Video History Project
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Wooster, Ann-Sargent

8 records

  1. An Armory of Mirrors: Juan Downey's 'Looking Glass Bibliography

  2. Manhattah Short Cuts - Themes in Image Processing at The Kitchen, December 1981 Bibliography

  3. Memories - 25 Years of the Experimental Television Center Bibliography

    Ann-Sargent Wooster's catalog essay for the 25th Anniversary exhibition at Art in General (Nov 8–Jan 25, 1997) recounts the Experimental Television Center's history; the Center grew from the Student Experiments in Television program begun in 1969 at SUNY Binghamton by Ralph Hocking and formally organized in 1971, relocating to Owego in 1979 and hosting roughly 1,200 artists in 24-hour residencies. The Center constructed a Paik/Abe video synthesizer under Nam June Paik and Shuya Abe for WNET's TV Lab, developed image-processing hardware by David Jones and artist-oriented software interfacing with Amiga computers circa 1975; reminiscences name participants including Nam June Paik, Bill T. Jones and Doris Chase.

  4. Reach Out and Touch Someone: The Romance of Interactivity Bibliography

    The essay traces the genealogy of interactivity in avant-garde video from nineteenth-century shifts in communal practices and the 1876 introduction of the telephone to contemporary machine-mediated intimacy; it argues that technological developments shortened distances and fostered new models of social connection. It situates the genesis of video art in the late 1960s following Sony's 1968 1/2-inch equipment, surveys artists and movements (including Nam June Paik, Douglas Davis, Alan Kaprow) and venues such as WGBH, WNET, and KQED, and discusses cable public-access, satellite projects, and interactive videodisk experiments. Specific projects cited include Douglas Davis's 1970s broadcasts, Kit Galloway and Sherrie Rabinowitz's Hole in Space (1980), Nam June Paik's Good Morning Mr. Orwell (1984), and the Lister Hill Center's 1971 New Hampshire-Vermont Interactive Network.

  5. Some People Just Don't Get It: Music Video - The Industry and the Fringes Bibliography

    Exhibition at the Museum of Modern Art

  6. Video Installations Bibliography

  7. Why Don't They Tell Stories Like They Used To? Bibliography

    Survey tracing the development, structures, and critical reception of video art from the late 1960s through the early 1980s; locates influences in the visual arts, literature, film, Dada and Surrealism, Fluxus and John Cage, and nineteenth- and twentieth-century theories of perception. Discusses practitioners and works including Nam June Paik (Global Groove, Paik-Abe synthesizer, TV sculptures), Bill Viola (Hatsu Yume), Stan Brakhage, Bruce Connor, and Juan Downey; notes institutions and events such as the 1974 Open Circuits Conference at MoMA, WNET broadcasts, the Experimental Television Center, and the Whitney Museum.

  8. Why Don't They Tell Stories Like They Used To? Bibliography

    Essay traces the history and persistent critical opacity of video art from its emergence in the late 1960s through post-1975 developments; it situates early single-channel tapes and multi-channel installations in galleries and museums and surveys practitioners, institutions, broadcasts, and technologies including Nam June Paik, his Paik-Abe colorizer/synthesizer, three-quarter-inch color tape, image processing, WNET and independent video productions. The text links video practices to antecedents in literature, Dada, Surrealism, experimental film and Fluxus, and cites representative works such as Paik's Global Groove (1973), Bruce Connor's A Movie (1958), and Michael Snow's La Region Centrale.