CIRCULATING VIDEO LIBRARY

The Museum of Modern Art

 Table of Contents

Foreword William Sloan 5

Copyright c 1983 The Museum of Modern Art, New York
Introduction Barbara J . London 7
All rights reserved
Catalog MaritaSturken 10
Designed by Bill Thomason 49
Selected Bibliography
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 United States of America

FOREWORD

suitable
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
of the medium's unique
artists have been attracted to video because
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 video art 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
Film Library, in collaboration
Assistant Film Librarian in the Circulating
Video in the Department of
with Barbara London, Assistant Curator of
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
establishing guidelines for a cir-
Barbara London for her assistance in
culating collection and for writing the Introduction to this catalog . Marita
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,
Electronic Arts Intermix for their assistance in launching
and kill Thomason for its
Chris Holme for the production of the catalog,
of the Depart-
design . We are also grateful to Mary Lea Bandy, Director
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
1968 . In that year video was
program, which began in
program when
integrated into the Museum's exhibition
Paik were
two videotapes by Korean-born Nam June
of the
presented in "The Machine as Seen at the End TV Buddha 1974
. NarAJunePalk Peelo Kate KeIler
video
Mechanical Age." At that time, the portable
years, and pioneering artist
camera had been on the market for three
videotapes and assemblage
Paik had already produced a group of 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 video installation
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 was
. In 1975 a video collection
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. distinct
can be categorized into three
In general the genres of video political devel-
work covering social and
areas of concern : documentary nonlinear progres-
either linear or
opments; narrative work produced as with new
intended to challenge viewers
sions ; and experimental work ,
applies to the equipment-camera
ideas. The term video essentially may
set, and videotape . Television
recording deck, monitor or television and broad-
delivery to homes through cable
be defined as the electronic whereas
prerecorded video programs,
casting systems of both live and the
work that has been produced over
independent video art refers to
the network system .
last two decades largely outside a
a personal, expressive form in
Artists have been using video as
Keeping abreast of these developments
variety of ways since the 1960s . the
presented, in continuing programs,
The Museum of Modern Art has 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- Tony Oursler
ered video theater, and, more recently,
ronment; and single-channel tapes, like the works in In crudely
both narrates and acts out fantastic stories
this circulating collection . Artists' use of video evolved image" paintings .
made sets reminiscent of "new
naturally from their experience in such traditional videomakers have
Since the late 1960s. a number of
arts as film, theater, music, still photography, paint- alternatives
created projects frequently conceived as
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, worked
video equipment, these documentarians have
and similar wording is used to describe its content. achieving remarkable spon-
alone or in groups, often
What characterizes and differentiates video from other enables the
taneity in their projects . The equipment
media are: its presentation on the boxlike television just-recorded
artists instantly to rewind and screen the
set, its intimate scale, its image available simulta-
results, and their documentaries often convey a sense
neous to recording, its light-emitting screen, and its Using a
of immediacy, a "you are there" intimacy .
colors, which are electronically derived. With image- in 1971 John Reilly
simple black-and-white camera,
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 . An
and energy of competition jump-rope performers Photo Shlgeuao=a :
formulas that have become recognizable "types," such 1976. SKlgepo KuaoW . Photo:. Peter Moore
Downtown Com-
He Weeps lerfaa 1976 Bill Viola.
Aude Descending aSrarrease.
early New York documentary group,
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. pert and Keiko Tsuno, DCTV has
Manhattan neighbors . Directed by Jon Al
Richard Serra and Peter D'Agostino, for example, have addressed them- produced for public
a no-nonsense style, reflected in its longer projects
selves to the elements that define broadcast television, while the Ant NBC-TV .
television as well as in its short essays made for
Farm group has incorporated the conventions of television into its work as documentary, narrative, and ex-
In addition to their classification
In the 1960s, when a number of artists were questioning the use of equipment, such
perimental, videotapes can be distinguished by types of
traditional materials and formal exhibition spaces, some found alter- Innovators Steina and Woody
as image processors and computers.
natives in "land art" and performance and body art, 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
Gary Hill have not only lived with this
independently with rudimentary video equipment Pointing the camera at electronic language systems to serve
a decade, but they have mastered
themselves, they composed scenes for the area framed by the television similar equipment to ma-
their creative ideas. Other artists have used
screen, and monitored their now-live images while they recorded them . . Barbara Buckner and
nipulate "reality" in order to explore perception
As producer, camerman, and performer, the artist could work sponta- prerecorded materials,
Shalom Gorewitz rendered abstractions of their
neously and control the subject matter . Thus former poet Vito Acconci the pace of taped events .
whereas Bill Viola and Edin Velez subtly altered
carried out autobiographical "actions" on camera, while William Wegman clear to audiences
Through continued public programs it has become
developed short vignettes and created humorous alter egos, often per- 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 have gained better control
guishes video in the early 1980s is that artists
on the properties inherent in video . Lynda Benglis examined what "now," 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 . Joan Jonas 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 theirinternal 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 breaking down the
media artist has centered on
intimacy many artists have used as an aspect of audience by
barrier that exists between artist and
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 individual, a gestalt Claim Excerpts (1971) 60 min . B&W
Selected Works Reel 2(1972) 30 min . B&W
performance as a , power-field" radiated by an
quality of his humor, at the center of which is a naive, unsuspecting Selected Works, Ree13(1972) 20 min. B&W . These tapes are Contacts (1971) 30 min . B&W
Selected Works, Reel 4 (1972) 20 min . B&W encompassing all people or objects in a given space 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
compilation of Wegman's skits exhibits the range of his comic sense Pull (1971) 30 min. B&W
Selected Works, Reel 6 (1975) 20 min B&W very often to make the viewer feel uncomfortable .
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 . (Two-channel)
Undertone is performed by Acconci in a single, unedited Two Track (1971) 30 min. 8&W
The tape begins with Man Ray sleeping in a bed next to an alarm be very possible: A Televised Dinner (1975) 20 min.
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 negating that fantasy, and Recording Studio from Air Time (1972) 35 min. B&W
between constructing a fantasy for himself, Undertone (1972) 30 min. B&W
of Man Ray's canine response by placing the dog in controlled situations the viewer : "I
confronting the viewer with it . He begins by addressing Command Performance (1973) 50 min. B&W
designed to bring out specific reactions . AS Wegman describes the prove I'm not hiding anything ."
Full Circle (1973) 30 min B&W
need to look you straight in the eyes, to
globe, using a tennis ball as a point of reference, Man Ray's nose lowered, he alternates Home Movies (1973) 30 min. 8&W
Then, with his hands under the table and his eyes
appears at the edge of the frame, in anticipation of catching the ball . girl here under the table . She's Stages (1973) 30 min B&W
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 Face of the Earth (1974) 20 min. B&W
table, that I am doing it myself ." AS this monologue
nately call the dog . Man Ray looks in turn at each one until finally, in increasingly in the Open Book (1974) 10 min . B&W
graphic in its detail, Acconci places the viewer 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 The Red Tapes (1976) 140 min. B&W
a statement that also reaffirms his need for
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 expect, change roles and get up to turn off
He does not, as one would
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 .
Vertical Roll (1972)U
.S
.A . By Joan Jonas . Photographed by Global Groove (1973) J .S .A . By Nam June Paik and John Godfrey
Roberta Neurnam Produced by the Television Laboratory at WNETIThirteen . Directed
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 John Cage .
Schulman
Ginsberg, Charlotte Moorman . 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
is a performance artist who has used video as well video artist today. Paik, who was born in Korea and
as sculpture and dance to redefine space . Jonas has a background in classical and avant-garde music
has integrated live video in her performance pieces and performance art, was involved with the Fluxus
to add another time frame to her work and to direct group, multimedia artists whose primary intent was
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 and its audience . The
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
as well
image: the vertical roll caused by a desynchronization of the electronic Duet (1972) 4 min . B&W Palk's work incorporates music, performance, and sculpture (Not in distribution)
LeftSide, Right Side (1972) 7 min. B&W
as the Dada strategies of humor and chance . One of his most significant Variations on Johnny Carson us charlotte Moorman
signal between the camera and the monitor. Jonas used the tape in Vertical Ro/1(1972) 20 min . B&W
who has (1966)" B&W . (Not in distribution)
1973-74 in her performance piece Organic Honey's Vertical Roll. Organic Honeys Visual Telepathy (1972) 23 min. B&W collaborators is avant-garde musician Charlotte Moorman, Variations on George Ball On Meet the Press (1967)'
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 part of B&W. (Not in distribution)
which he under- Electronic Opera No .1(1969) 5 min. Color
his video sculpture (sometimes worn by Moorman), in
Barking (1973) 3 min . B&W
contexts : the continuously rolling image on the screen that moves Three Returns (1973)12 min. B&W in new contexts . 9123 Experiment with David Atwood (1969)' Color. (Not
down and then snaps back up, and Jonas banging a spoon loudly Disturbances (1974) 11 min B&W mines conventions of television by placing TV sets indisthbution)
for broadcast that have had an
against a translucent surface before the camera, giving the impression Glass Puzzle (1974) 26 min . B&W Paik has also produced videotapes Video Commune (1970) 4 hours Color . (Nat
Merle (1974) 16 min. B&W important impact on video and television and have incorporated his in distribution)
that she is hitting the lens . The banging and the snap of the vertical roll min. B&W
Good Night, GoodMorning (1976) 11 Electronic Opera No. 2 (1970) 8 min . Color
are coordinated so that they establish the staccato rhythm of the tape . interest in expanding mass communications .
May Windows (1976) 14 min . B&W
Produced under PaiklAbe Video Synthesizer with Charlotte Moorman
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 for broadcast TV . (1971) 30min . Color (Nat in distribution)
(1977) 28 min . Color New York (begun in
of fluid patterns . She performs a dance with a mask, her movements the auspices of the Television Laboratory at WNET in The Selling of New York (1972) 8 min . Calor
Upsidedown and Backwards (1980) 28 min . Color Paik-Abe synthesizer, a device Waiting far Commercial (1972)" Color, (Not in distri-
abstracted by the roll . 1971), the tape was made with the bution)
Abe. The synthesizer
Jonas undermines the nation that television is a realistic medium by designed by Palk and his collaborator 5huya A Tribute to John Cage (1973) 60 min . Reedited 1976,
and adds 30 min .
taking what is considered a defect and decontextualizing it . She also manipulates distorted electronic signals of television images
collage of found Global Groove (1973) 30 min. Color . In collaboration
subverts the gravitational space of the television screen by dancing color to black-and-white imagery . A highly complex with John Godfrey
footage from broadcast TV and Paik's own idiosyncratic images, Global Suite 212 (1975) 150 min Cola r. Reedited 1977, 30 min.
above the camera on a translucent surface. The roll becomes a chore- Guadalcanal Requiem (1977) 55 min . Color. Reedited
technology and still is an
ography of movement in which our eyes capture details just as the Groove was a milestone of state-of-the-art 1979, 30 min .
work . Paik combines Merle by Merle by Paik, Part 2: Merle and Marcel
image jumps back up on the screen . Jonas orchestrates a series of effective synthesis of the many aspects of Paik's
programming . (1975) 15 min. Color. In collaboration with Shigeko
gestures that are transformed into entirely new movements by the East and West in Global Groove, his idea of multicultural Kubota
dancers are brought Media Shuttle : MoscowlNew York (1978) B&W and
vertical roll : as she slaps up with one hand and down with the other, Highly edited images of Korean and Western go-go
tempo and anecdotal relief ; Color. 30 min, In collaboration with Dimltri Devyatkin
the roll creates two hands clapping together ; when she dances with her together ; John Cage provides a slower You Can't Lick Stamps in China (1978) 30 min. Colof
Instrument made of three
body close to the camera, her torso creates a continuous form, Finally, Charlotte Moo rman plays Paik's "TV Cello" (an In cc 11aboration with Gregory Battcock
Nixon's face Lake Placid '80 (1980) 4 min. Color
Jonas's face appears in front of the rolling images and confronts the monitors) juxtaposed with a classical cellist ; Richard
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
Paik, the visionary, predicts that this is what television
will be like Allan 'n' Allen's Complaint (1982) 30 min. Color. In col-
and creates yet another layer of video space as she turns and moves laboration with Shigeko Ku bota
telephone book ." He
slowly out of the frame . when "TV Guide is as thick as the Manhattan
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
as an interactive experience,
sponsors . He also envisions future TV
instructing them to close
telling viewers "this is participation TV" and
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
12
 S.A By Peter Campus . Produced
Peter campus Program (1973-76) U
nglis . New Television Workshop
Now (1973) U .S .A . By Lynda Be 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
Many painters, sculptors, and performance artists space through straightforward video effects . Campus
accessible with
explored video when it first became came to the medium with a
background in experi-
the advent of the portapak . One such artist was film . He has
mental psychology and commercial
Lynda Benglis, a sculptor, who worked in video in whose 'im-
since worked in Polaroid photography,
the early 1970s. Her work in video combines elements of the instant replay
mediate imagery is an extension
of an abrasive sensuality from her sculptural work photog-
he explored in video, and in large-format 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 Dynamic Field series (1971) 25 min . B&W
uses the medium to portray
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 Three Transitions (1973) 5 min . Color
opposite direction then appears on the screen . She performs a series of that center on one intrinsic
Name Tape Revised (1972) 28 min . B&W consist of several self-contained exercises Set of Coincidence (1974) 13 min. Color
gestures in response to her recorded image-opening her mouth, stick- Mumble (1972) 20 min . B&W
R-G .B(1974)12 min. Color
aspect of the medium .
ing out her tongue, and kissing the air . These gestures become erotic in Noise (1972) 7 min. 9&W
presents three introspective portraits Four Sided Tape (1976) 3 min. Cal or
In Three Transitions, Campus
East Ended Tape (1976)6mln C01Or
On-Screen { 1972) 7 min . B&W
combination with her prerecorded image. The soundtrack is an amal- begins with an image created by
Collage (1973)10min. Color that'Incorporate his dry humor. He Third Tape (1976) 5 min . Color
gamation of Benglis's recorded and live voices asking, "Now?," "This of a paper wall . His back to the
two cameras facing opposite sides Six Fragments (1976) 5 min Color
Discrepancy (1973) 13 min . B&W
image? ." "Are we recording?" This segment is repeated four times, Enclosure (1973) 8 min . B&W so that it appears as if he is
The Grunions are Running (1973) 5 min . B&W camera, Campus cuts through the paper
each time with a recorded image of an-increasing number of layers of that is both disconcerting
Now 11973) 13 min. Color cutting through his back, a double-image
Benglis's profile. the "chroma-key" effect of
Female Sensibility (1974)14 min. Color
and tongue-in-cheek . Campus then uses
The sensuality of the imagery is offset by the abrasiveness of Ben- How's Tricks (1976) 34 min . Color. In collaboration with area of another video image . He
superimposing one Image on a blue
it reveals yet another image of
glis's voice. As the tape begins to disintegrate into different colors and Stanton Kaye
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
which image her voice is coming from, thus her question "Now?"
paper, which he sets afire. AS Three
the limits of perception as
humor to self-destruction, Campus explores
becomes rhetorical . She has layered the visuals and sounds so that
there is no "now ." The temporal space of the tape is obscured and the a barometer for measuring reality .
video imagery, and
visual space flattened . There is a deliberately unfinished quality to the Set of Co-incidence investigates the layering of
environments . In the tape's pri-
tape . Benglis ends Now by implying that the tape will cyclically continue the "coincidence" of superimposing
walk in a line through moving
to layer; she says, as she has been saying for each segment, "Let's run mary segment, 1hree images of Campus
. Decreasing In size toward the
that through and see how it is ." imagery of New York's Holland Tunnel
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
her face, each spotlit from
seen as a combination of two halt-images of 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
using himself more as a
ception and human perception, with Campus
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
 and Stefan Moore .
Television Delivers People (1973) U.S .A . By Richard Serra. Copro- The Irish Tapes (1974) U .S .A . By John Reilly
in association with Global Village Associate
duced with Carlota Fay Schoolman. Produced by Reilly
Photographed by Denver,
producer and narrator : Louise Denver .
What televWon Moore . Reilly, Laura Adasko, Claude
6eller, Joel Mass . David
and Jeffrey Kleinman .
Reedom . and Bob Wagner . Edited by Moore
teaches through
cornmerciallism is
6min . Color . Sound. Rental S45.001 Not available far sale . materiaNstic 46 min. B&W. Sound Rental 575.00
I Sale 5275.00 .

