Video History Project

Chronology

Electronic Visions

Date
1984

Electronic Visions exhibition curated by John Minkowsky for the Hudson River Museum. An exhibition of installations by visual artists working with video and computer technologies.

Steina Vasulka (Machine Vision, video as a perceptual system), Ralph Hocking and Sherry Miller Hocking (Nudes, a series of drawings realized on a homebuilt computer drawing system), Woody Vasulka (Images from the Vasulka Image Articulator), Gary Hill (Glass Onion - a multi-layered installation, Happenstance - a videotape exploring the interaction of synthesizer imagery and language), Dan Sandin (computer-produced holograms).

Cite this record

"Electronic Visions." Video History Project, Experimental Television Center, 2015. https://www.videohistoryproject.org/electronic-visions-0.

Download RIS citation
Summary

Electronic Visions, curated by John Minkowsky for the Hudson River Museum, presented installations by visual artists working with video and computer technologies. The exhibition included Steina Vasulka (Machine Vision, video as a perceptual system); Ralph Hocking and Sherry Miller Hocking (Nudes, a series of drawings realized on a homebuilt computer drawing system); Woody Vasulka (Images from the Vasulka Image Articulator); Gary Hill (Glass Onion, a multi-layered installation, and Happenstance, a videotape exploring the interaction of synthesizer imagery and language); and Dan Sandin (computer-produced holograms).

Submit a change or correction

If unchecked, this will appear as a public note on the site immediately. Spam filters may delay publication, but all submissions are reviewed by staff.

Changes will be reviewed and integrated as time permits. For major changes, feel free to email [email protected].

Last modified 29 June 2015

Related records

  • Out of Sync: Electronic Visions at the Hudson River Museum Bibliography

    Marita Sturken reviews Electronic Visions, a group exhibition of video and computer-based works guest-curated by John Minkowsky (video/electronic arts curator, Media Study/Buffalo) at the Hudson River Museum. The show included installations by Steina and Woody Vasulka, Dan Sandin (computer-generated holograms made with his self-designed Image Processor), Ralph Hocking and Sherry Miller (video The Tub and computer-derived stills), and Gary Hill (Happenstance; Glass Onion), plus single-channel tapes by Peer Bode, Barbara Buckner, Ed Emshwiller, Nam June Paik, and Jane Veeder; Sturken critiques the exhibition's spatial, audio, and installation decisions and highlights technological and curatorial issues.

  • Hudson River Museum Chronology

    Hudson River Museum "Electronic Visions" curated by John Minkowsky. Included work by Ralph Hocking

  • Steina and Woody Vasluka: Machine Media - Reading the Tools, Writing the Image Bibliography

    Steina and Woody Vasluka: Machine Media - Reading the Tools, Writing the Image Catalog for exhibition organizedd by Robert Riley and Marita Sturken for the San Francisco Museum of Modern Art (February 2 - March 31, 1996). Catalog Editor: Marita Sturken. Reading the Tools, Writing the Image by Mauree…

  • Electronic Visions Bibliography

    John Minkowsky introduces the Electronic Visions catalog and traces television from mid-1940s commercial dominance to its adoption by artists and galleries two decades later; he cites small-format portable video equipment (forerunners of BETA and VHS), an art-world shift from unique objects to process, and an emphasis on innovation. He parallels television with the post-war digital computer, notes early machines filled laboratories and universities, quotes Gene Youngblood on electronic communication, and states that the fusion of art and technology, when sensitively guided, is the future of art.

  • Steina Vasulka: Machine Vision/Woody:Description Bibliography

  • Tracking Video Art: Image Processing as a Genre Bibliography

    Lucinda Furlong, Curatorial Assistant in the Whitney Museum of American Art's Film and Video Department, traces the emergence of image processing as a distinct video-art genre from the late 1960s through the mid-1970s; she examines terminology, aesthetic debates, and the modernist and formalist impulses that shaped the work. The text documents early tool-builders and artists (Dan Sandin, Steina and Woody Vasulka, Eric Siegel, Stephen Beck, Bill Etra, Steve Rutt, Nam June Paik and Shuya Abe), key technologies (video synthesizers, Sandin Image Processor, Rutt-Etra, Moog, Z-Grass), institutions (Whitney Museum, Radical Software, Experimental Television Center, SUNY Binghamton, University of Illinois Circle Campus) and funding developments including a $50,000 NYSCA grant to Hocking's Center.