, Douglas Davis, and Nam June New York . Artists' Television Network initiates Frank Gillette, Davidson Gigliotti, Tony La bat, port . Artists series for cable dealing with jamin Buchloh. Julianne Burton, Nick DeMar- Same Serious Business and the Long Beach Paik broadcast internationally from Kassel, "Soho Television," regular programming of Travels to Center for Art Tapes, political and communications issues . Original tino, Stephen Heath, Fredric Jameson. Rosa- Los Levine . Museum of Art. Ends 1979 . West Germany, presented through WHET-TV. artists' videotapes and performances, and Scotia, and Center for New Liza Bear, Rolf Brand. Michael lind Krauss . Mark Nash, Robert Sklar, Martha Halifax. Nova avant-garde variety producers New York . Cable Soho . President, Jaime Independent Documentary Fund, WHET-TV. Exe- of "The Live! Show," 46

Television, Chicago. to include video. Media organization for dis- Breuer, performed by Ruth Maleczech. Video work- by Craig Jones. Premiere performance of Washington, D.C . National Video Festival, tribution of independent work includes complete version of performance poem, SELECTED BIBLIOGRAPHY American Film Institute. Sponsor, Sony Cor- shops and state-wide directory o1 media ser- which incorporates extensive use of live and poration . Festival producer, Larry Kirkman ; vices, and acts as a liaison to cable. Director, recorded videotape. festival director, James Hindman.Installation Karen Wickery. River by Nam June Palk . Yonkers. N.Y. Electronic Vision, Hudson Television/Productions Museum . Curator, John Minkowsky. Instal- Organizations Los Angeles, The Artist and Television : A lations by Gary Hill, Ralph Hocking and Pittsburgh. Museum of Art, Carnegie Insti- Dialogue Between the Fine Arts and the Mass Sherry Miller, Dan Sand ln, Steina and Woody tute, expands its Film Section to the Section Media. Sponsored by ASCN Cable Network . Vasulka. of Film and Video, and opens Video Gallery. Los Angeles, and University of Iowa, Iowa New York and Long Beach, Calif. The Curator of riim and Video, William Judson . City . Interactive satellite telecast connecting Second Link : Viewpoints an Video in the Eighties . artists, critics, curators . and educators in Organized by Lo rne Falk . Walter PhillipsGal- Television/Productions Los Angeles. Iowa City, and New York . lery at the Banff Centre School of Fine Arts . (formerly Video 8D). San Francisco : New York and Paris. Double Entendre by New York . Disarmament Video Survey . Orga- United States showing at The Museum of BOOKS seum of Art. 1974 . SEND San Francisco International Video Festival . Douglas Davis Whitney Museum of Ameri- nized by Skip Blumberg, Wendy Clarke, Dee- Modern Art and Long Beach Museum of Art. Baitcock, Gregory, ed . New Artists Video. Global Village. New York . Video Documen- TeleVisions. Washington . D.C . Washingto n can Art and Centre Georges Pompidou, Paris. Dee Halleck, Karen Ranucci, Sandy Tolan. Curators, Peggy Gale, Kathy Hufiman, Bar- New York : E. P. Dutton, 1978 . taryFestival. New York : Global Village Video Community Video Center . Satellite telecast performance. Collaboration by over 300 independent pro- bara London, Brian McNevin. Dor'me Mignot, Resource Center . 1975- .(Annual). Television Washington, D.C ., San Europe, Canada, Davis, Douglas, and Si mmons. Allison, eds . TV Magazine New York : Artists' New York . Paper Tiger Television. Organized ducers from New York . Sandy Nairne Works from Institute of Contemporary Art. University of Network. by Diane Augusta, Pennee Bender, Skip Francisco Great Britain, Germany, Japan, U.S . International tour- The New Television: A PubliclPrivate Art. Cambridge. Mass., and London : The MIT Press, Pennsylvania . Video Art. Suzanne Delehan- Video Texts. New York : Anthology Film Ar- Blumberg, Shulae Chang, DeeDee Halleck, India, the Netherlands, Mexico, Brazil, and Television/Productions 1977 . ty, ed . Philadelphia : Institute