cof1sul'IVtlom
made
Many video artists have investigated the format and One of the first major video documentaries
The Irish Tapes
the corporate structure of the broadcast industry as with half-inch portable equipment,
made pos-
is a convincing example of the mobility
a reaction against the associations tied to viewing
The NEW MEDIA STATE sible by this equipment, as well as of the gritty
their work on a television monitor. Richard Serra, I~ r+ra~lia9taA nq realism it produces . Made by John Reilly, cofounder
who is recognized primarily as a sculptor, worked
group
briefly in video in the 1970s . In Television Delivers of New York-based Global Village, a production
and Stefan
People, Serra uses a didactic approach to subvert and media center for documentary video,
Project (see Presumed JOHN REILLY
the experience of viewing images on the television screen The tape RICHARD SERRA Moore, cofounder of TVG Documentary Arts
three-channel, twelve-
consists of a series of statements excerpted from television conferences Innocent [19791), it was originally shown as a Transsexuals (1971) 30 min. B&W. In collaboration
with

about the nature of television advertising, its corporate structure, and

Anxious Automation (1971) 5 min . B &W monitor installation . Global Village students
one hundred hours of min . B&W .
Rei11 y, Moore, and their crew shot more than Lifestyles--A Study in Feedback (1971) 60
Surprise Attack (1973) 2min . B&W
its relation to the viewer . The text begins with the statement : "The with the Global Village Workshop
Television Delivers People (1973) 6 min . Color. Copro-
which time they played
videotape in Ireland from 1971 to 1973, during
In collaboration

product of television, commercial television, is the audience," thereby duced with Carlota Fay SchooIman
provide a more objective Group

reversing the common notion that we control the role of television in Boomerang (1974)10 min . Color back tapes for local residents in an effort to WBAi-A Profile (1971) 20 min . B&W
Irish Tapes, these Attica (1972) 30 min. 9&W. In collaboration with
Stefan
view of these events By calling the project
Prisoner's Dilemma (1974) 60 min . B &W . Go produced with The
our lives. Serra goes on to state that "popular entertainment is basically Robert Bell
that this is a selection Moore' and Global Village students
propaganda for the status quo," to define the "inherent conflict between videomakers define their medium and imply The Irish Tapes (1974) 46 min . B&W . In collaboration
commerce, information, and entertainment," and to establish that "cor- from a larger body of work . with Stefan Moore
Tapes establishes a combat
From its opening sequence . The Irish
. Color. In
Giving Birth: Four Portraits (1976) 60 min
porations mitigate information ."
of drums, there are collaboration with Julie Gustafson
The direct approach with which Serra structures these statements environment. Accompanied by the constant beating with Julie
in the rubble of burned- Nome (1979) 90 min. Color, In collaboration
creates a train of thought that is analogous to turning pages, but the images of soldiers on patrols, children battling Gustafson
All portray the volatile at-
out buildings, and IRA gunmen in masks .
In collabo-
Joe Albert's Fox Hunt (1980) 60 min . Color.
format by which he chooses to present this text intentionally raises
violence in 1972 . Reilly and ration with Julie Gustafson and Karen Mooney
some interesting paradoxes . While discussing the problem of an enter- mosphere in Northern Ireland at a peak of In collab-
the St . Patrick's Day Parade The Pursuit of Happiness (1983) 90 min . Color .
tainment medium disseminating information, Serra chooses a rolling Moore intercut this turmoil with scenes of oratlonwith Julie Gustafson
bath of the disparity between
print format . He contrasts these words with a Muzak soundtrack, which in New York City, providing a glimpse
and of the strong ties
represents the music of mass culture just as television represents the Irish-Americans and the Irish of Northern Ireland, Presumed
"For Stefan Moore's videography, see
quintessential mass entertainment medium . The supposedly soothing that still exist between the two cultures . innocent (1979)
and rage of the
effect of the music runs counter to Serra's didactic and alarming text . Reilly and Moore skillfully document the violence
army They interview many
In fact, the Muzak becomes more prominent than the ambient sound it Northern Irish toward the occupying British
internment camps, and
is intended to be . Serra also sets his text against a "chroma-key" blue people, follow families on visiting days to
less a portrait of
background, which is the most soothing color on TV according to chronicle the barricading of Derry. What emerges is
the toll this situation has taken
scientific studies on television . Finally, Serra underscores the aspect the actual struggle than a document of
and children . The women are
of corporate manipulation in the television medium : he controls the on the community, especially the women
: the children are accustomed
speed and spacing of the rolling text as well as the words' emphasis . seen acting as the community's witnesses
Reilly and Moore end this political
The ultimate paradox created by Serra in Television Delivers People is to the violence and are eerily mature .
while in her own home,
that he, like commercial television and its sponsors, uses specific documentary with the image of a woman who,
soldier's gun . Ten years
devices to manipulate his audience into accepting his message was blinded by a rubber bullet from a British
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 Ant Farm :
and Curtis Schreier . Executive producer : Tom Weinberg . With
Merce
Blue Studio : Five Segments (1975) U .S .A . By Charles Atlas and
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

Film and video artist Charles Atlas has collaborated to address the subject of television : its pervasive
.
sincethe mid-1970s with Merce Cunningham, a major influence and its enforced one-way communication
figure in modern American dance for almost forty Ant Farm was a multimedia collective based in San
years . Cunningham's choreography emphasizes the Francisco from 1968 to 1978, whose founding mem-
body's natural articulation, incorporating ordinary bers-Chip Lord, Doug M'ichels, and Curtis Schreier
best-
gestures and movements . His work has been pivotal -have practiced architecture . Media Burn, their
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
news events and the
structures, and in treating dance and music as independent activites CHARLES ATLAS and 1975, than a commentary on media coverage of Ant Farm's Dirty Dishes (1971) 14 min. B&W (Not in
of two Ant Farm
that are performed simultaneously on stage . Whereas video has been MERCE CUNNINGHAM television viewing experience . The event consisted distribution)
Car," a 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
Joints (1971) 12 min Color . Silent . (Super8film) . Souvenirs were sold in distribution(
the first to experiment with choreographing specifically for the camera TV Rerun Movies (1972) 25 min. Calor . Silent . El Dorado, through a pyramid of burning TV sets From the Warehouse Tapes (1971( 7 min B&W
(Nat in
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(
uncanny imper-
a "videodance ." In this tape, they used abstract space and layering
'Walkaround Time (1973) 48 min. Color. (16 mm film)
President" delivered a speech on media control in an The Opening (1972) 20 min. B&W
Westbeth (1974) 32 min . B&W Architectural Tapes (1972) 30 min. B&W
techniques to achieve a synthesis of dance and video, a performance 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 .
of cultural anarchy . and
In each of the five segments, Cunningham, m a different color cos- Fractions f & 11 (1977) 33 min. B&W and Color striking image that has become a classic symbol B&W. In collaboration with Willoughby Sharp

