Video History Project
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Groups

95 records

  1. Envision Television: Charting the Cultural Geography of Homelessness Groups

    Envision Television (e-TV) was a DCTV-run media literacy and video production scholarship funded by the Soros Foundation's Open Society Institute that trained 40 young people living in temporary housing at Brooklyn's Amboy Neighborhood Center and the HELP center in the Bronx; DCTV instructors taught scriptwriting, camera operation, interviewing and computer-assisted non-linear editing and provided digital cameras, lights, microphones and access to a Cyberstudio. Trainees produced PSAs screened on 29 June 2000 and documentaries including Straight from the Hood that document homelessness, gang culture and the criminalization of the homeless; instruction was provided by Renata Gangemi and Orlando Richards.

  2. Everson Video 75 Groups

    The Everson Museum of Art established a video department in March 1972 with funding from the New York State Council on the Arts; James Harithas was Museum Director and David Ross served as the first video curator, followed by Richard Simmons as Curator in 1975, and the Department closed in 1981. The Department developed exhibitions, a small archive, community education programs and plans for cable TV participation; a donation from the Rosamond Gifford Foundation provided hardware and Synapse supplied post-production equipment. The archive grew to more than 200 tapes; restoration and cataloging efforts resumed under Director Sandra Trop in 1995 with Syracuse University assistance, and restored tapes were shown in 1998 during the Video History: Making Connections conference.

  3. Experimental Television Center, LTD.: Chronological History of the Center: 1969-present Groups

    The Experimental Television Center began as Student Experiments in Television, founded in 1969 by Ralph Hocking at Binghamton University and incorporated in 1971; it provided access to small-format portable video equipment, editing facilities, instructional workshops, community cable programming and an artist residency and exhibition program. A Research Program supported design and construction of video tools, notably the Paik/Abe Video Synthesizer (Shuya Abe and Nam June Paik) installed at WNET and the Center in 1972; NYSCA and NEA funding supported work on oscillators, the Jones Colorizer, Analog Control Box, the SAID and computer–video interfaces (LSI-11, Z-80). The Center hosted numerous artists in residence, ran touring exhibitions and statewide workshops, established a tape library and relocated to Owego by 1980.

  4. Film/Video Arts Groups

    Film/Video Arts began in 1968 when educators Rodger Larson and Lynne Hofer with filmmaker Jaime Barrios introduced 16mm equipment to Latino youth; it incorporated as the Young Filmakers Foundation and expanded after a major 1970 grant. In 1971 it opened the Media Equipment Resource Center (MERC) in a West 53rd Street basement to provide free production and postproduction services; it consolidated activities at 4 Rivington Street in 1973 and shifted focus to adults by 1978. Its founder's mission to make media tools and skills available remains its guiding force.

  5. Fourth Annual Video and Television Documentary Festival Groups

    About Global Village Introduction - Fourth Annual Video and Television Documentary Festival About Global Village Global Village, the first independent video group in the United States, was founded in 1969. It is a non-profit video production group and major media center engaged in production for nat…

  6. Hallwalls: Programs and Activities (1997, 1998) Groups

    Hallwalls Contemporary Arts Center, founded by Charles Clough and Robert Longo in 1974 in Buffalo, NY, received 1977 NYSCA funding for video exhibition and documentation and has presented work by over 7,000 artists. Kathryn High served as technical director 1979–82 and Edmund Cardoni is listed as executive director; Sara Kellner is named Visual Arts Director c.1997 and Pamela Susan Hawkins authored an overview in 1998. Hallwalls moved to the Tri-Main Center in January 1993 and developed an 11,000-square-foot facility with three galleries, a cinema, performance theater, video library, editing suite and a Vito Acconci–designed viewing room; it published Consider the Alternatives in 1996 and maintained a 1997 video collection listing.

  7. Innervision Media Systems Inc.: Description (1977) Groups

    Founded by Carl Geiger in 1970 to explore the computer-controlled video imaging system developed by Carl Geiger and Gerard Fountain; access to this system was provided to a limited number of artists each year, with a small stipend and post-production work arranged through the Synapse Video Center at Syracuse University. The activity is cited in Access Film and Video Equipment: A Directory, Nancy Legge, 1978; Carl Geiger displayed custom designed tools and systems at the conference Video History: Making Connections, 1998, at Syracuse University.

  8. Inter-Media Arts Center: Description and Chronology (1998, 1999) Groups

    The Inter-Media Art Center (IMAC), founded in 1974 by Michael Rothbard (Director) and Kathy Bodily, operated as a Long Island video access, production, exhibition and training facility; a 1976 brochure lists a Video Production Resource Center with Portapak loans, workshops and post-production services and a media presentations program. A 1978 notice describes open equipment access with staffed color studio and editing suites; a 1980 article describes a 45' x 50' studio with two color cameras, a 6-channel audio mixer and $25/hour rental. By 1984 IMAC offered multi-camera TV production, 3/4" editing and film-to-tape transfers; programs were funded in part by the New York State Council on the Arts and the National Endowment for the Arts.