of Contempo- chives . Caryn Rogolf, David Shulman, Alan Stein- other locations to compile one-minute inter- Videography. New York : United Business views with people about their views on nu- Beach, Calif. Shared Realities, Long rary Art. 1975 . heimer . Series on public-access television Long Gale, Peggy, ed . Video By Artists. Toronto: Publications . Inc. arms and disarmament. Survey shown that examines communications industryvia clear Beach Museum of Art . Executive Producer, Art Metropole,1976 . Long Beach Museum of Art. California Video. installa- the print media, and serves as model for on cable television and presented as Kathy Huff man. Series on local cable station Organized by Kathy Hufiman. Long Beach. National Gustafson . Julie, ed . The Global VillageHand- low-budget, public-access programming . lions at American Film Institute of work produced by artists at the Stationl Calif.:Long Beach Museum of Art. 1980 Video Festival inWashlngton, D.C. Annex, programming about the museum, and book for Independent Producers and Public Video Distribution Catalogs Television. New York : Global Village Video Long Beach Museum of Art. Southland Video 1982 The Video Artist . Producers: Eric Trigg, Elec- local cultural programming . Resource Center, Inc., 1981 . Anthology 1976-77 Organized by David Art Metropole. Toronto: Art Metropole,1983 . tron icArts Intermix, Stuart Shapiro. Sixteen- Perfect Lives by Robert Ashley Exhibitions/Events New York . Ross . Long Beach. Calif.: Long Beach Castelli-Sonnabend Videotapes and Films. part series on majarvideo artists broadcast Project Director, Carlota Schoolman . Video Horrigan, Bill, ed . The Media Arts in Trans- Boston . SIGGRAPH (Special Interest Group in Museum of Art. 1977 . New York : Castelli-Sonnabend Videotapes nationally over USA Cable Network. Director, John Sanborn Television opera in ition. Minneapolis: Walker Art Center,1983. Computer Graphics) Annual conference in- and Films. Inc., 1974- . seven parts produced by The Kitchen. National Gallery of Ontario. Ottawa, Ontario . cludes computer-generated video art in its Loeffler . Carl E., and Tong, Darlene. eds. Electronic Arts Intermix Videotapes. New 1983 Canada Video. Ontario National Gallery of juried art show . Organized by Copper Giloth . Performance Anthology: Sourcebook for a York : Electronic Arts Intermix, 1982 . Exhibitions/Events Ontario, 1980 Inc Buffalo, N.Y. Ersatz TV : A Studio Melee by Decade of California Performance Art . San AitchenlVideo . New York : Haleakala, ., Media Arts in Transition . Alan Moore and Terry Mohre, Collaborative Minneapolis. The Francisco : Contemporary Arts Press. 1980, The Whitney Museum of American Art. Nam 1982 Conference organizers and spansors: Walker London Video Projects . Hallwalls Gallery. Curator, Kathy June Paik Organized by John G. Hanhardt . London Video Arts . London Alliance of Media Arts Schneider, Ira, and Karat, Beryl, eds. Video High . Installations of six studio sets from Art Center, National New York and London : The Whitney Mu- Arts . 1978 . College of Art Art: An Anthology New York Harcourt . artists' television series "Potato Wolf," with Centers (NA MACi, Minneapolis seum of American Art, in association with Montevideo Catalog. Amsterdam : Montevid- Community Video, Brace. Jovanovich,1976. live cameras and videotape screenings and Design, University W. W. Norton & Co mpany,1982 . ea 1982 . Film in the Cities . Conference programmers: Never Berliner Kunstverein Video. Berlin : Video/TV:Humor/Comedy, Media Study/Buf- Shamberg, Michael, and Raindance Corpor- Jennifer Lawson, John Minkowsky, Melinda Holt, Kunstverein.1980. falo- Curator, John Minkowsky. Touring exhi- ation Guerrilla Television. New York : Ward . Periodicals Video Inn Videotape Catalogue. Vancouver: bitionthat explores relationship between art Rinehart and Winston,1971 . New York. The Intersection of the Ward and the SatelIiteVidee Exchange Sodety 1977 . and entertainment. Travels throughout U .S . Afterimage. Rochester, NY Visual Studies . Gotlc- Williams, Raymond . Television: Technology The Videotape AeviewlVideo Data Bank . Visual Image, Women's Interart Center Workshop New York . Nam June Paik . Whitney Museum and Cultural Form. New York : Schocken Art Institute of Chi- quium involving artists, writers, and schotars Film . Journal of the Film and Tele- Chicago: School of the of American Art. Director of exhibition, John Books, 1974 . American on relationship of language to the moving cago . 