tume, performs a series of movements superimposed on film footage and

Torse (1977) 55 min Color. (16 mm film, two-screen) montages of local news- Megan Williams
"Locale (1979) 30min. Color (16mm film)
This tape is framed by opening and closing Art Stars Interviews (1974) 60 min . B&W
. Juxtaposing
an abstract color field . The title is derived from the technique of 'Roamin'l (1979) 15 min. B&w and Color, (16 mm film) casters reporting on Media Burn with obvious bemusement The Cadillac Ranch Shaw (1974) 25 min . B&W and
brief news snippets, Ant
"chroma-keying," whereby imagery can be superimposed upon the blue 'Channelslinserts (1981) 32 min Color . (16 mm film) their thorough and elaborate coverage with color . Reedited for television . 14 min .
Exchange (Work-in-progress) Color. (16 mm film) Media 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
thirst for sensa- television,16 min
dance over imagery recorded from a car driving down a street . His CHARLES ATLAS Ant Farm's objective is to satirize the news media's Off-Air Australia (1976) 30 min. B&W and color
movements are weightless yet energetic as he faces the camera and violence and splashy
tional events such as this one, which incorporates
. In
The Eternal Frame (1976) 22 min. B&W and color
convention : closed-
performs a series of hand gestures while the space around him fills with Cartridge Lengths and long Shots (1970) 25 min. Color.
visuals . The tape employs every possible broadcast
collaboration with T. fl . Uthco
Silent (Super8film) controls in the Phantom Dream Car
video snow . VegetableShow (1971) 10 min . Color. Silent circuit television footage of the
and slow-motion pho-
In the second segment, Cunningham performs a dance simultaneously (Super8film) parodies space-flight coverage-, instant replays
satirize sports and
with a black, electronically-generated outline of his figure . Atlas creates Mayonnaise . Number One (1973) 12 min. Color. Silent . tography of the actual brief moment of impact
attention to the
action news coverage . Finally, Media Burn draws
(16 mm film)
a choreography in the third segment by combining shots of Cunningham Circus BandMarch(1974)3min Color
experience, a passivity
warming up . An overlay of animal images adds yet another dimension Douglas Dance (1974) 9 min . B &W . Silent enforced passivity of the television viewing
question, "Haven't you ever
to Cunningham's dance movements . (Super 8fiIm) against which it rebels by asking the
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)
color space that is simultaneously shot from several angles and layered Heebie Jeebies (1974) 1 min . Color. Silent
together so that the seams between images are undetectable . As he Vertige (1980) 10 min. Color

leaps out of the frame on one side . he reappears on the other side from Double Dunn (1981) 15 min. Color. (Two-channel)
More Men (1982) 90 min . Color . (Two-channel)
a different angle, as if he were dancing with his own reflection . 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.
Out of the Body Travel (1976) U.S .A . Written, directed, and narrated Windows (1978) 8 min Color . Silent
by Richard Foreman. Produced for the American Dance Festival . Sums and Differences (1978) 8 min . B&W
Photographed by Babette Mangolte Performed by the students 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.

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

20
Health Care : Your Money or Your Life (1978) U .S .A . Produced by Jon . 23 min
Pictures of the Lost (1978) U.S .A . By Barbara Bu ckner
Alpert and Keiko Tsuno for Downtown Community Television (1979) U .S .A . Barbara Buckner .12 min. Color .
Hearts
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

60 min. Color . Sound. Rental $75.001 Sale$275 .DO 550.001 Sale 5250 .00.
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
of independent documentaries that have been broad- those artists who use the electronic signal as an Hearrs
cast on public and network television . end in itself .
In 1974 Alpert and Tsuno were the first American journalists to be movements . These BARBARA BUCKNER
JON ALPERTand KEIKO TSUNO: She structures Pictures of the Lost in twenty-two
invited to Cuba since the 1959 revolution . There they made Cuba : The definitive : "To The
DOWNTOWN COMMUNITY TELEVISION are identified by titles that are suggestive, yet not "Collected Works" (1973-76) 156 min. 8&W and Color.
People . DCTV went on to make Chinatown : Immigrants in America, a and Hemisphere ." Each
CENTER (DCTV) Gates," "Stranger in the Beloved," "Curtain Silent
powerful depiction of the neighborhood where they live and work ; several minutes, is an "Collected works" (1977) 36 min. Color . Silent
picture, which ranges from a few seconds to
Vietnam . Picking up the Pieces, which they made as a consequence of "light/energy trans- Mese. 2 min.
intense visual exercise, described by Buckner as
Cuba : The People, Part 1(1975) 60 min. Color. Part 11
(1976) 25 min Color enfoldment ." Waters . 2 min,
their trip to Vietnam as the first American journalists allowed in the of spiritual
Chinatown' 1mmigrants in America (1976) 60 min. Color. missions which depict contagious states The Blue . 3 min.
rhythms . She takes Gathering In . 3 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
Survive (1981), a portrait of people who live along New York City's Health Care Your Money or Your life (1978) intense color, pauses, Mast. 2 min.
60 min . Color each image, saturates it so that it expands with Grace. 6 min.
Third Avenue . of the images are
Fidel Castro Comes to New York (1979) 35 min Color and then returns it to its original state. While many 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 disasterous state of health care in this country . Alpert and Tsuno Third Avenue. only the Strong Survive (1980) 58 min. reality. Lamb- 2 min.
by creating a tension between abstraction and Landscapes. 2 min.
spent six months shooting in two Brooklyn hospitals: Kings County Color of the Lost in
SoutheastAsia : Cambodia-Vietnam-China (1980) . Part Hearts is a dynamic work that goes beyond Pictures A Table- 2min .
Hospital, a city-run, overcrowded, and understaffed institution ; and central image is a
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.
documents the priority of medical research over proper health care for InvisibleCitizens -JapaneseAmericans (1983) 57 min. . While the piece operates The Men. 3 min.
Color a separate shape that pulsates on the screen Image of the Kingdom 1 min .
the individual : the irony of financial-aid cuts to preventive medicine use of this heart shape and
on the level of pure abstraction, Buckner's Pictures at the lost (1978) 23 min Color. Silent
programs in order to keep overcrowded hospitals open ; the role of Blue powerful romantic "Collected Works" (1978) 11 min . Color . Silent
of kinetic bursts of synthesized imagery make i1 a
Cross and Medicare in worsening these conditions ; and the paradox of a Hearts (1979) 12 min. Color. Silent
metaphor . Heads (1980) 6 min. Color. Silent
reveals a
multimillion-dollar pharmaceutical industry in a country where many The sensuality of the images within an ambiguous space 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
busiest emergency room in the world," DCTV captures harrowing scenes her work, thereby giving it Greece to Jupiter : It's a Matter of Energy (1982) 5 min .
Brakhage, Buckner does not use sound in
authority of the Color. Silent
of staff members trying to save lives with equipment that is outdated an inward, contemplative quality that underscores the Analogs (1983) 30 min. Color. (Two-channel)
and malfunctioning, and of an outpatient clinic with a five-month drawing viewers
imagery . These are personal works; they are seductive,
waiting period for an appointment. They deftly juxtapose these scenes visuals and putting them into a meditative
into the silent, exquisite
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 Horizontal Limitations (1972) 3 m'rn . B &W
the visual sense, my video works are more related to music than the
Wild Horses (1972) 15 min. B&W. (Not in Tape 1(1972)10
Broadcast, Byrne produced a series of commerical spots for local Stairs (1972) 5 min . B&W
min. B&W. (Not indIstribution)
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 viewers ; An Everyday Tape (1973) 2min . B&W
Surfaces (1973) 3 min . B&W
subjective perception, open to diverse individual interpretation, yet Level {1973) 8 min. B& W, (Not in distribution) one featured him jumping up and hanging from the camera . Unison (1973) 8 min. B&W
a precursor
One Way is an extension of these early works It is also
Cycles (1973) 8 min. B&W. (Not in distribution)
each thematically expressing specific concepts that derive from every- Vision (1973) 6 min . B&W
Eclipse (1974) 22 min. B&W. (Not in distribution)
day life experience ." which he explores his environment with Wavelength (1974) 3 min B &W
-August'74" (1974) 18 min Color . (Not in distribution) of his more recent projects, in
camerawork with music and Handheld 11(1974) 7 min. B&W
In Chottel-Djerid, Viola explores the way the electronic eye reacts to Instant Breakfast. 7min . Color the camera, combining fluid handheld Both (1974) 4 min B&W
examines the precious-
impressionistic imagery . In One Way, Byrne
Olfaction . 6 min. Color
extreme heal, creating waves of impressionistic imagery, and to ex- Translucent (1974) 5 min . B&W
Recycle. 5 min . Color
with the camera scraping
treme light, diffusing and obliterating the visuals. He taped in the snow Information (1973) 30 min. Color ness of the video camera . The tape begins Tangent (1975) 7 min. B&W
Byrne bumps his Series 29 (1975) 14 min. B&W
fields of Saskatchewan, Canada, and central Illinois, and in the Sahara Red Tape" (1975) 30 min. Color along a fence, making a harsh, metal-on-metal sound .
ground, scrapes Works for Broadcast (1977) 4 min. B&W
camera into trees, uses it to push rocks along the
desert of Tunisia . Enigmatic and textural, Chott el-Djerid begins with Playing Soul Music to My Freckles. 4 min .
Do You Ha veAnyidentification?(1977)9mln B&W
A Non-Dairy Creamer. 6 min.
lens, and runs it along a wire
vistas of all-encompassing white snow punctuated by an occasional The Semi-Circular Canals. 8 min . peeling paint off a metal surface with the Lens Activity (1978) 3 min. B&W
"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. fence. Under his direction, it careens cc mically into a
Byrne challenges our Axifla (1978) 5 min B&W
the desert, delineated by the line of a sharp horizon, thus creating an Return . 7 min.
By treating his camera like a worthless object, hike Mechanics Magazines (1978) 7 min B&W
equipment. He
preconceptions of how one handles a piece of expensive
Migration (1976) 7 min . Color
analogy between these two polar environments . By using a telephoto One Way (1979) 8 min. B&W
"Four Songs" (1976) 35 min. Color
extension of Water, of 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 and as an
the built-in microphone, TikalaSoom(1981)23rnIn Color
mysterious, ever-moving compositions evocative of the "colorized" Songs of Innocence. 11 min. of his arm to sense his surroundings . Thus, . . .desire always falls back to earth. . . (1982) 4 min Color
movement,
which often unintentionally amplifies the videomaker's
The Space Between the Teeth. 9 min.
effects o1 synthesized video . The telephoto lens foreshortens and dis-
Truth Through Mass lndividuation.10 min.
. . this fountain is a field of fire. . . (1982) 7 min . Color
. 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 of the camera's movement
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 Color
figures emerge and disappear in the whiteness as if moving in and out The Wheel of Becoming . 7 min.
proximity of his camera to these objects abstracts them into textural
. . .a detourled me to this . . . (1983) 5 min. Color
The Morning A fter the Night of Po we r.10 mi n. One Way, Byrne
of water. While the camera remains still, the imagery continuously Sweet Light. 10 min. surfaces and transforms them into rhythmic sounds In .
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 literally
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)
61 min Color
ogous 1o that spent looking at a painting on a gallery wall .
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 (Firs tDream) (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. the New
Alvy Ray Smith, Lance Williams, and Garland Stern at
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 .

