SurveyingtheFirstDecade
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SurveyingtheFirstDecade
Surveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecader survey, organized into 8 programs can be purchased through the Video Data Bank, School of the Art Institute of Chicago. Producer Biographies, short biographies of the over 50 artists, independent producers, and collectives represented in this collection, is one of the resources prepared for Rewind SurveyingtheFirstDecade, an unpublished text designed to accompany the 17 hour tape, collection.PRODUCER BIOGRAPHIES by Julia DzwonkoskiVito AcconciBorn in the Bronx in 1941SurveyingtheFirstDecade
, Vito Acconci received a BA from Holy Cross College and an MFA from the University of Iowa. A poet of the New York School in the early and mid 1960s,Surveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadelternate ground for the page ground I had as a poet." (Vito Acconci, interview with Liza Bear, Avalanche, Fall 1972, p. 71) Acconci’s early perfomance/situations, including Claim (1971) and Seedbed (1972) were extremely controversial, transgressing assumed boundaries between public and private space SurveyingtheFirstDecade and between audience and performer. Positioning his own body as the simulaneous subject and object of the work, Acconci's early video tapes took advaSurveyingtheFirstDecade
ntage of the medium’s selfreflexive potential in mediating his own and the viewer's attention. Consistently exploring the dynamics of intimacy, trust,Surveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadetions (Pryings, 1971), and later, to the cultural and political implications of the performative spacehe set up for the camera (Red Tapes, 1976). Since the late 1970s, Acconci has designed architectural and installation works for public spaces.Nancy Angelo & Candace ComptonWorking from 1976-80 in vi SurveyingtheFirstDecadedeo and performance, Nancy Angelo was a member of Sisters of Survival, a performance group which "used the nun image symbolically" and a founding membSurveyingtheFirstDecade
er, along with Candace Compton, Cheri Caulke and Laurel Klick, of Feminist Art Workers. Angelo and Compton were both actively involved with the Los AnSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadehe arts, FSW had a core faculty of Sheila de Bretteville, Arlene Raven, Deena Metzger, Suzanne Lacy, Helen Roth, and Ruth Iskin. The Woman’s Building was founded a year later by Judy Chicago, Sheila de Bretteville, and Arlene Raven and included Chrysalis, a magazine of women's culture. Both organiza SurveyingtheFirstDecadetions were unique in their aim of reinventing the institution according to feminist principles. Angelo directed the educational programs at the Women’SurveyingtheFirstDecade
s Building and, along with Annette Hunt and Jerri Allyn, she and Compton co-founded the Los Angeles Women's Video Center (LAWVC). Angelo and Compton’sSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecaded ephemeral print archives of the LAWVC are currently housed at the Long Beach Museum of Art, Long Beach, CA.Ant FarmA San Francisco collective of artists and architects working from 1968 to 1978, Ant Farm’s activity was distinctly interdisciplinary, combining architecture, performance, media, happe SurveyingtheFirstDecadenings, sculpture, and graphic design. With works that functioned as art, social critique, and pop-anthropology, Ant Farm tore into the cultural fabricSurveyingtheFirstDecade
of post-WWll, Vietnam era America and became one of the first groups to address television's pervasive presence ineveryday life. As Chip Lord, one ofSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadeuse Tapes, 1971); to explore the multi-barreled impact of electronics on auto-america (Cadillac Ranch, 1974 and Media Rum, 1975); and to exploit the structure of pure electronic culture (Eternal Frame, 1975 and Off-Air Australia, 1976)." (The Range of Video Alternatives Retrospective (AFT Catalog), SurveyingtheFirstDecadep. 64) As graphic artists, Ant Farm contributed to numerous underground publications including Radical Software and designed Michael Shamburg's GuerilSurveyingtheFirstDecade