1983 Hanhardt Major retrospective. Travels to vision Arts . Washington D.C .: The Ameri- Image, alternative narratives . and thetrans- Youngblood Gene . Cinema. New Western Front Video . Vancouver : Western Museum of Contemporary Art. Chicago. Expanded can Film Institute. literary, historical, performance, Front Society . 1982- formation of York : E. P. Dutton . 1970 . (Out of print) . Art Com (formerly La Mamelfe Magazine : Park City, Utah, Fourth Annual United States of in- and visual works to video. Screenings Art Contemporary). San Francisco Contem- Film and Video Festival expands to include ternational works. porary Arts Press . video. 1983 Biennial Exhibition, Whitney Museum of Exhibition Catalogs Art in America. New York : Art 'm America, Technology : Approaches Yonkers, N.Y. Art and American Art. Installations by Shigeko Ku- Inc. River Museum . Three-part Albright-Knox Art Gallery. Vasulka. Steina: to Video, Hudson bota and Mary Lucier . First touring video Artforum . New York : Artforum International exhibition of installations by Dara Birnbaum, descriptions . Orga- show of Biennial, through American Federa- machine visionlWoody : Magazine . Inc. David Behrman and Paul DeMarlnis and Kit nized by Linda L. Cathcart . Buffalo, N . Y. : tion of Arts (AFA). Avalanche. New York : Center for New Art Fitzgerald and John Sanborn. Curator, Nancy The Buffalo Fine Arts Academy, 1978 . Rochester, N.Y. Video Installation 1983, Visual Activities . Inc. (Out of print) . Hoyt . Studies Workshop . Exhibition including American Film Institute, J. F. Kennedy Cen- Cahiers du C4n6ma . Paris: Edition de I'EtoiIe Festival, Washington, D.C . National Video works by Barbara Buckner. , ter for the Performing Arts, Washington, Film Library Quarterly. New York : Film Lib- F. Ken- American Film Institute at the John Doug Hall, Margia Kramer . Bill Stephens D.C . National Video Festival 1981- Wash- rary Information Council . nedy Center for the Performing Arts, and the Toronto : Arton's Publishing Inc. Santa Fe and Albuquerque. Video as Alti- ington, D.C_ : The American Film Institute. Fuse . American Film Institute Campus Los Angeles Independent. New York : Foundation for tude, Museum of Fine Arts . Santa Fe . and 1981- (Annual) . The . Installations by Sponsor, Sony Corporation New Independent Video and Film . University Art Museum, Albuquerque, The Everson Museum of Art. Everson Video Shlgeko Kubota (Washington, D.C .) and Ed Iris . Paris Editions Analeph . Mexico . Director, Patrick Clancy . Installations Simmons EmshwiNerand Bill Viola (Los Angeles) Revue. Organized by Richard by Bill Belrne, Juan Downey Dieter Froese, Parachute. revue d'art contemporain . Mon- Syracuse . N.Y. . The Everson Museum of Gaylor, Gary Hill, Joan Jonas. Rita treal: Parachute, revued'artccntemporain . Robert Art, 1979 Organizations Myers, Bruce Nauman . Michael Smith. Steina. Radical Software . New York Gordon and Nam June Paik . Breach . (Out of print) . Boston . Institute of Contemporary Art begins Francesc Torres, Bill Viola. The Everson Museum of Art . Judson Rose- Screen . London The Society for Education video program. Director, David Ross . Valencia, Calif. Hajj by Mabou Mines Cali- Videa'n'Videology 1959-1913. bush . ed . Syracuse, N Y.: The Everson Mu- in Film and Television Ltd . Portland, Ore. The Media Project. Expands fornia Institute of the Arts . Written by Lee 48