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

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

Shalom Gorewitz creates textured, expressionistic Steina and Woody Vasulka 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
using an image processor like a musical instrument . electronic-media theater in New York that has since
Arlilacrs
become a major avant-garde center for video, per
El Corandero
The Abstract Expressionist's emphasis on gestural
brushstrokes and the role of the artist as an individual is related to the SHALOM GOREWITZ formance, music, and dance . Several years later, in collaboration with STEINA
central concerns of Go rewl1z's work . His videotapes have the energy of Jeffery Schler, they developed the Digital Image Articulator, a complex
From Cheektowaga to Tonawanda (1975( 36 min.
action paintings.
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
Moly (1978) 10 min . Color
"Travels" explores five different environments, and Gorewitz creates a The primary aspect of the Vasulkas' work is its technical innovation . andFury (1975)15 min. B&W / Switch!Monitor!Drift!
Parataxis (1978) 9 min. Color (1976) 50 min. B&W / Snowed Tapes (1977) 15 min.
sensual impression of each location as well as an overall feeling of Many of their tapes serve as explanations of their pioneering techniques .
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 (1977) 15 min. Color / Violin Power (1970-78) 10 min.
search and movement . Each tape is a collage of colorful imagery, and
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-
urban street scenes, and distant city skylines are combined to create a U. S. Sweat (1982) 16 min . Color construction, and use of the Digital Image Articulator . The tape was scapes (1982) 18 min . Color
frenetic view of American life, El Corandero, which was taped in Spain,
Process Studies (1982) 7 min . Cal or made when the Vasulkas and Schler were eighteen months into the
Subatomic Babies (1983) 7 min. Color
design of this device . Like the image processor designed by Dan Sandin WOODY VASl1LKA
begins with frozen, brushstroke images of water, heightened by a rush of
(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 5 min. Color I C-Trend (1974) 10 min. Color 1 The Matter
to scenes of villages evocative of a remote past . In Excavations,
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 B&W/ Sexmachine (1970) 6 min. B&WI Tissues
advantages of storing imagers in the computer memory .
Autumn Floods, Gorewitz constructs a global view of New York City by (1970) 6 min. B&WIJackie Curtis's First Television
using a fish-eye lens . Concentrating on the grid structures and tunnels Artifacts, by Woody, continues defining the potential of the Imager . Special (1970) 45 min B&WIDon Cherry (1970) 12 min .
that define the perimeters of the city, he creates a colorful, rotating orb "Artifacts" refers to those images produced specifically by Woody, and Color. Coproduced with Elaine Milosh/Decay #1
those arrived a1 by chance through experimentation, establishing a (1970) 7 min. Go lo rIDecay 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 Col orlKeysnow(1971)12 min. Color /Elements (1971)
the flatness of the landscape in his two-dimensional series of color-
image of his own hand until It takes on a magical, surreal quality . 9 min. Color/Spaces 1(1972)15 min . B&WIDistant
saturated tableaux . He weaves together tropical elements, such as palms Activities (1972) 6 min. Cal or ISpaces1/(1972)15 min
When the Vasulkas take their technical innovations out of the studio,
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 Home (1973)17min . Color/Golden Voyage (1973)
Gorewitz's style ranges from aggressive to introspective . While most
is an essay on exploration that combines Steina's abstraction of real 29 min . Color/Vocabulary (1973) 6 min. Color/
of his videotapes are purely impressions, others, such as his more recent Noisefields (1974)13 min. CoIarf 1-2-3-4 (1974) 8 min.
images and Woody's digital effects . The imagery was taped from a car
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 (1974) 4min . Color ITelc (1974) 5 min . Cc Iorl
provides an audio equivalent 1o his imagery. He layers natural
reflected in a sphere-a theme of her recent work-that provides a SoundgatedImages (1974) 9 min. Color ISoundsize
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
The Weak Bullet is a "new wave" soap opera of the most bizarre TONY OURSLER who watched her husband die while mountain climbing in the Himala-
kind . It begins with a mock fight between two siblings, who are repre- Sackville I'm Yours (1972) 20 min. B&W
Joe. Joe's Transsexual Brother and Joe's Woman (1976) yas. The tape is a series of monologues, in which Campbell examines 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 Life of Phyllis (1977) 55 min. B&W Real Split (1972) 15 min B&W. Silent
concerning the event.
bullet ." The bullet sets off on an adventure, leaving behind it a trail of Diamond(Head) (1979) 25min. B&W
Dangling by Their Mouths is composed of a series of static scenes . It
This is the Way I Really Am (1973) 20 min B&W
Good Things and Bad Things (1979) 10 min. B&W 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
innocent bystander in the testicles (in the form of two eggs and a The Loner (1980) 32 min Color Love-Life {1974) 25 min . B&W
Grand Mat (1981) 23 min. Color meets Anna, an enigmatic free-lance art critic played by Campbell . 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 An ouk, 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 .
woman from William Faulkner's AS 1 Lay Dying. Next Anna is sitting in
Theme Song from Science Fiction (1983) 5 min. Color Secrets (1974) 30 min . B&W
Oursler's black humor is surprising and inventive. He creates a prize CaliforniaMyth /Reality(1975)25min B&W
a bar with a young man, telling him about Anouk's death in controlled, Hindsight (1975) 22 min. 8&W
bull out of a tin can and a banana, uses a figure-eight cardboard road to 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
emphasizing her identity as a role . He is gradually transformed into Foresight (1975) 25 min. B&W
outrageous drama in a dry, cynical style accompanied by soap-opera Passage (1976) 17 min. B&W
her persona in a series of slides, bringing the drama full circle . Flight (1976) 10 min. B&W
organ flourishes . Rather than use a set as an environment against
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
scenes, as stationary as the slides that frame the tape . The camera Woman From Malibu (1976) 10 min.
materials become part of the actual drama, Deliberately rudimentary always remains close to each character, magnifying expression and
The Temperature in Lima (1976) 10 min.
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.
Weak Bullet combines a postmodern sensibility with an unpredictably actor play a part, but each character is trapped within a role . Campbell Last Seen Wearing (1977) 23 min.
perverse yet disarming humor. consistently defies our expectations of sexual roles. While he plays a
Hollywood and Vine (1977) 18 min.
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)
40 min . Color
authority of these stories about them . We never see any action take 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

fessional in a way that forcibly involves the viewer . Dangling by Their

version)
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
narrative structures . Its intent is not so much to construct a story as it Rodney Werden

is to question the essence of narrative .

 Meta Mayan 11 (1981) U. &A- By Ed ln 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
It is an elusive work that creates a delicate balance between images of Legend Days Are Over (1972)10min . B&W
of Buddy, the world's greatest piano player ("Blue" Gene Tyranny), his Music With Roots in the Aether (1976) Total running
the Guatemalans, their landscape, and the underlying social implica- Andes (1974) 5 min. Color time :14 hours (Seven two-hour segments) Color
Rainbow (1975) 5 min. Color
friend R (Robert 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 It Again: The Lessons
tape with a striking slow image of a group of women clad in the bright Mother Malta rd's Portable Masterpiece Company (1976) realize this project, Ashley collaborated with video artist John Sanborn [from PertectLives] (1981) 30 min. Color. In collabora-
colors of Guatemalan textiles, walking past his camera . While most of 20 min. Color tion with Kit Fitzgerald and John Sanborn
Merian (1977) 15 min Color
and composers "Blue" Gene Tyranny and Peter 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 of San Blas (1979) 28 min . Go ior,
establish the strength and individuality of the people he is portraying . the four principal characters and recapitulates the visual themes of the
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 Ma rcel Du champ (197 7) 30 min.
embassy in Guatemala City . This insert of political turmoil underscores min. Color
texts . The narrative is sung in Episode Three ("The Bank") by Kroesen, Color
the exquisite imagery of Velez's visual collage. He abstracts the action Paris a la Carte (1978) 30 min. Color
Van Tieghem, 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
becomes a choreography before the lens ; hands washing cloth are "Still Life" (Series-in-progress) (1981- )Color
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 .
layered documentary without employing conventional methods of nar- array of special effects, which in turn allow him to create a unique Dialogue. 3 min.
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
provides humorous commentary on the tape's structure. Identifying The Long 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) .A
.S Produced,
U
.
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

was cofounder of several pioneer production groups, Dan Reeves has produced several videotapes that
examine war, violence, and nuclear suicide by way
including Top Value Television (TVTV), Videofreex,
and Lanesville TV . His candid, intimate style is a of innovative collages of imagery and sound . Reeves
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 Body Count (1980) 9 min. Cola r
Earle Murphy's Winter Olympics is a portrait of an Olympic super-fan
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
In Smothering Dreams, Reeves traces the mythology of violence and
Blumberg highlights unique ancient Arctic sports in Alaska . Unfitted (1975) 30 min. Color. 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 rope, in which a team of four uses two B&Wand color. Co produced with Lanesville TV
watching old war movies on television . These scenes are intercut with
ropes to perform jump-rope tricks . Blumberg centers the tape on the JGLNG (Pronounced "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, speed jumping (with champions jumping five steps With La nesville TV
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 com- Union. Reedited 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 young performers as we see them compete . The seriousness The First International Whistling Show (1978) 23 min.
B&W. Coproduced with Jules Backus violence, Smothering Dreams, as autobiographical essay, arrives at a
of their participation is obvious in the expressions on their faces as
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 jumping . We're going to be four little
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 .

Dan Sandin and Tom DeFanti have been central to the Peter D'Agostlno's videotapes are examinations of
development of image processing and computer symbols, signs, and the interplay of wards and
graphics in Chicago ever since the early 1970s . images . His series "coming and going" on the sub-
Sandin, who came to video and computers from way systems In Paris, San Francisco, and Washing-
nuclear physics in 1972, built his own image proces- ton D .C . explored not only the varying modes of
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
processor. He then created ZGRASS (see Montana [1982]), a computer about the architectural and consumer environments of malls . His studies
Projects : 1972-1974, INALLI(Einstein'sBirthday) : WALL
language designed to allow artists direct access to complex computer
Graphics Symbiosis System "Haw- To" Tapes 1-8 (1974) of the information systems that permeate daily life led him to make ll : 0VERFEET OVERHEAD (1972-74) 30 min . B&W
graphics . Both Sandin and DeFanti teach at the University of Illinois at
120 min . Color
TeleTapes, a critical, exploratory collage about the way in which we The Walk Series (1973-74) 60 min B&W
Internal Algorithms of the Graphic Symbiosis System
intepret and therefore understand "television and everyday life ." PLACEPOEMS: pond, pass, peakXiva . temple, pyramid
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
(1975) 20 min. Color 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-
of time ; numerous games ; interviews with children ; audio about tele- Paradise Regain'd, Paradise Lost (1971-76) 15 min. B&W
collaboration emphasizes an alliance between art and technology, and laboration with Dan Sandin
AL PRA, TRANS, CHUNG (1977) 20 min. B&W
the importance of direct access to complex technology for artists and of vision ; and printed text to structure his argument . In fact, he shows us
The Interactive Electronic Visualization Event (1975) 60
coming and going : PARIS (Metro) (1977) 5 min.
"real-time" systems (which encourage spontaneity by an instant feedback
min. Color. In collaboration with Dan Sandin and television while presenting very little of television's imagery . We hear B&W and color
it discussed, but the subject remains, at times, effectively invisible. In coming andgoing : San Francisco (BART) (1978) 20 min
others
of imagery and information) . Their goal is to design systems that artists The National Computer Conference Tape (1976) 15 min Color
Color . In collaboration with Dan Sandin TeleTricks, D'Agostino examines the advertising that saturates broad-
can duplicate and own themselves . 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
news with a checkers game, an analogy that he derives not only from OUARKS (1980) 8 min . Color
DeFanti along with other artists. (The "PTL" of the title refers to "prob- GRASS2 "How To Tapes 1-8 (1977) 140 min . (Eight 15
LA (Century City) (1980) 10 min. Color
min. segments .) Color the entertainment aspect of TV news, but also from Richard Nixon's
ably the last" of the series .) The spiral image is one they have worked Dayton MALLing (1980) 7 min. Color
ZGRASSIGrafix (1978) 7 min. 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 L iteracy (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
SIGGRAPH'79 (1980) 30 min . Color and the brevity of news reports . In TelePuzzles, he investigates the
images, Spiral PTL is tightly structured with Mimi Shevitz's audio,
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 Spiral PTL(Spirai5)(1981)7min Color.Incoilaboratio n
"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-
BAN 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
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
Sisters Say Christmas Morning (1977) 5 min. Color
right or a privilege? If it's a privilege, then the marketplace prevails
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 (Spiral 5) (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
suburban housing tract as his vehicle. He uses the by Tom QeFanti in 1977 (see Spiral PTL [1981]) . The
BOB SYNBER work touches on issues of nature and technology . JANE VEEDER
video "wipe" (in which one image is passed over another) as a symbol
Veeder employs the aesthetics of video games and the informational
for the passage of time and as a correlation to the conjoiners of GeometricPieces(1976)8min Color
BellylHands (1978) 5 min. B&W
strategies of the spoken word, representational symbols, and printed
architectural units in prefabricated housing . By dividing, subdividing, Triplicate (1977) 7 min . B&W
Loopcycle (1978) 3 min. B&W
text . The tape is constructed as a series of tableaux, of birds, buffalo, Program #7 (Revised for TV) (1979) 30 min. Color. Co-
and layering imagery of these houses, Snyder explores grid structures Winter Notebook (1977) 10 min Color
ICRON (1978) 10 min. Color mountains, globes, wheat, and video cameras, ultimately producing produced with Phil Morton
and subtly abstracts the buildings . The camera glides with precision Program #9 (Amateur TV) (1979) 30 min . Color. Copro-
Lines at Force (1979) 10 min . Color the slogan "Good Luck Electronically Visualizing Your Future ." Veeder
over the grid triangle of a suburban ranch house roof and foreshortens Trim Subdivisions (1981) 6 min. Color. Silent
duced with Phil Morton
makes mountains move across the screen in geological processes,
its ornate facade into a patterned surface . It transforms the horizontal
Surface Tension (1979) 10 min. B &W
manipulates the demarcations of a compass to establish a feeling of TA RGETSIGGRAPH181(1981)16 min Color. Go produced
lines of aluminum siding into a series of geometric designs, creates new 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-
between houses . Snyder establishes visual equivalents between the
Floater(1983)6 min. Color

