- The Electronic Gallery Bibliography
The Electronic Gallery. Henry Coshey Linhart. Textual description of Linhart's work with video. Videography: TRIANGLE (B&W/sound) 1979- 1 minute, BOGRUSHES (B&W/sound) 1978- 4:10 minutes, SQUEEZE (B&W/sound) 1979- 4 minutes, IMPERSONATIONS (B&W/silent) 1980- 8 minutes, LOITERING IN DISGUISE (B&W/sou…
- The Electronic Gallery Bibliography
The Electronic Gallery. Gary Hill. Text covers Hill's videotapes and work at the Experimental Television Center (ETC). Videography: RING MODULATION (Color/sound) 1978- 3:25 minutes, PRIMARY (Color/sound) 1978- 1:10 minutes, ELEMENTS (B&W/sound) 1978- 2 minutes, SOUNDINGS (Color/sound) 1979- 19 minut…
- Video Spaces: Eight Installations Bibliography
Survey essay tracing video art from the mid-1960s Portapak to international installations of the early 1990s; discusses technological shifts (half-inch open-reel tape, Paik-Abe image processor, 3/4-inch videocassette) and early exhibitions at MoMA (1968), Howard Wise Gallery (1969), ICA Philadelphia (1975), Centre Pompidou (1990), and Documenta IX (1992). Presents eight environmental video projects and artists with dates and works: Judith Barry/Brad Miskell Ha®dCell (1994), Stan Douglas Evening (1994), Teiji Furuhashi Lovers (1994), Gary Hill Inasmuch as It Is Always Already Taking Place (1990), Chris Marker Silent Movie (1994–95), Marcel Odenbach Make a Fist in the Pocket (1994), Tony Oursler System for Dramatic Feedback (1994), and Bill Viola Slowly Turning Narrative (1992).
- Electronic Video Image Processing: Notes Towards a Definition Tools
Situates video art from the late 1960s portable-recording era; over fifteen years artists extended performance, conceptual, narrative, documentary, formalist and experimental practices. Defines electronic image processing as working with video signal parameters (frequency, amplitude, phase) and electronic tools—oscillators, synthesizers, computers, monitors and printers—to manipulate imagery using keying, superimposition, digitization, preprogramming and real-time techniques. Addresses distribution and reception issues, distinguishing video from television and noting alternative technologies (cable, satellite, video disc, VCRs) and interactive systems that give viewer control, and raises questions of reproducibility, editions and the location of the art object.
- Motion: An Exhibition of Essentialist Film and Video. The 58th Exhibition of Central New York Artists Bibliography
Ralph Hocking offers an artist statement for a computer-based installation slated for fall 1999; his listed installation works are Jump, diggit and Running, and he links the project to prior study in pottery. The work uses four to nine monitors, each driven by its own Amiga with one video and two audio outputs and a serial link to a master referee computer; the Amiga provides four oscillators and image and sound sampling, and imagery is altered by digital processing techniques including convolving, bit swapping and field manipulation, producing three-dimensional illusions. The project is part of Motion: The 58th Exhibition of Central New York Artists at the Munson Williams Proctor Institute, October 2, 1999 to January 2, 2000, curated by John Knecht.
- David Hall People
Bibliography (2002–2010) lists books, articles and an online entry related to video art, including Film Art Phenomena (Nicky Hamlyn, British Film Institute, 2003); Everything Seemed Possible (Richard Cork, Yale University Press, 2003); Video Art: A Guided Tour (Catherine Elwes, I.B. Tauris, 2005); A History of Video Art (Chris Meigh-Andrews, Berg, 2006); and 100 Video Artists (EXIT Publications/FundaciÛn ICO, 2010). Selected exhibitions (2003–2006) document presentations and installations at Tate Britain, FACT Liverpool, Galeria Wschodnia and Polish universities, De La Warr Pavilion, Dundee Contemporary Arts and Museo Nacional Centro de Arte Reina Sofia (Madrid), and include thematic video- and television-focused shows such as First Generation: Art and the Moving Image 1963-1986, Test Transmissions and Analogue (touring until 2008).