INDEX

TITLES VI0E0MAKE85

AroundandAbout, 21 Acconci.Vito 11 Artifacts. 29 Alpert, Jon, 22 Autumn Floods, 28 Ant Farm . 19 Blue Studio : Five Segments, 18 Ashley, Robert, 33 Cantaloup, 29 Atlas, Charles 18 Choli el-Djerid (A Portrait Beller, Claude, 26 in Lightand Heat) 24 Benglls,Lynda, 14 Dangling by Their Mouths 31 Blumberg,Skip, 34 Delta Visions, 28 Buckner. Barbara, 23 East Ended tape, 15 Byrne James, 25 ElCorandero. 28 Campbell, Colin, 31 Excavations. 28 Campus, Peter, 15 "Gary Hill Program," 21 Cunningham . Merce, 16 Global Groove, 13 D'Agostino, Peter, 37 Hearts, 23 DeFantl, Tom, 36 Health Care: Your Money Downtown Community or YourLife, 22 Television Center (DCTV), 22 The Irish Tapes, 17 , Emshwiller, Ed, 27 In Search of the Castle, 29 Fitzgerald Kit, 33 Measure of Volatility, 28 Foreman, Richard, 20 Media Burn. 19 Gorewitz, Shalom, 28 Meta Mayan t), 32 Hill, Gary, 21 Montana, 39 Jonas, Joan, 12 Music Word Fire And I Would Lard, Chip, 19 Do It Again: TheLessons. 33 Michels, Doug, 19 Now. 14 Moore, Stefan, 26 One Way. 25 Oursler, Tony, 30 Out of the Body Travel, 20 Paik, Nam June, 13 "Peter Campus Program," 15 Reeves . Dan, 35 Pick Up Your Feet: The Double Reilly, John, 17 Dutch Show . 34 Sanborn,John, 33 Pictures of the Lost, 23 Sandin, Dan. 36 Presumed Innocent, 26 Schreier,Curtis, 19 Primarily Speaking, 21 Serra, Richard, 16 Processual Video, 21 Snyder, Bob, 38 Ring Modulations, 21 Steina, 29 Selected Works, Reel 4, 10 Tsuno, Keiko, 22 Set of Coincidence, 15 Vasulka Steina, 29 Smothering Dreams 35 Vasulka Woody, 29 Spiral PTL (Spiral 5), 36 Veeder, Jane, 39 "Steina and Wood yVasuIka Velez, Edin, 32 Program," 29 Viola, Bill, 24 Sums and Differences. 21 Wegman, William, 10 Sunstone, 27 TeleTapes, 37 Television Delivers People, 16 Three Transitions 15 "Travels 28 Trim Subdivisions, 38 Undertone, 11 Vertical Roll. 12 The Weak Bullet, 30 Windows, 21 TRUSTEES OF THE MUSEUM OF MODERN ART

William S. Paley Mrs . L. vA. Auchincloss PHOTOGRAPH CREDITS Chairman of the Board Edward Larrabee Barnes Mrs. Armand P. Bartos Peter Aaron/ESTO, 34; C. Brownie Harris, Mrs . Henry Ives Cobb Sid Richardson Bass 22, Mimi Johnson, 33; Kira Perov,10, 18, Vice Chairman Gordon Bunshait 23, 24; Gwenn Thomas,11,12, 14, 16 ; John Mrs. John D. RockefelIer 3rd Shirley C. Burden F. Turner . 19 . President William A . M. Burden Thomas S. Carroll Mrs. Frank Y. Larkin Frank T. Cary Donald B . Marron Anne Cox Chambers John Parkinson III Ivan Chermayeff Vice Presidents Gardner Cowles* John Parkinson III Gianluigi Gabetti Treasurer Paul Gottlieb Mrs. Melville Wakeman Hall George Heard Hamilton' Mrs Walter Hochschild" Mrs . Barbara Jakobson Philip Johnson Ronald S . Lauder John L. Loeb* Ranald H. Macdonald* Mrs. G. Macculloch Miller` J . Irwin Miller" S. I . Newhouse, Jr. Stavros S. Niarchos Richard E.Oldenburg Peter G . Peterson Gifford Phillips David Rockefeller, Jr. Mrs . Agnes Gund Saalfield Mrs . Wolfgang Schoenborn' Mrs . Constantine Sidamon-Eristoff Mrs. Bertram Smith Jerry I. Speyer Mrs. Alfred R. Stern Mrs. Donald B. Straus Walter N . Thayer R. L. B.Tobin Edward M. M . Warburg" Mrs . Clifton R. Wharton, Jr . Monroe Wheeler' Richard S. 2eisler Honorary Trustees Sidney Janis John Rewald Ex Officio Trustees Edward L Koch Mayor of the City of New York Harrison J Goldin Comptroller of the City of New York

"Trustee Emeritus

52