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, Aldo Tambellini, 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
of video . The compilation of a comprehensive Rockefeller Foundation awards first video Torcuato di Tella . Buenos Aires.
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
New York . Television Dii-Call/age by Wolf Vos- Boston . WGBH-TV inaugurates artist-in-resi- augmented by work selected by James Ha ri-
tell Smolin Gallery. First U .S. environmental dence program with grant from the Rocke- thas . Includes video work by Nam June Paik .
installation using a television set .
feller Foundation .
Organizations
1964 What's Happening. Mr . Silver? WGBH-TV. Host,
New York . Black Gate Theater . for electrome-
Television/Productions David Silver . Experimental collagelinforma-
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 Commediation . Video production group. Origi-
shop, KOED-TV. Directors, Bruce Howard and
at experimental television . nal members: David Cort, Frank Gillette, How-
Paul Kaufman . Established with Rockefeller
ard Gudstadt, Ken Marsh, Harvey Simon.
1965 Foundation grant. In 1969 renamed National
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-
New York . Electronic Art by Nam June Paik, casting and the National Endowment forthe ganizationwith training services, workshops,
Galeria Bonino . Artist's first gallery exhibition production facilities . Director, Roger Larson
Arts . Ends 1976 .
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
Exhibitions/Events and Doug Michels: joined by Curtls Schreier
by John Brockman . Festival explores uses 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 . Founded by Doug Hall, Diane Hall, Jody
Exhibitions/Events Electronic Art II by Nam June Paik, Galeria
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
Kluver . Mixed-media performance events and the Brooklyn Academy of Music. Orga- Santa Clara, Calif. The Electric Eye. Video
with collaboration between ten artists and nized by John Brockman . Funded through collective . Founded by Tim Barger, Jim Man-
forty engineers . Video projection used in the New York State Council on the Arts . dis, Jim Murphy, Michelle Newman, Skip
works of Alex Hay, Robert Aauschenberg, Exhibition includes environmental video per- Sweeney. Ends 1970 .
David Tudor, Robert Whitman. formances, light and film projections, video-
Television/Productions
Selma Last Year by Ken Dewey, New York Film tapes. Video by Ken Dewey with Jerry Walter,
Les Levine with George Fan, At do Tambellini . New York . The Underground Sundae by Andy
Festival at Lincoln Center, Philharmonic
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
Exhibitions/Events The Machine as Seen at the End of the Mechanical
using special-effects imagery.

Minneapolis. Light/Motion/Space, Walker Art Age, The Museum of Modern Art. Director of 1969
Center in collaboration with Howard Wise exhibition, Pontus Hulten . Exhibition includes
Exhibitions/Events
Gallery, New York . Travels to Milwaukee Art video art, particularly Nam June Paik's Nixon
Center . Includes video works by Nam June Tape, McLuhan Caged, and Lindsay Tape 0n New York . TV as a Creative Medium . Howard
 tapes by Isaac Abrams, Shridhar Bapat, Ithaca, N.Y. Ithaca Video Projects, Organiza- 1972
rope, Latin America. grams. Founded by Arthur Ginsberg, Skip
Wise Gallery . First American exhibition de- Stephen Beck, John Randolph Carter, Douglas tion for promotion of electronic communi- Exhibitions/Events
voted entirely to video art . Works by Serge Warehouse Show, Leo Castelli Gallery . Includes Sweeney. Directors : Joanne Kelly, Skip Swee-
Davis, Dimitri Devyatkin, Ed Emshwiller, cation . Director, Phi ilip Mallory Jones.
ney. Minneapolis. First Annual National Video Fes-
Boutourline, Frank Gillette and Ira Schneider. video installation by Keith Sonnler. Lanesville, N.Y . Media Bus. Founded by the
Richard Felclano, Carol Herzer, Joanne Ky- tival, Minneapolis College of Art and Design
Nam June Paik (with Charlotte Moorman), Plainfield, Wt . The First Gathering : Alternate Syracuse, N.Y. Synapse Video Center (for- Videofreex . Media center begins producing
ger, Richard Lowenberg, Alwin Nikolais, Nam and Walker Art Center . Organized by Tom
Earl Relback, Paul Ryan, John Seery, Eric merly University Community Union Video) .
Media Project, Goddard College. Media con- June Paik (with Charlotte Moorman), Charles "Lanesville TV," weekly program about the Drysdale . Consists of workshops, screenings,
Siegel, Thomas Tadlock, Al do Tam bellini, Joe Video production and post-production cen-
ference. Phillips, Terry Riley, Eric Siegel, Skip community that is the first low-power tele- 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 Campus, Russell Connor, Ed Emshwiller, Nam
Los Angeles. Corridor by Bruce Nauman, Henry Baker. Closes 1980 .
Conceptual Art. Videotapes by Vito Acconci, Vasulka, WGBH-TV RobertZagone . moves to Woodstock and operates a post- June Paik, Barbara Rose, Ira Schneider,
Nicholas Wilder Gallery. Installation with Terry Fox, Bruce Nauman, Dennis Oppenheim, production facility, distribution and con-
Television/Productions Ten Video Performances, Finch College Museum George Stoney, Al do Tambell ini, Gene Young-
video. Keith Sonnler, William Wegman . Organized sulting services, and produces programming
of Contemporary Art. Organized by Elayne blood.
Boston . Nam June Palk and Shuya Abe de- for cable . Current members: Nancy Cain, To be
by Willoughby Sharp. First video exhibition Varian . Works by Vito Acconci, Peter Campus,
Organizations velop Palk/Abe synthesizer while artists-in- New York . Peter Campus, Bykert Gallery .
on the West Coast. Douglas Davis. Dan Graham, Alex Hay Bruce Carey, Bart Friedman .
residence at WGBH-TV. One-man show with video installations .
Cambridge. Center for Advanced Visual Studies, Nauman, Claes Oldenburg, Nam June Paik, New York . Alternate Media Center, School of
Philo T. Farnsworth Video Obelisk by Skip
Massachusetts Institute of Technology (MIT). Violence Sonata by Stan VanDerBeek, WGBH- First Women's Video Festival, The Kitchen at
Sweeney, Intersection Theater, Multichannel Robert Rauschenberg, Steve Reich, Eric Sie- the Arts, New York University . Funded by
Established for artists to explore art and TV Live broadcast performance with video- Mercer Arts Center . Organized by Susan
video installation . gel, Simone Whitman. the John and Mary Markle Foundation to ex-
technlogy. Founded by Gyergy Kepes . Direc- tape, film, and participation of studio and Milano . Includes work by Jackie Cassen,
plore the uses of broadcast telecommunica-
Waltham, Mass . Vision and Television, Rose Perception, Group of artists interested in alter- Maxi Cohen, Yoko Maruyama, Susan Milano,
tor, Otto Piene. 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 The Electronic Kitchen, Screening and perfor-
Ted Kraynik, Les Levlne, Eugene Mattingly, Founded by Eric Siegel and Steina and Woody tive ; and dancelvideo performance by Judith
Director, Ken Shapiro, Technical Director, Eric Howard Wise . mance center for the electronic arts at Mercer
Nam June Paik (with Charlotte Moorman), Vasulka. Subsequent members : Juan Down- Scott, Elsa Tambellini .
Siegel . San Francisco. Stephen Beck builds Direct Arts Center . Founded by Steina and Woody
John Reilly and Rudi Stern, Paul Ryan, Ira ey, Frank Gillette, Beryl Korot, Andy Mann, 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. Kitchen Center for Video, Music and Dance.
T. P, Video Space Troupe . Experimental work- rector, Charlotte Moorman . Includes special
media center devoted to independent video Weintraub . Video Directors include Shridhar Bapat, Di-
Publications shop exploring two-way video. Founded by video projects by over fifteen artists.
production with emphasis on video documen- mitri Devyatkin, Carl ota School man, RoseLee
Shirley Clarke . Original members include Santa Clara, Calif . First St . Jude Invitational
tary . Founded by John Reilly, Ira Schneider, Organizations Film and Video Makers Travel Sheet (Pittsburgh: Goldberg, Jackie Kain, Greg Miller, Tam
Wendy Cl arke, Bruce Ferguson, Andy Gurian . of Video Art, de Saisset Gallery and Art Mu-
Rudi Stern. Directors. John Reilly and Julie Museum of Art, Carnegie Institute) . Monthly
Disbands 1977 .
Bowes, Amy Taubin
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 John Baldessari,
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, Talk aIimura Vi deofreex,WitIiamWegman .
Raindance Foundation, devoted to research dation) . Alternative video magazine and in- grams, and organizes talent pool of film and
er-generated imagery Directors, Ralph Hock- video artists . In 1972 begins post-production Syracuse, N.Y. Douglas Davis: An Exhibition
and development of video as a creative and formation channel for distribution and ex- television professionals to produce public-
ing and Sherry Miller . In 1979 moves to center . Offers workshops, produces video- Inside and Outside the Museum, Everson Mu-
communications medium, with screen Ing pro- change of video works. Published 1970-74, access programming . Founded by TheaSklo-
Owego, N.Y . tapes, sponsors artists-in-residence . Direc- seum of Art, with WCNY-TV. An exhibition
gram . Members: Frank Gillette, Michael Sham- vols . 1-2 . Coeditors, Phyllis Gershuny and tor, Margot Lewitin. Video directors include ver. Director of Programming . Lee Ferguson .
Menlo Park, Calif. Media Access Center, Por- with live telecast, "Talk Out!"
berg, Steve Salonis, Marco Vassi, Louis Jaffe: Beryl Korot. Publishers, Ira Schneider and
Carolyn Kresky, Jenny Goldberg, Susan Mi-
Ends 1976 .
tola Institute . Alternative television resource Nam June Paik, Everson Museum of Art. Tapes,
soon after, Ira Schneider and Paul Ryan . and Michael Shamberg .
lano, Ann Volkes, Wendy Clarke, Veronica
emphasizing community and high school installations, and performance, with Char-
then Beryl Korot.
video programs . Original members: Pat Crow-
Expanded Cinema by Gene Youngblood (New Geist. 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 Organizations
ment loan service for artists and organiza- and artists Jackie Cassen, Russell Connor,
Kennedy, Curtis Ratcliff, Parry Teasdale,
New York . Creative Artists Public Service 1971
(CAPS) awards fellowships in video. tions. i n 1977 reorganizes as access service Douglas Davis, Constantine Manos, Nam June 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, videotape production and exhibition . Presi-
Electronic Arts Intermix, Founded by Howard
Berkeley, Calif. Tapes from All Tribes, Pacific production divisions . Tsai Wen-Ying . Produced by Fred Barzyk . dent, Gerald O'Grady, Video /Electronic Arts
Television/ Productions Wise after he closes his gallery; incorporated
Film Archive, University of California Orga-
1971 . Explores video as a medium of personal New Orleans. New Orleans Video Access Center New York, Artists' Television Workshop, WNET- Curator, John Minkowsky.
Boston . The Medium Is the Medium, WGBH- nized by Video Free America. Exhibition of INOVAC). Founded through VISTA to provide TV . Established through efforts of Jackie
TV . Produced by Fred Barzyk, AnneGresser, expression and communication . In 1972 es- New York . Castelli-Sunnabend Videotapes and
videotapes by over 100 American artists . video access to law-income community. Be- Cassen, Russell Cc nnor, Nam June Paik, with
tablishes editinglpost- production facility In Films. Videotape distribution service. Founded
Pat Marx . First presentation of works by The Television Environment, University Art Mu- comes production center with access . initial grant from New York State Council on
1973 begins Artists Videotape Distribution by Lea Castelli and IIeana So nnabend . Direc-
independent video artists aired on television . seum . Produced by William Adler and John
Service. Syracuse, N.Y . Everson Museum establishes the Arts to support experimental projects by tors include Joyce Nereaux, Patricia Brun-
Thirty-minute program with works by Allan Margolies for Telethon . Circulates through first video department in a major museum, independents . dage .
Kaprow, Nam June Paik, Otto Piene, James New York State Council on the Arts forms
American Federation of Arts . under direction of James Harithas . Video cu- New York City mandates public access as
Seawright, Thomas Tadlock, Al do Tam bellini. TV/Media Program. Directors include Peter Downtown Community Television Center (OCTV] .
Bradley, Paul Ryan, Russell Connor, Gilbert New York. Eighth New York Avant-Gardo Fes- rators include David Ross, Richard Simmons part of its cable franchise . Educational and production organization .
New York . Subject to Change, SON Productions tival, 69th Regiment Armory . Director, Char- Department closes 1981 .
Konishi, Lydia Silman, Nancy Legge, John 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
Giancola . Washington, D.C . National Endowment for National Center for Experiments in Television Fill Corday Productions. Organization to assist
videotapes initiated by Don West with CBS Shirley Clarke, Douglas Davis, Ken Dominick,
People's Video Theater, Alternative video jour- the Arts Initiates Public Media Program Direc- (NCET) established by Brlce Howard at Rhode artists' production Founded by Carlota
and produced by Vi deotreex and other mem- Ralph Hocking . Nam June Paik, Eric Siegel,
or
nalism collective emphasizing community tors Include Chloe Aaron, Brian Doherty . Island School of Design ; also at Southern Schoelman.
bers of the video community. Videotapes pro- 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-
screenings in which the audience discussions Electronic Art III by Nam June Paik and Shuya Illinois University, Ed wardsville .
(alternate schools communes . radicals . Washington, D.C . Fifty independent produc- sizing community education and health pro-
Abe with Charlotte Moorman, Galeria Bo nino . Washington, D.C . Electronic Hokkadim I by
Black Panthers, riots, demonstrations, etc
.)- are taped and replayed Founded by Elliot ers from numerous video collectives join grams, programs on artists and artistic pro-
Exhibition with Paik-Abe synthesizer Douglas Davis, Corcoran Gallery of Art, and
Never broadcast . Glass, Ken Marsh . Members include Judy together to videotape Mayday anti-Vietnam cesses, and multimedia shows. Members in-
Fiedler, Howard Gudstadt, Molly Hughes . Installation works by Vito Acconci, Bill Beck- War demonstration . Their videotapes of po- WTOP-TV. Live broadcast piece with two-way clude Gail Edwards, Howard Gudstadt, Molly
1970 Ben Levine, Richard Malone, Elaine Milosh, ley, Terry Fox, William Wegman at 93 Grand litical speeches and organizations, riots, ar- communication via telephone . Hughes, Ben Levine, Danny Luciano, Richard
Exhibitions/Events Richard Nusser . Street . Organized by Willoughby Sharp. rests, and events are collectively edited at Malone
New York. A.I .R . by Les Levlne in "Software," San Francisco. Museum of Conceptual Art Projects: Keith Sunnier, The Museum of Modern the Videofreex Prince Street studio, New York . Publications Rochester, N.Y. Portable Channel. Video re-
(MOCA). Alternative museum created for per- Art. Environmental video installation . Begin- source center with workshops, visiting artists
the Jewish Museum . Curator,Jack Burn ham. Guerrilla Television by Michael Shamberg and
Eighteen-monitor video installation . formance and multimedia art. Founded by ning of "Projects" exhibition program . series, equipment access, productions . Di-
Organizations Raindance Corporation (New York Holt, Rine-
information. The Museum of Modern Art. Cu- Tom Marioni . A Special Videotape Show, Whitney Museum of hart, and Winston) . Manual of alternative rectors include Bonnie Klein. $anford Rock-
Chicago. Videopolis . Video /resource teaching
rator, Kynaston McShlne. Exhibition includes Video Free America. Video production group American Art. New American Filmmakers television with graphics by Ant Farm . owitz, John Ca met io, Robert Shea, Tim Kelly.
center . Founded by Anda Korsts . Closes 1978
with post-production and screening pro- Series .Organized by David Bienstock . Video-
videotapes and installations from U.S . . Eu-

