{"id":8622,"title":"Creative Artists Public Service Program (CAPS). Annual Report 1979-80","kind":"biblio","url":"https://www.videohistoryproject.org/creative-artists-public-service-program-caps-annual-report-1979-80","version":"27a614951ffb5e0d7bd02ed0f0d9ae6c5a78c484f6ebdd40dfc0cac76fd57034","modified":"2026-09-16T09:58:02.497203+00:00","credits":[{"role":"Author","name":"Creative Artists Public Service Program (CAPS)"}],"authorKeys":["Creative Artists Public Service Program (CAPS)."],"subjects":[],"metadata":[{"label":"Publisher","value":"Creative Artists Public Service Program","url":null},{"label":"Place","value":"New York, NY","url":null},{"label":"ETC archive","value":"ETC1757","url":null}],"citations":{"page":"\u0022Creative Artists Public Service Program (CAPS). Annual Report 1979-80.\u0022 Video History Project, Experimental Television Center, 2026. https://www.videohistoryproject.org/creative-artists-public-service-program-caps-annual-report-1979-80.","publication":"Creative Artists Public Service Program (CAPS). Creative Artists Public Service Program (CAPS). Annual Report 1979-80. Creative Artists Public Service Program. 1980.","risUrl":"https://www.videohistoryproject.org/citation/8622.ris"},"links":[],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":14477},{"name":"abstract","source":"recorded publication abstract","generated":false,"characters":36},{"name":"archive_summary","source":"existing ETC archive summaries: ETC1757","generated":false,"characters":36}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"The Creative Artists Public Service Program was funded by the New York State Council on the Arts to support individual artists\u2019 work in a variety of disciplines. 1979-80 Awards for Video Artists\u2019 Bios: Mark J. Brady has self-produced two video documentaries (Preachin\u0027 the Blues, Son House and Giovanni Vecchio) and a number of personal video pieces, and is presently working in the areas of autobiography and personal documentary. He is currently a video producer, teacher and exhibitions coordinator at Portable Channel in Rochester, New York. Brady\u0027s videotapes have been shown over WXXI-TV in Rochester, at the Conference on Visual Anthropology at Temple University in Philadelphia, Goddard College in Plainfieid, Vermont, the Community Video Center in San Diego, and Global Village in New York City, and his tape, Thirty-Four Years has been selected for screening at Input \u002780. In addition to the CAPS Fellowship in Video, he has received a research grant from SUNY/Buffalo, and access grants from Portable Channel and WXXL. Maxi Cohen is an independent film and videomaker whose most recent accomplishment is the feature-length film, Joe and Maxi, about her relationship with her father, which was a blue ribbon winner at the American Film Festival and has been broadcast on German television. Since 1970, she has been working in experimental portable video and has been instrumental in the development of public access on cable television as Director of the Cape May Project (the first community television access experiment in the United Stales) and as Director of the Video Access Center in New York City. Since 1974, she has been producing personal video documentaries and art works; her series, A Family Album of Moving Polaroids, has received wide screening in galleries and museums throughout the United States and on television in Rochester, Belgium and Holland. Cohen has also created innovative works for public television and cable television, which include Paper Roses for WTTW-Chicago and, with Image Union, The Five-Day Bicycle Race/Mock Turtle Soup, an experiment in live and taped coverage of the 1976 National Democratic Convention in New York City and the Presidential election. Cohen has received awards from the National Endowment for the Arts (1975, 76 and 77) and the New Jersey State Council on the Arts (1975) and, for Joe and Maxi, grants from the Jerome Foundation. Joint Foundation, the Eastman Fund, Hoffman LaRoche Laboratories and CAPS. Les Levine, born in Dublin, Ireland, 1935, educated at Central School of Arts and Crafts, London, now lives in New York City. Ho has had over 90 one-man shows, the most recent, \u0022Les Levine: \u0027Diamond Mind\u0027 \u0022 at the International Cultureel Centrum, Antwerp, Belgium, a survey of the artists\u0027 work including five media installations, several photographic pieces, video tapes and drawings. Levine regards himself as a \u0022media sculptor.