la Television (Holt, Reingart, Winston, 1971) Ant Farm included Chip Lord, Doug Michels, Hudson Marquez, and Curtis Schreier.John Baldessari"EverybodySurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadedessari, "Between Questions and Answers."(....) p. 11)(Chris will find full citation)Born in 1931, John Baldessari studied Art, Literature, and Art History at San Diego State College and University of California, Berkeley. Influenced by Dada and Surrealist literary and visual ideas, he began incorpo SurveyingtheFirstDecaderating found materials (billboard posters, photographs, film stills, snippets of conversation) into his canvases, playing off of chance relationshipsSurveyingtheFirstDecade
among otherwise discreet elements. Allowing pop-cultural artifacts to function as "information" as opposed to "form," Baldessari's works represented aSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecade an assistant professor in the University of California Sail Diego’s art department, Baldessari met poet and critic David Antin who helped launch Baldesari's career, introducing him to like-minded group of emerging conceptual artists inluding Lawrence Weiner, Joseph Kosuth, Dan Graham, and On Kawara SurveyingtheFirstDecade, all of whom would have a great influence on thedevelopment of Baldessari's work. Baldessari's videotapes, like his phototext canvases, employ strateSurveyingtheFirstDecade
gies of disjunction (Some Words J Mispronounce, 1971), recontextualization (Baldessari Sings Lewitt, 1972), and allegory (The PVữự We Do Art Now and OSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadeed scupture and painting at Newcomb College and the Brooklyn Museum School. Well known for her process-oriented sculptures, Benglis was one of a handful of artists associated with the emergence of an antiformalist, Post-Minimalist sensibility in the mid 1960s. Benglis first began using video in 1970 SurveyingtheFirstDecade while teaching at the University of Rochester (NY). "1 got involved with video. I saw it as a big macho game; a big, heroic, Abstract Expressionist,SurveyingtheFirstDecade
macho, sexist game. How big?" (The New Sculpture: 1965-75, p. 312) Benglis's video tapes call attention to the formal properties of the medium, layeriSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadety, 1973).Dara Birnbaum"One of my original inspirations for getting involved in video was having seen, in the 1960s, a demonstration in San Francisco against the expansion of the war in Cambodia, and they had a TV on the podium there and everyone was fighting — the New I-eft was already fighting fra SurveyingtheFirstDecadegmented-fighting each other and finally someone with a mallet said "are we listening to this?" because the news was on, showing the expansion of the wSurveyingtheFirstDecade
ar in Cambodia, and with the mallet, they broke the TV and it exploded. At that moment was the first time 1 thought I'd go out and buy a TV7 — I didn’Surveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadeons of peoplefrom hearing it. At that time the Nielson ratings said that the average family watched seven-and-a-half hours of television a day—so I thought that was the language I had to speak."Dara Birnbaum, Interview with Judy Cantor, "Dara Birnbaum," Ivam Centre Del Carme, 1990 (P-41)An architect SurveyingtheFirstDecade and urban planner by training, Dara Birnbaum studied at Carnegie Institute of Technology and the San Francisco Art Institute. She began using in videSurveyingtheFirstDecade
o in 1978 while teaching at the Nova Scotia College of Art in Haltfax and Design where she worked with Dan Graham. Recognized as one of the first videSurveying the First Decade: Video Art and Independent Media in the U.S., 1968-1980 Curated by Chris HillProduced by Video Data Bank (1996)This 17 hour SurveyingtheFirstDecadetechnological speed' in order to arrest movements of TV-time for the viewer. For it is the speed at which issues are absorbed and consumed through the medium of video/television, without examination and self-questioning, that remains astonishing." Recontextualizing pop cultural icons (Technology/rra SurveyingtheFirstDecadensfonnation-.Wonder Woman, 1978-79) and TV genres (Kiss the Girts and Make them Cry, 1979) to reveal their subtexts, Birnbaum describes her tapes as nSurveyingtheFirstDecade
ew "ready-mades" for the late twentieth century, works that "manipulate a medium which is itself highly manipulative."Peer BodeEducated and working inGọi ngay
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