42
 Rosenbach, Richard Serra with Robert Bell, San Francisco. La Mamelle. Artists' space Festival . initiated by Video Study Center of
SL Louis. Double Helix, Media Center with Publications ter. In 1979 Film Study Center begins work-
Willoughby Sharp. Keith Sonnier. William for video . audio, and marginal works. Direc- Global Village
production and post-production facilities, shops and exhibitions in video.
Between Paradigms: The Mood and its Purpose Wegman . tors, Carl Loeffler and Nancy Frank . 1975 Biennial Exhibition, Whitney Museum of
audio/video workshops. by Frank Gillette (New York : Gordon and Rochester, N.Y.-Visual Studies Workshop es-
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). bitions, productions, performance art. In 1979 video artists.
with workshops and exhibitions. Begins pub- 1959-73, Everson Museum of Art . Curator,
production collective producing political and Print (New York RC Publications). Special establishes 911, Video Library . In 1981 media
David Ross . Retrospective of artist's video- Projected Video, Whitney Museum of American
social documentaries . Original members in- lication of Afterimage with coverage of video.
video issue. Guest editor, Robert de HavilIand . tapes, with catalog edited by Judson Rose- program becomes Focal Point Media Center . Art Projected videotapes by William Adler
Director, Nathan Lyons. Media center coor-
clude Lynn Adler. Jules Backus, Jim Mayor. Contributors : Fred Barzyk, Rudi Bass, Rose Founded by Ann Focke, Robert Garner . Ken and John Margolies, John Baldessari, Lynda
dinators include Wayne Luke, Laddy Kite, bush .
Sherrie Rabinowitz . John Rogers, Mya Shone. DeNeue, Bernard Dwelt, Sheldon Satin, Mi- Leback . Video Curators, Norie Sato, Heather
ArthurTsuchlya, Nancy No rwood. Video and the Museum, Everson Museum of Benglis, Peter Campus, Douglas Davis, Bill
Disbands 1979 . chael Shamberg . Oakson
Art. Organized by David Ross . Funded by the Etra Hermine Freed, Shigeko Kubota, Nam
Top Value Television (TVTV) . Independent docu- June Falk, Richard Serra, Keith Sonnier,
mentary production group forms to provide 1973 Television/Productions Rockefeller Foundation . Conference with
Television/Productions
workshops for curators and administrators Steina and Woody Vasulka, William Wegman .
alternative coverage of the Democratic and Exhibitions/Events New York . Steve Rutt and Bill Etra develop Boston . New Television Workshop, WGBH-TV.
on the role of video in the museum . Concur- Philadelphia . Video Art, Institute of Contem-
Republican conventions in Miami, the first Los Angeles. Willian Wegman, Los Angeles Rutt/Etra scan processor . Established with grant from the Rockefeller
rent, exhibitions : Peter Campus, Closed Cir- porary Art, University of Pennsylvania . Cu-
use of half-Inch videotape on broadcast tele- County Museum of Art . Exhibition of draw- San Francisco. Videola, San Francisco Mu- Foundation and through the efforts of David rator, Suzanne Delehanty . Exhibition docu-
cuit Video, Juan Downey, Video Trans Ameri-
vision . Original production by Hudson Mar- ings and tapes . seum of Art . Environmental sculpture by Don Atwood, Fred Barzyk, Dorothy Chiesa, Ron
cas De-Briefing Pyramid (a video /dance per- menting the development of video art through
quez, Allen Rucker, Michael Shamberg, Tom Hallock with multiple display of synthesized Hays, Rich Hauser, Olivia Tappan . Director, videotapes and installations . Travels to Con-
New York . International Computer Arts Festi- formance with Carmen Beuchat) : Andy Mann,
Weinberg, Megan Williams, and members of video works created at National Center for Fred Barzyk . Producers Include Dorothy
val, The Kitchen at Mercer Arts Center. Or- Video Matrix ; and Ira Schneider, Manhattan temporary Art Center, Cincinnati : Museum
Ant Farm, Raindance, and Videofreex collec- Experiments in Television (NCET), KOED-TV. Chiesa, Susan Dowling . Nancy Mason Hauser,
ganized by Dimitri DevyatkIn.Inc]udes music. Is an Island . of Contemporary Art, Chicago, Wadsworth
tives . Other members of TVTV include Wendy
poetry, film, video . Works by Stephen Beck with Don Hallock
Washington, D.C . Art Now 74: A Celebration
OliviaTappan . ; and Sao Paulo
Atheneum, Hartford, Conn
.
Apple, Michael Couzens, Paul Goldsmith, and Ann Turner, William Gwln with Warner Biennale, Sao Paulo, 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
Betsy Guignon, Stanton Kaye, Anda Korsts, Jepson, Don Hallock .
Moore, The Kitchen at Mercer Arts Center . for the Performing Arts . Includes twenty-three video artists, including David Atwood, Ste- San Francisco . Media Burn by Ant Farm,
Andy Mann, Elan Soltes . Disbands 1977 .
phen Beck, Peter Campus, Douglas Davis, Ed Cow Palace . July Fourth pert or mance/media
Woodstock, N.V. Woodstock Community Video .
Installation with three channels and twelve Publications videotapes .
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,
1973 Biennial Exhibition, Whitney Museum of Moebius Video Show, San Francisco Art Fes-
nity video . Initiates local cable programming. (New York Praeger), Alternative equipment Rudi Stern, Stan VanDerBeek, William Weg-
American Art. First inclusion of video 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- manual . man . Writer and narrator, Brian O'Doherty.
Biennial exhibition . Includes videotapes by Multipurpose production facility with post- Festival . Includes work by Ant Farm, Terry
beck in 1976 . From 1975 to 1977 presents
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
pus. tor, Michael Rothbard . and Kelko Tsuno, Public Broadcasting System Skip Sweeney.
New York State artists . Founded by Ken Exhibitions/Events (PBS). First documentary videotape using
Marsh Members include Barbara Buckner, Tenth Now York Avanl-Garde Festival, Grand Long Beach, Calif. Long Beach Museum of Art Walk Series by Peter D'Agostino, 80 Langton
Ithaca, N.Y. First Annual Ithaca Video Festival, begins video exhibition program and col- half-inch color equipment to be broadcast Street . Video installation and first event at
Bob Dacy, Gary Hill, Steven Kolpan, Elaine Central Station . Director, Charlotte Moorman,
Ithaca Video Projects . In 1976 festival begins lection of videotapes . Video curators include by public television . 80 Langton Street, an alternative space ini-
Milosh . Ends 1978 . Includes special video projects by over seven-
to tour . David Ross, Nancy Drew, Kathy Huffman . In Rochester, N.Y. Television Workshop, WXXI- tially sponsored by the San Francisco Art
teen artists .
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,
Television /Productions Everson Museum of Art. Curated by David
County Museum of Art . Organizer, Jane from the Rockefeller Foundation : in 1979 pro- Garvln Elson. Ends 1981 . dependent space with emphasis on alterna-
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-
to produce tapes relating to music and video lery, University of Washington, Seattle, Cran-
Holt, Joan Jonas Paul Kos, Richard Landry, New York . Anthology Film Archives begins Arts Magazine (New York : Art Digest) . Special Organizations
imagery. Andy Mann . Robert Morris, Bruce Nauman . video program . Director, Jonas Mekas. Video video issue. Contributions by Eric Cameron .
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, Dan Graham,
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 . Cybernetics of the Sacred by Paul Ryan (Garden
duced by Henry Becton with Fred Barzyk, of Art, Greenville, S.C . ; and in 1974, Museum 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
interviews with artists, engineers, business Byrne, Peter Campus, Juan Downey, Frank by Robert Haller . Bob Harris . ics. Operation, and Application of the New Tele-
Eversan Museum of Art. Videotapes and in- film and video artists to cable systems . Pres-
people, educators . students. Gillette, Andy Mann, Ira Schneider, University Association of Independent Video and Filmmakers vision for the Student, Artist and for Community
stallations . 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 Organizations of videotapes .
video installation by Peter Campus and per- National trade association of independent The Prime Time Survey by Top Value Television
plans avaiIableto artists.
Chicago. University o1 Illinois at Chicago. Dan formance with video with Joan Jones. producers and individuals Begins publishing
New York, Scope-mates by Ed Emshwiller, (TVTV) . Report on status of video and its Television/ Productions
Sandin and Tom DeFanti initiate video/com- New York . Electronic Art IV by Nam June The Independent on media issues- In 1975 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
Minneapolis . University Community Video . Open Circuits : The Future of Television, The
Video and Film (FIVE) as an educational 1975 the Television Laboratory at WNET1Thirteen .
and computer graphics . Executive Producer, Carol Brandenburg . Year-
Center devoted to independent production, Museum of Modern Art. Organized by Fred
organization . Exhibitions/ Events
The Television Laboratory at WHET/Thirteen. 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- Distribution . Inc.) . Distribution service of art- Europe-In 1979 renamed Vi deo JFiIm Review .
New York . Cable Arts Foundation . Founded by lard Van Dyke . International video conference Ant Farm . Reenactment of John F. Kennedy
denburg. Founded with grants from the Rock-
Russell Gonnar .0rganization for production with exhibition of tapes. Participants include ists' tapes. assassination for videotape. Presented as in-
efeller Foundation and New York State Coun- 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- Exhibitions/Events
to cable systems and for encouragement of educational television producers, artists and (formerly The Electronic Kitchen) relocates 1976 .
residence program with Shirley Clarke,
local arts programming . art critics from U .S ., Canada, Latin America, to Broome Street and begins daytime exhi- Long Beach, Calif. Southland Video Anthology, Berkeley, Calif. Commissioned Video Works,
Douglas Davis. Ed Emshwiller, Nam June
John Simon Guggenheim Foundation awards Europe, Japan . bition program . inaugural show includes vid- Long Beach Museum o1 Art . Extended series University Art Museum . Organized by Jim
Paik .
first video fellowship . Projects: Video, The Museum of Modern Art eotapes and three video installations by Bill of five exhibitions by California artists Melchert Fifteen artists commissioned to
San Francisco. Electronic Notebooks by Ste-
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-
Foundation in 1976. sources. workshops, and visiting artist se- John Fernie . Hilla Futterman, Leonard Hunter,
coverage of video. eling ex hibltionwith videotapes produced by
Washington, D.C . The Federal Communica- Anda Korsts Les Levine Paul McCarthy,
Video Performance, 112 Greene Street . Video ries Founded by Dennis Hlynsky, Robert
tions Commission (FCC) requires that all Portland, Ore. Northwest Film Study Center Art/Tapes/22, Florence .
Jungels, Laurie McDonald . Alan Powell . In George Miller, Dennis Oppenheim, Robert
initiates Northwest Film and Video Festival performances by Vito Acconci, Joseph Beuys,
cable franchises have at least one public- New York . First Annual Video Documentary Watts, William Wegman .
Chris Burden, Dennis Cppenheim, Ulrike 1975 Ed Tannenbaum joins. Disbands 1980 .
access channel . Directors include Robert Sitton and Bill Fos-