\u0022 He has produced environments, process pieces, systems pieces, outdoor actions, video tapes, and films. His first video tapes were produced in 1965. A show entitled, \u0022The Troubles: An Artist\u0027s Document of Ulster, 1973\u0022 introduced the concept of art as a sociological tool. Levine has continued to explore this concept with, \u0022I Am Not Blind, An Information Environment About Un-sighted People, 1976,\u0022 conceived for the Lions Gallery of the Senses, Wadsworth Atheneum, an exhibition resulting from interviews with 9 un-sighted people. \u0022Northern Landscapes\u0022 and \u0022We Are Still Alive\u0022. 1974, an exhibition currently traveling in Canada and France, deals with the community of Cape Dorset. He has written extensively for Arts, The Village Voice, Art In America, and the Saturday Review. In 1969, he published Culture Hero. His most recent book, Five OHHH Disposable Sculptures was published by the Canada Council and The Ontario Arts Council. Levine has been artist in residence at Aspen, Colorado, 1967 and 1969; Nova Scotia College of Art \u0026 Design, 1973; and the University of Illinois, 1975. He was Associate Professor, New York University, 1972-73, and Distinguished Professor of Video Art, William Patterson College, 1974-76. He is founder, in 1970, and President of The Museum of Mott Art, Inc., a consultant service organization for the arts and allied professions. He was awarded a National Endowment Arts Fellowship. 1974. Some of the public collections which own Levine\u0027s work are: the National Gallery of Canada; the Art Gallery of Ontario: the Whitney Museum of American Art: the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Corcoran Museum, Washington, D.C.; the Philadelphia Museum; the Beaubourg, Paris; the National Gallery, Victoria; Melbourne, Australia; the Art Gallery of New South Wales, Sydney; the Art Gallery of South Australia; the Georgia Museum: the Wadsworth Atheneum, Conn., and The Donnell Public Library, New York City. After starting as a filmmaker in1965, Tom DeWitt experimented with video. His award winning films, The Leap (1969) and Fall (1971) use video extensively as does his well known collaborative work, Off On (1968). The soundtrack for Fall was composed on a Moog synthesizer at the University at Albany\u0027s Electronic Music Studio. DeWiit then demonstrated that this musical instrument could be used to generate abstract motion graphics with music such as his Philharmonia (1975). DeWitt was also interested in pantomime. After inventing his Zierot character in 1972 he developed mime works as an artist-in-residence at WNET\u0027s TV Lab from 1974 to 1978. These productions used both camera - recorded and synthesized images. Among the works of this period are Zierot in War Mime, Just A Day in the Life of . . ., Multiple identity, and Zierot in Outta Space. DeWitt has alsohelped develop video instruments. Under a series of grants from the New York State Council on the Arts, the National Endowment for the Arts, and the John SimonGuggenheim Memorial Foundation, DeWitt and his associates at Electronic Body Arts, Inc. have constructed a computer-based tracking chroma key system called Pantomation. It is now housed at the Video Synthesis Lab of Rensselaer Polytechnic institute in Troy, New York, and it is being used by DeWitt and others to explore the arts of dance, mime and music by connecting synthesized and real spaces. DeWitt\u0027s CAPS grant is to continue his work with mime and video using the Pantomation technique. DeWitt is 35 years old and lives in Albany, New York. Barbara Buckner. called a \u0022virtuoso video artist\u0022 by ARTS Magazine, has exhibited her tapes widely throughout the United Stales, most notably in solo exhibitions at the Museum of Modern Art, The Kitchen and The Whitney Museum in New York City, Boston Film/Video Foundation, Art Institute of Chicago, Video Free America in San Francisco, and Media Study/Buffalo. She has received an NEA Grant to exhibit videotapes in spaces other than museums (1977), an NEA Individual Artist Fellowship (1978), and a grant from the New York State Council on the Arts (1979-80), and has been Artist-in-Residence at the Experimental Television Center in Binghamton, N.Y., and the Artists TV Lab in Rhinebeck, N.Y. Buckner is currently Video Instructor at the School of the Visual Arts and at City University of New York. Sara Hornbacher\u0022s work is an investigation of the intrinsic characteristics of the mediums of film and video, specifically the interlace of their time structures. She received her M.A.H. in Media Studies from State University of New York at Buffalo. Her film and video works have been