{"id":8623,"title":"Creative Artists Public Service Program (CAPS). Annual Report 1980-81","kind":"biblio","url":"https://www.videohistoryproject.org/creative-artists-public-service-program-caps-annual-report-1980-81","version":"bc42a1c75ff86e9e164d3117fd54b223fa4510340e6a65aee3ee3b391d76b26d","modified":"2026-09-16T09:58:04.8621697+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":"ETC1758","url":null}],"citations":{"page":"\u0022Creative Artists Public Service Program (CAPS). Annual Report 1980-81.\u0022 Video History Project, Experimental Television Center, 2026. https://www.videohistoryproject.org/creative-artists-public-service-program-caps-annual-report-1980-81.","publication":"Creative Artists Public Service Program (CAPS). Creative Artists Public Service Program (CAPS). Annual Report 1980-81. Creative Artists Public Service Program. 1981.","risUrl":"https://www.videohistoryproject.org/citation/8623.ris"},"links":[],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":19168},{"name":"abstract","source":"recorded publication abstract","generated":false,"characters":36},{"name":"archive_summary","source":"existing ETC archive summaries: ETC1758","generated":false,"characters":36}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"The Creative Artists Public Service Program (CAPS) serves both artists and the public by assisting individual artists in the creation of new works, and by bringing them and their work to the attention of a broader audience. 1980-81 Awards for Video Artists\u2019 Bios: Deans Keppel \u2013 Me and Mom: An Autobiography (1979, 23 min., color) Me and Mom: An Autobiography centers on certain aspects of the mother-daughter relationship during the dinner hour. I am exploring the composite self, my self as experienced by the different people I have been, have been influenced by and will be. It is interesting to me that as we grow and change according to our different influences, we retain certain selves. These selves and the voices from these selves continue to exert influence on our growth and behavior. This paradox, of changing but retaining an. essential self, is explored through my acting out personalities at various stages of my development and through projecting voices of future selves (Mom and Gran), A separate self is formed which reflects both itself and these voices. This is a piece which I wrote, taped, directed and produced, and in which I acted all the parts.\u0022 Deans Keppel\u0027s work explores the many concepts concerned with the self. Me (1977) discussed aspects of her personality; Me and I (1978) had Keppel on two separate TV monitors, talking to herself. She further pursues this concept in Soap (in progress), which documents the breakup of an affair through soap-opera dialogue. Keppel initiated two CETA video presentations in 1978 and 1979, and has exhibited her work at Media Study/Buffalo; The Kitchen, New York; Visual Studies Workshop, Rochester; and the Westchester Film Workshop. She is currently an instructor at the State University of New York at Purchase. Rita Myers \u2013 The Points of a Star: Chapter 1: Separations (1978, 45 min., color) The Points of a Star is a video narrative which, when completed, will have five chapters. According to the artist, the general thematic framework \u0022... is based on two primary elements; the articulation of various disjunctive landscapes and the consequent operations of these on one main character,\u0022 a young girl who appears in the first episode. Mysterious and evocative images--the shadow of hands cutting out paper dolls, a room filled with drifting mist, pebbles, an object floating beneath the surface of green water--provide the counterpoint to a series of poetic meditations on innocence, self-definition, and separation. Currently on the faculty of the Hartford Art School, University of Hartford, Rita Myers has been an artist-in-residence at Synapse Cable Network, Syracuse, N.Y., in 1974 and 1977, and at the University of Colorado, Boulder, in 1976. This is her second CAPS Fellowship, and she has also received two NBA fellowships and an Artists Cable Project Grant from the Center for Non-Broadcast Television.One-person exhibitions of Myers\u0027 work have been seen at some of the country\u0027s leading institutions, including the Los Angeles Institute of Contemporary Art, The Kitchen, New York, the University of California Art Museum, Berkeley, and the Whitney Museum of American Art. Ron Clark \u2013 Doubt (1975, 22 min., b/w) In Doubt, Ron dark attempts to \u0022see how little it takes to signify a whole discourse of meaning.\u0022 One mode of address is maintained throughout the tape: each of five characters speaks directly to the camera. Their monologues intersect, and sometimes still photographs of one person are accompanied by voice-over narrative by another, so that they seem at times to be part of one another\u2019s recollections. There is no explicit connection between any of the narratives, but the political content of the second speaker\u0027s discourse is so emotionally charged that it pervades both the images and the other texts, providing a context which may or may not be spurious. The speakers remind us of members of SDS or the Symbionese Liberation Army. They are in fact all New York artists. Their stories might be different aspects of the same situation or they might be completely unrelated. The tape is a study both of cinematographic technique and of the role of assumptions, visual clues, and context in formulating understanding. Since 1974 Ron dark\u0027s videotapes have been presented extensively in North America and Europe. Exhibitions including his work have appeared in such cities as New York, San Francisco, Minneapolis, Los Angeles and Houston, as well as in Switzerland, Germany and Canada. In addition, dark has screened and lectured on his work at Rutgers University, the Minneapolis College of Art and Design, the School of Design at Basel, Switzerland, various campuses of the State University of New York, and Yale University. He has been, since 1967, an instructor in the Independent Study Program of the Whitney Museum of American Art, New York. PEER BODE--Selections from PROCESS TAPES: VIDEO LOCOMOTION (MAN PERFORMING FORWARD HAND LEAP), (1980,5 min., b/w) KEYING DISTORTIONS (1980, 3 min., b/w) MUSIC ON TRIGGERING SURFACES (1980, 3 min., b/w) VIBRATORY SWEEP (1980, 2.5 min., b/w) video is a place with a view video is good clean fun like having a volcano without the ash video is seeing the seeing Peer Bode\u0027s tapes use the structure and process of video to reveal the subjectivity of perception. He offers the following technical clues to the reading of the tapes: Altering the time relativity or time base of