- Motion: An Exhibition of Essentialist Film and Video. The 58th Exhibition of Central New York Artists Bibliography
Catalogue essay by guest curator John Knecht for MOTION at the Munson Williams Proctor Arts Institute in Utica, New York, October 1999–January 2000; Knecht frames an essentialist approach to motion across chemical film, magnetic video and digital electronics. The exhibition presents gallery installations and screenings by Peter Hutton, Ken Jacobs, Heidi Kumao, Les LeVeque, Daniella Dooling, Carol Kinne, Ralph Hocking and Neil Zusman, plus a single-channel program of tapes produced at the Experimental Television Center in Owego by Peer Bode, Matthew Schlanger and Connie Coleman and Alan Powell. Knecht emphasizes technologies and formats including motorized thaumatropes, flipbooks, digital installations and an interactive web piece.
- 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.
- John Knecht People
Professor of Film and Video in the Department of Art and Art History at Colgate University in Hamilton, New York; programmer for the Alternative Cinema series at Colgate and curator of MOTION at Munson Williams Proctor Arts Institute in Utica. Experimental film and video artist active since 1973 with screenings at international festivals including Viper Festival (Basel), European Media Arts Festival (Osnabruck), Dallas Video Festival and World Wide Video Festival (the Haag). Has received awards including the Judges Award at Black Maria Festival and Juror's Citation at the American Film Institute Video Festival; exhibits and single-channel tapes and 16mm films are available from the artist and New York Filmmaker's Coop. Ten video installations were constructed between 1984 and 2000.
- Set in Motion: The New York State Council on the Arts Celebrates 30 Years of Independents The Moving Image in Space: Public Funding and the Installation Form Bibliography
The New York State Council on the Arts (NYSCA) funded production and exhibition spaces for film and video installations, increasing state support in the early 1970s and moving media art from alternative venues into museums. Institutions cited include the Everson Museum (early 1970s video curator), the Whitney (video exhibitions from 1971, Re/Visions 1979, Nam June Paik retrospective 1982) and MoMA (Projects 1971, video department 1974); artists and technologies ranged from 1960s avant-garde closed-circuit and multi-monitor work to later interactive and multicultural installations such as The Erl King (1986) and Color Schemes (1990).
- Set in Motion Chronology
Set in Motion documents a New York State Council on the Arts celebration of 30 years of support for independents; the Council funded a series of 21 film and video programs between 1961 and 1993. Curators were Linda Earle, Leanne Mella and Debby Silverfine; catalog texts were contributed by Debby Silverfine, Daryl Chin, Leanne Mella, Marita Sturken and Pearl Bowser. The publication includes a chronology of activities and a listing of grant recipients for 1961–1993.
- Video: The Reflexive Medium Bibliography
Sara Hornbacher, Guest Editor, frames eleven articles and reviews and includes Barbara Londons Selected Chronology covering 196393 to outline the brief history of video art. Contributors examine technological and institutional change, including Benjamin Buchloh on developments since the mid-1960s; Katherine Dieckmann on Electra at the Mus6e d'Art Moderne de la Ville de Paris (1984); Lucinda Furlong on image-processed video and Nam June Paik and the marketing of portable video equipment by SONY/Japan; and the rise of media centers funded by state and federal agencies and university programs. Hornbacher is a visual artist, curator and artist-in-residence at The Experimental Television Center, Owego, New York, since 1976.