shown at Media Study/Buffalo, the State University of New York at Buffalo, the Albright-Knox Art Gallery and HALLWALLS Gallery (where she presented a retrospective in January, 1980) in Buffalo, at Central Casting in Ithaca. New York, and at the University of Illinois, Chicago Circle. Her conceptual pieces, Images of Light and Shade, were exhibited at the Center for the Arts, Moore head State University in Minnesota. She has been an Artist-in-Residence at the Experimental Television Center in Binghamton, New York, worked as an independent video/film producer, and taught filmmaking workshops. Hornbacher is currently Managing Director of the Center of the Creative and Performing Arts. SUNY/Buffaio. Vibeke Sorensen was educated at the School of Architecture of the Royal Academy of Art and Architecture in Copenhagen, Denmark, and at the Center for Media Study at SUNY/Buffaio. In addition to her works in video which include Video-ocean (1976) and Monocules (1978), Sorensen also composes electronic audiotapes and soundtracks for her visual works, and has collaborated with filmmaker/video artist Tom DeWitt on Cathode Ray Theater (1975). Outta Space (1978), This is TV America (1979), and most recently, The Rhythm Machine (1979). She has been Artist-in-Residence at the Newhouse Postproduction Program of Synapse, Syracuse University, WXXI-TV in Rochester and the WNET-TV Lab in New York City. Currently, she is an Adjunct Research Associate in the Music Department of the University at Albany where she is exploring the relationships between electronic image and sound generation. In addition, Sorensen is a resident artist in the Video Synthesis Laboratory at Rensselaer Polytechnic Institute in Troy, New York, where Liquid Crystal (1979) was produced. Vibeke Sorensen has recently completed a tour of seven states with Tom DeWitt. She has lectured at California College of Arts and Crafts, California institute of the Arts, Bennington College in Vermont, Univ. of Maryland in Baltimore County, Virginia Commonwealth University, and SUNY at Albany. Her work has been broadcast in excerpt on WNYC-TV, WXXI-TV, Mexican National Television, and has been cablecast on Manhattan Cable in NYC, and on closed circuit cable at international festivals in Japan, England, Italy and the USA. Her work is the subject of an article in the February 1979 issue of Videography Magazine. Ernest Gusella received a B.A. in Biochemistry at the University of Idaho, and an MFA at the San Francisco Art Institute, where he was awarded a gold medal for undergraduate painting. He began his work in video in 1970. Gusella has had one-man shows in Belgium, France, England, Germany and Holland, and his work has been included in group shows throughout Europe and New York State and in Canada, Mexico, and Japan. In addition to his work in video, he has recorded two record albums: Japanese Twins and White Man released on Earwax Records in 1977, and a second, postproduced with a grant from ZBS, to be released in Spring, 1960. Arthur Tsuchiya\u0027s videotapes, radio and video installations and photography have been included in group exhibitions and one-man screenings in California, Texas, Minnesota and New York. Between 1973 and 1977, he was Video Producer-Director and Instructor at the Minneapolis College of Art and Design. Since 1977, he has been the Media Center Coordinator at the Visual Studies Workshop in Rochester, New York. Tsuchiya has served on advisory panels for the Minnesota State Arts Board (1975) and CAPS (1977), and is the recent recipient of a Post-Production grant from the Synapse Video Center in Syracuse. Anthony Ramos attended Southern Illinois University and the California Institute of the Arts, where he received his M.F.A. degree. In 1975, with a grant from the Rhode Island Committee for the Humanities, Ramos traveled to Africa \u0022to create a video documentary about my DNA antecedents, the Cape Verdeans.\u0022 He subsequently helped to found The American Committee for Cape Verde, and worked with the United Nations and The National Council of Churches as consultant for development programs in Cape Verde and other parts of Africa. In 1976, he received a grant from The Rockefeller Foundation, and started a video production company. Lumen Associates. Ramos\u0027 tapes include The Cape Verdean Video Archives and About Media, which includes a television news interview with Ramos, who served two years in a federal prison (\u0022Malcolm X Universi","offset":0,"nextOffset":12000,"totalCharacters":14477,"complete":false},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}