44
 show . Director . JaimeDavidovitch . McClard WiIIougInby Sharp. In 1983 becomes Rosler . Herbert Schiller . Allan Sekula . Peter
Boston . Changing Channels, Museum of Fine Davidovich .IndependentorganizatIonior in- cutive Producer, David LOxlon, Coordinator,
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'
sion . ln 1977 becomes Artists' Television Net- Laboratory with grants from the Ford Foun- television series for cable begins as live show Producer . Liza Bear . San Francisco. First Annual San Francisco
of videotapes produced by independent art-
ists at experimental television broadcast work dation and the National Endowment for the and evolves into diversified programming WHET/Thirteen . Broad-
Non-Fiutiun Television, Video Festival . Director, Steve Agetstein. As-
centers: WGBH, Boston ; WHET, New York ; Image Union. Independent production company Arts to stimulate the production of indepen- with emphasis on narrative and performance- cast series far Independent Documentary sistant Director . Wendy Garfield Begin pub-
and KQED, San Francisco. dent documentaries. oriented work involving artists from diverse Fund . lishing Video 80 as festival catalog Now
forms to offer alternative coverage of the
media Regularproducers IncludeCaraBrow- Public Interest Video Network. Executive Pro. called SEND and published as a quarterly .
Democratic National Convention and Election New York and San Francisco. Send/Re-
San Francisco, Video Art: An Overview, San
Night. The Five-Day Bicycle Race and Mock ceive Satellite Network, Coordinators Liza Bear nell . Mitch Corber . Albert Dimartino, Julie ducer . Kim Spencer. Senior Editor, Nick De- Yonkers, N.Y. Alternative Spaces. Hudson
Francisco Museum of Modern Art. Organized Harrison . Robert Klein . Terry Mohre . Alan
Turtle Soup, taped segments with live phone- Martino. Independent production company River Museum . Series of exhibitions employ-
by David Ross . Exhibition of thirty-three vid- and Keith Sonnier with support from the Pub-
in interviews, are shown on Manhattan Cable Moore, Brian Piersol . Gary Pollard. Mindy financed by the Urban Scientific and Educa- ing Museum's planetarium. Includes video
eotapes by twenty-nine artists . Insta¬ lotions lic Interest Satellite Association (PISA) and
Television Stevenson. Jim Sutcliffe . Maria Thompson . tional Research (USER) presents live satellite installations by Mary Lucier, Francesc Torres
by Peter Campus, Paul and Marl one Kos, Nam NASA . Two-way satellite transmission be-
Sally White . coverage of an antinuclear demonstration in
tween New York and San Francisco with si-
June Paik . Television/Productions Washington, D.C . . on the PublicBroad casting Organizations
multaneous performances . Participants, in
Syracuse, N.Y. New Work in Abstract Video
Video Art: An Anthology (New York : Harcourt . San Francisco: Margaret Fischer, Terry Fox,
1979 System (PBS). First time PBS carries a live New Orleans . Survival information Television,
imagery, Everson Museum of Art. Curator,
Brace and Jovanovich). Editors, Beryl Korot Brad Gibbs, Sharon Grace. Carl Loeffler . Exhibitions/ Events public affairs program whose editorial con- NOVAC Installation in local welfare Office
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-
San Francisco. Produced for Television . La St . Paul . Jerome 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
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 formance art Works by Chris Burden, Lynn
video activity in the United States . Keith Sonnier . sources (FAR) and Highlands Art Agents .
screenings, educational programs, equipment
Hershman and Rea Baldridge, Chip Lord and Television
New York . Re-Visions : Projects and Proposals
resources. Founded by Jon Rubln and Susan 1977 Publications Phil Garner, Barbara Smith. Cambridge. Artists' Use of Telecommunications .
Wall . Directors include Michelle Schofield and in Film and Video, Whitney Museum of Amer-
Organizations Tha New Television : A Public/ Private Art. (Cam- ican Art. Curator, John Hanhardt . Video
Organized by Center for Advanced Visual
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 Manifesto including essays from the Open Video-Archiieclure-Television: Writing on Video gy (MIT). Collaborative into ractivesIow-scan
dent Media Artists of Georgia, Etc., Inc.) . Bob Diamond and Robert Watts: and Bulky
Institute of Chicago . Distribution and resource Circuits Conference at The Museum of Modern and Video Works by Dan Graham (Halifax, Nova TV conference link between Cambridge . New
Media center with screenings, workshops, Schwartz .
center for videotapes on artists and video 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-
nual international showcase . Directors in-
Exhibitions/Events way slow-scan transmission between Aldo
Marshall . Steve Partridge. and others . 1980
gram series and programming far Chinese clude GaylaJamison, Anna Marie Piersimoni, Buffalo . Vasufka: Steina-Machine Vision, Tambellini, Cambridge, Torn Klinkowstein,
Cable Television . Conducts workshops, media Woody-Description .A]brig ht-Knox Gallery . Cu-
Video from Tokyo to Fukui and Kyoto. The Mu- 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- Minneapolis-St . Paul . Minnesota Landscapes .
d uctlonand post-production technical assis- temporary Arts Museum, Houston; University with "Video New York, Seattle and Los
brary, establishes collection of videotapes . Art Museum . Berkeley ; and Academy of Fine lippe Guerrier, Thierry Kuntzel. KTCA-TV. Project Director, Peter Bradley.
tance. Conducts Southwest Film and Video Angeles" travels to Japan and Europe .
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, Texpo film and video festival . Produces local versity Art Museum . Exhibition with work by Dara Birnbaum, Pat- cast . Works by Skip Blumberg, James Byrne
Museum of Art. Curator, Richard Simmons.
Michael Gitlin, Lishln Yu, PBS series . "The Territory" Directors include rick Clancy . Wendy Clarke . Brian Eno, Ken Steve Chrlstiansen . Davidson Gigliotti, Frank
Video Viewpoints, The Museum of Modern Art. Exhibition with videotapes by over fifty art-
Franklin Furnace. Alternative space with ar- Ed Hugetz and Tom Slms . Feingold, Dan Graham, Gary Hill, Sarah Gohlke, Cynthia Neal, Steina .
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
access center with workshops, technical pro- Pittsburgh . National Media Alliance of Media Callt ; in 1981, Museum of Contemporary Art,
Lake Placid, N.Y. Art at the Olympics, 1980 1981
Wilson Winter Games. Videotapes by Skip Blumberg .
duction services . cable programming, screen- Arts Centers (NAMAC) holds first conference . La Jolla, Calif. Exhibitions/Events
New American Filmmaker Series, Whitney Mu' ings . Founding Executive Director, Gerry Kit Fitzgerald and John Sanborn, Nam June
Hosted by Pittsburgh Filmmakers . 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 . brary begins visiting artists program with Long Beach, Calif. California Video. Long
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 New York . The Media Alliance . Association and Buky Schwartz .
view Network, Pittsburgh Filmmakers . Pro- man- Works by Max Almy, Dan Boord, Ante
Services, Lillian Katz participants and film- and videomakers. of media arts organizations and independent
gram of organized preview screenings of Boznich, John Caldwell . Alba Cane Helen Stay Tuned, The New Museum . Organized by
Venice, Calif. Video night by Same Serious video producers in New York State designed
films and videotapes around the country. Television/Productions DeMichiel, Tony Labal, Pier Morton, Tony Ned Rlfkln Exhibition juxtaposes artists'
Business . Weekly video screening series . to coordinate resources and promote the 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, Patti Podesta. Joe Rees/
work of the independent video community. Target Video, Nina Salerno, Ilene Segalove, cludes Robert Cumming, Brian Eno Charles
Holler . Ends 1980 Jeffrey Schier begin work on the Digital Image Organizations Includes programming. exhibition, produc- Starr Sutherland, "Captain Bruce Walker, Frazier. Donald Lipski, Howardena Pindell,
San Francisco. Bay Area Video Coalition foun- Articulator, a digital computer-imaging de-
tion, distribution . Directors include Jackle Judy Rifka, Allen Ruppersberg, Irvin Tepper .
Chicago. Chicago Editing Center . Production/ Bruce and Norman Yonemoto .
ded with grant from the Rockefeller Foun- vice .
post-production facility with education and Kain . Robin White.
New York . Love Tapes in Now York by Wendy Video Classics, Bronx Museum of the Arts .
dation . Production1post-production center Chicago, 28RASS. Personal computer-graph- exhibition programs .ln 1980becomes Center P .S . I begins video exhibition program with Curator. RoseLee Goldberg Installations by
with workshops and exhibitions . Founding ics system designed by artist Tom DeFanti . Cl arke . Live Interactive installation and tapes
for New Television . Directors include Cynthia emphasis on installations. Video Curator . Bob exhibited at the World Trade Center with Vila Acconci, Ban Graham, Shigeko Kubota.
Director, Gail Waldron . Director, Morrie War-
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- heim . Nam June Paik .
active broadcast between California, Mary- TelevisionlPraductions WHET/Thirteen
Television /Productions Television/Society/Art. The Kitchen. Organized Rochester, N.Y. From the Academy to the Avant-
Television/Productions land, and Washington . .
.C
D Chicago. Image Union, WTTW-TV. Produced
Garde Visual Studies Workshop . Curator.
New York . Communications Update . Center for by Ron Clark and Mary MacArthur. Colloqui-
Los Angeles. Video Art. Los Angeles Theta New York . Documenta VI. Curator, Wulf Herzo- by Tom Weinberg- Weekly broadcast of in- 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 .
(Wor10Admlnistrative Radio Conference) Re- can Film Institute Participants include Ben- videotapes by Juan Downey . Howard Fried,
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 Los Levine . Travels to Center for Art Tapes,
political and communications issues . Original tino, Stephen Heath, Fredric Jameson . Rosa-
Museum of Art. Ends 1979 . West Germany, presented through WHET-TV. artists' videotapes and performances, and Halifax. Nova Scotia, and Center for New
producers Liza Bear, Rolf Brand. Michael lind Krauss . Mark Nash, Robert Sklar, Martha
New York . Cable Soho . President, Jaime Independent Documentary Fund, WHET-TV. Exe- of "The Live! Show," avant-garde variety