the camera signal results in vertical and/or horizontal drifting images; keying cut-outs or spacing plane separations are a result of light intensity comparing and switching; light intensity values are sampled at a dot so that the image is scanned as a score for a simple musical structure; a rhythmic magnetic deflection of the raster or grid results in bending and undulating. Peer Bode has worked as both a maker of video art, and an authority on it. In the capacity of authority, he has curated, instructed and judged, and has done camera work, editing, lighting, and producing as an artist himself. In addition, Bode has participated in performances involving video, dance and audio. His work has been presented at the Museum of Modern Art, New York; Manhattan Cable Channel D; Cornell University, Ithaca; Media Study/Buffalo, and the Everson Museum of Art, Syracuse, among others. Shalom Gorewitz \u2013 Selections from Travels: Measures of Volatility (1979, 6 min., color) Excavations (1979, 5 min., color) In Measures of Volatility, a Quantel computer was used to rhythmically grab and release frames to capture gestures and object details. Images recorded in Chicago and Houston were mixed in slow, abstract color shifts caused by voltage controlled chroma transitions emphasizing the landscape textures. Selected images from the Village were sequenced in fast camera cuts and keyed over the city blends in multi-layered collage. Excavations was recorded in Israel during the Spring of 1979. The first section was taped in Beer Sheva at an Arab marketplace and mixed with a layering of signal distortions and warm colors. This is followed by an exploration of ruins and vegetation around a deserted village isolated in the mountains above Jerusalem. Light variations were sequenced to describe the dry heat and pounding sun. The third section is a rapid sequence of cuts between a tractor pulling irrigation lines moving toward the camera and images recorded outside the processing studio.In the final sections there is a synthesis of previous elements within distinct spaces of floating bands of high frequency oscillations. The tractor remains constant underneath the colorized flow. By visually harmonizing the extreme natures of explosive situations with the act of irrigation, I hoped to make a statement about Israel. Excavations is at once the exploration of the past and a cultivation for the future. Shalom Gorewitz\u0027s tapes have been presented in a variety of situations, from a 1976 Video/Poetry Series (with work by Gorewitz, John Cage, John Giorno, and Richard Kostelanetz); to RASTER, Gorewitz\u0027 own weekly screening of new work on Manhattan\u0027s Cable C Network; to exhibitions at the Whitney Museum of American Art in New York, the Museum of Modern Art in Stockholm, and the Museum of Modern Art in New York; to screenings in New York City\u0027s most noted New-Wave nightclubs. Twice the recipient of both National Endowment for the Arts Fellowships and New York State Council on the Arts Production Grants, Gorewitz is currently Adjunct Professor of Television at Hofstra University. David Rose \u2013 Song Cycle (1980, 26.5 min., color) According to the artist, \u0022Song Cycle portrays the elusive quality of events in everyday life. The tape moves through a cycle, from bright daytime images through darkened images and back again. These images are connected by rhythmic water sounds and by the styles in which they were shot. The tape attempts to underscore the similarities in color, movement, and form in all of these images. The effects on the tape were all camera generated. No image processing devices were used. Water becomes a metaphor for the camera lens, which filters, shapes, and integrates visual experience, and for the sensibility which gives that experience meaning. His videotapes, which include Available Light (1978), Still Life (1979), Portraits (1979), Song Cycle (1980), and Celebrate Rochester (1980), have been screened at the Atlanta (Ga.) Video Festival; the Memorial Art Gallery, Rochester; The Kitchen, New York; The 1980 New York State Fair in Syracuse, and several New York State galleries. His work has also been broadcast over several cable television networks, including those in Rochester, Syracuse, Manhattan, and York, Pennsylvania as well as WXXI-TV, where Rose has also been an artist-in-residence. In addition to his 1980-81 CAPS fellowship, Rose has received production and post-production grants from WXXI-TV and from Portable Channel in Rochester. Julie Harrison and Neil Zusman \u2013 Boundary (1980, 18 min., color) Boundary combines a rich vocabulary of personal, historical, and electronically processed abstract images to describe the mythical journey of a female protagonist. According to Neil Zusman it is \u0022an experiment in story telling ranging from an abstract psychological attack upon a woman, a mythic death and rebirth, a personal dialectic with history, a world view embracing violence as villainy personified, a journey through the worlds of power and innocence, and a return to the transcendence of the individual over the boundaries of this historical mind-set. Pattern matrices, cross-referencing and formal matching relationships contribute as much as do highly charged symbolic images to the emotive vision expressed in the tape. Machine processing is used to exploit the emotional possibilities inherent in both images and dramatic structure, so that the density and rapid sequencing of visual impressions suggest the multi-layered complexity of contemporary experience. Julie Harrison has long been associated with the interrelation of video and the other arts. She has taped artists\u0027 performances for broadcast over Manhattan Cable Network and Teleprompter, acted as video director for New York University\u0027s Dance Education Department, taught video techniques at the Institute for Architecture and Urban Planning in New York and is currently Executive Director of the 168 Mercer Street Studio in New York. Her work has been presented at the University of New Mexico, Albuquerque; Franklin Furnace, New York; and the Experimental Television Center in Binghamton, among others. Neil Zusman has been involved with video projects for the World Trade Center Olympic Relations Committee, Soviet News Agency TASS, the Great Gorge Playboy Club, the American Dance Society in Binghamton, and the Capitol Theatre in New Jersey, among others. In addition, he has acted as a film reviewer for the National Council on American-Soviet Friendship and been an artist-in-residence at the Experimental Television Center in Binghamton.","offset":0,"nextOffset":12000,"totalCharacters":19168,"complete":false},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}