46
Television, Chicago. to include video. Media organization for dis- Breuer, performed by Ruth Maleczech. Video
tribution of independent work includes work- by Craig Jones . Premiere performance of
Washington, D.C . National Video Festival,
shops and state-wide directory o1 media ser- complete version of performance poem, SELECTED BIBLIOGRAPHY
American Film Institute. Sponsor, Sony Cor-
vices, and acts as a liaison to cable. Director, which incorporates extensive use of live and
poration . Festival producer, Larry Kirkman ;
Karen Wickery. recorded videotape.
festival director, James Hindman.Installation
by Nam June Palk . Yonkers. N.Y. Electronic Vision, Hudson River
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 .
United States showing at The Museum of seum of Art. 1974 . SEND (formerly Video 8D). San Francisco :
New York and Paris. Double Entendre by New York . Disarmament Video Survey . Orga- BOOKS
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) . TV Magazine New York : Artists' Television
New York . Paper Tiger Television. Organized ducers from New York . Washington, D.C ., San Sandy Nairne Works from Europe, Canada, Davis, Douglas, and Si mmons. Allison, eds .
The New Television: A PubliclPrivate Art. Institute of Contemporary Art. University of Network.
by Diane Augusta, Pennee Bender, Skip Francisco Great Britain, Germany, Japan, U.S . International tour-
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-
rary Art. 1975 . Videography . New York : United Business
heimer . Series on public-access television views with people about their views on nu- Long Beach, Calif. Shared Realities, Long Gale, Peggy, ed . Video By Artists . Toronto: Publications . Inc.
that examines communications industryvia clear arms and disarmament. Survey shown Beach Museum of Art . Executive Producer, Art Metropole,1976 . Long Beach Museum of Art. California Video.
the print media, and serves as model for on cable television and presented as installa- Kathy Huff man. Series on local cable station Organized by Kathy Hufiman. Long Beach.
lions at American Film Institute National of work produced by artists at the Stationl Gustafson . Julie, ed . The Global Village Hand-
low-budget, public-access programming . :Long Beach Museum of Art. 1980
.
Calif
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 .
Exhibitions/Events tron icArts Intermix, Stuart Shapiro. Sixteen- New York . Perfect Lives by Robert Ashley 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- .
cludes computer-generated video art in its seven parts produced by The Kitchen. National Gallery of Ontario. Ottawa, Ontario . Electronic Arts Intermix Videotapes . New
1983 Loeffler . Carl E., and Tong, Darlene. eds.
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 AitchenlVideo . New York : Haleakala, Inc .,
Buffalo, N.Y. Ersatz TV : A Studio Melee by Decade of California Performance Art . San
Alan Moore and Terry Mohre, Collaborative Minneapolis. The Media Arts in Transition . Francisco : Contemporary Arts Press. 1980, The Whitney Museum of American Art. Nam 1982
Conference organizers and spans ors: Walker London Video Arts . London London Video
Projects . Hallwalls Gallery. Curator, Kathy June Paik Organized by John G. Hanhardt .
Art Center, National Alliance of Media Arts Schneider, Ira, and Karat, Beryl, eds. Video Arts . 1978 .
High . Installations of six studio sets from New York and London : The Whitney Mu-
Centers (NA MACi, Minneapolis College of Art Art : An Anthology New York Harcourt . Montevideo Catalog. Amsterdam : Montevid-
artists' television series "Potato Wolf," with seum of American Art, in association with
and Design, University Community Video, Brace. Jovanovich,1976.
live cameras and videotape screenings W. W. Norton & Co mpany,1982 . ea 1982 .
Film in the Cities . Conference programmers: Shamberg, Michael, and Raindance Corpor- Never Berliner Kunstverein Video. Berlin :
:Humor/Comedy, Media Study/Buf-
Video/TV
Jennifer Lawson, John Minkowsky, Melinda ation Guerrilla Television . New York : Holt, Kunstverein .1980.
falo- Curator, John Minkowsky. Touring exhi-
Ward . Rinehart and Winston,1971 . Periodicals Video Inn Videotape Catalogue . Vancouver:
bitionthat explores relationship between art
New York. The Intersection of the Ward and the SatelIiteVidee Exchange Sodety 1977 .
and entertainment . Travels throughout U .S . Williams, Raymond . Television : Technology Afterimage. Rochester, NY Visual Studies
Visual Image, Women's Interart Center . Gotlc- The Videotape AeviewlVideo Data Bank .
New York . Nam June Paik . Whitney Museum and Cultural Form. New York : Schocken Workshop
quium involving artists, writers, and schotars Chicago: School of the Art Institute of Chi-
of American Art. Director of exhibition, John Books, 1974 . American Film . Journal of the Film and Tele-
on relationship of language to the moving vision Arts . Washington D.C . : The Ameri-
cago . 1983
Hanhardt Major retrospective. Travels to
Image, alternative narratives . and thetrans- Youngblood Gene . Expanded Cinema . New Western Front Video . Vancouver : Western
Museum of Contemporary Art. Chicago. can Film Institute.
formation of literary, historical, performance, York : E. P. Dutton . 1970 . (Out of print) . Front Society . 1982-
Art Com (formerly La Mamelfe Magazine :
Park City, Utah, Fourth Annual United States and visual works to video. Screenings of in- 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,
Yonkers, N.Y. Art and Technology : Approaches American Art. Installations by Shigeko Ku- Inc.
to Video, Hudson River Museum . Three-part Albright-Knox Art Gallery. Vasulka. Steina:
bota and Mary Lucier . First touring video Artforum . New York : Artforum International
exhibition of installations by Dara Birnbaum, show of Biennial, through American Federa- machine visionlWoody : descriptions . Orga- Magazine . Inc.
David Behrman and Paul DeMarlnis and Kit tion of Arts (AFA). nized by Linda L. Cathcart . Buffalo, N . Y. :
Avalanche. New York : Center for New Art
Fitzgerald and John Sanborn. Curator, Nancy The Buffalo Fine Arts Academy, 1978 .
Activities . Inc. (Out of print) .
Rochester, N.Y. Video Installation 1983, Visual
Hoyt . Cahiers du C4n6ma . Paris : Edition de I'EtoiIe
Studies Workshop . Exhibition including American Film Institute, J. F. Kennedy Cen-
Washington, D.C . National Video Festival, works by Barbara Buckner. Tony Conrad, ter for the Performing Arts, Washington, Film Library Quarterly. New York : Film Lib-
American Film Institute at the John F. Ken- Doug Hall, Margia Kramer . Bill Stephens D.C . National Video Festival 1981- Wash- rary Information Council .
nedy Center for the Performing Arts, and the ington, D.C_ : The American Film Institute. Fuse . Toronto : Arton's Publishing Inc.
Santa Fe and Albuquerque. Video as Alti-
American Film Institute Campus Los Angeles 1981- (Annual) . The Independent. New York : Foundation for
tude, Museum of Fine Arts . Santa Fe . and
Sponsor, Sony Corporation . Installations by Independent Video and Film .
University Art Museum, Albuquerque, New The Everson Museum of Art. Everson Video
Shlgeko Kubota (Washington, D.C .) and Ed Iris . Paris Editions Analeph .
Mexico . Director, Patrick Clancy . Installations Revue . Organized by Richard Simmons
EmshwiNerand Bill Viola (Los Angeles) Parachute. revue d'art contemporain . Mon-
by Bill Belrne, Juan Downey Dieter Froese, Syracuse . N.Y. . The Everson Museum of
Robert Gaylor, Gary Hill, Joan Jonas. Rita treal : Parachute, revued'artccntemporain .
Art, 1979
Organizations Myers, Bruce Nauman . Michael Smith. Steina. Radical Software . New York Gordon and
Francesc Torres, Bill Viola. The Everson Museum of Art . Nam June Paik . Breach . (Out of print) .
Boston . Institute of Contemporary Art begins
Videa'n'Videology 1959-1913. Judson Rose- Screen . London The Society for Education
video program . Director, David Ross . Valencia, Calif. Hajj by Mabou Mines Cali-
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