  9. Ithaca Video Project Projections 1974-1976 Groups

    Ithaca Video Project (also named Ithaca Video Projects) was a not-for-profit media resource organization incorporated in 1971 and directed by Philip Mallory Jones; it provided workshops, equipment loans, post-production access and production assistance for artists in the Ithaca region. IVP produced and distributed videotapes and films (including series on Afro-Americans), developed the Videomation video-film interface technique, and initiated the Annual Ithaca Video Festival (established 1975, touring from 1976 into the early 1980s). The organization received New York State Council on the Arts funding, proposed a Haiti Citadel restoration pilot directed by Frederick Mangones, and ceased activities around 1984 with many tapes deposited at the Media Center of Visual Studies Workshop.

  10. Lake Placid Video: Statement (1998) and Description (1975) Groups

    Barbara Kristaponis is a video artist who over twenty years produced and exhibited video while writing grants, bartering lighting skills for edits, freelancing as lighting camerawoman and editor and using a Nagra; she studied lighting and TV engineering in Maine, directed a psychiatry-video unit for six years and performed other production roles on educational and industrial projects. Her work was partly supported by foundations including NYSCA and NEA Dance but was mostly self-funded. From 1973 to 1976 she ran Lake Placid Video with Don Grabau and Allan King at the Lake Placid Center for Music, Drama and Art and offered workshops in January–May 1975 noted in Afterimage (Dec. 1974, vol. 2, issue 6).

  11. Light Work Chronology 1973-1998 Groups

    Light Work, founded by Phil Block and Tom Bryan at Syracuse University in 1973, incorporated as a New York State nonprofit on August 26, 1973 and received early funding from NYSCA and the NEA. The chronology documents annual activities from 1973 to 1998, including gallery exhibitions and traveling shows, workshops, lectures, an Artist-in-Residence program, the Light Work Grant and Fine Print/Platinum Editions programs, and the Contact Sheet publication. It records technology additions (color enlarger, Amiga and Macintosh computers), staff changes, the growth of a permanent collection and the establishment of an endowment supporting mid-career artists.

  12. Live Video Performance Video: Lord Knows Compost, Bulk Foodveyor, Valued Cu$tomer, 77 Hz, The Poool, Stackable Thumb, NNeng Groups

    Live video collectives Lord Knows Compost, 77 Hz, The Poool, Stackable Thumb, NNeng and NNeng-M are described with formation dates and personnel; Lord Knows Compost traces activity from a formation sometime in the late 1970s or early 1980s and brought a dog to Experimental TV Center to create the multi-camera live video The World is my Toilet, sparking a shift to live video. Lord Knows Compost performed on the US West Coast from 1993–1995; 77 Hz held its initial meeting on January 15, 1991; The Poool formed in 1996 and collaborated with musicians and architects; NNeng (1998) produced the VHS The Vertical Hi-Way and NNeng-M resulted from a 1999 ETC residency.

  13. Ma Bell Log: telephone talks with video people - April Video Cooperative Groups

    Sherry Miller Hocking compiled an overview in 1998 describing the Dumping Place publication and People Vision (Vol. 2), noting New York State Council on the Arts support for New York distribution and distribution of at least 1,000 copies; People Vision listed video groups and articles and April Video Cooperative handled subscriptions and tape distribution. The Ma Bell Log records telephone talks on March 16 and April 3, 1973 with Dudley Evenson and Elon Soltes about the Rosebud Cafe in Delhi, local workshops, and plans for Rural Supplementary Educational Network programming (19 microwave towers, WNET transmission to ~50,000). The Dumping Place collective (profiled in Magnetoscope, 1972) described a decentralized printed information service using 5x7 and 3x5 cards, a $5 annual subscription, contact listings, and a card-paste layout system for loose-leaf distribution.

  14. Making Waves - Lanesville TV Groups

    Videofreex, a video collective formed after Woodstock, moved into Maple Tree Farm in Lanesville in June 1971 with a promised New York State Council on the Arts grant and set up a small studio using low-cost videotape recorders (VTRs). With technical help from Joseph Paul they built an antenna and improvised a transmitter and on March 19, 1972 launched Channel 3 Lanesville TV, producing local programs including a trout-stocking tape and the Buckaroo Bart children's show and prompting an FBI inquiry. The broadcasts continued until 1977 as membership and local services dwindled.

  15. Many Hands: Light Work's First 25 Years Groups

    Jeffrey Hoone documents Light Work, an artist-run photography organization rooted at Syracuse University that emerged from a 1972 student movement to create a media center; founders Phil Block and Tom Bryan organized the University Union Community Darkrooms and University Union Television and secured early support from Synapse and the New York State Council on the Arts. Light Work developed exhibitions, workshops, a grant program, and an Artist-in-Residence program (1976) and publishes Contact Sheet; by 1980 its programs and national reputation were established and staff grew to four full-time positions.

  16. Media Alliance: Formative Meetings, Description (1979, 1980) Groups

    Formative Meetings, 1979 Annual Media Alliance Conference 1983 Media Alliance Programs Introduction to "Beyond Video: The Media Alliance Directory I" Robin White, 1984 To visit the Media Alliance website Formative Meetings 1979 from minutes of the meetings March 9, 1979 New York Upstate Meeting of N…

  17. Media Equipment Pool at the Rochester Museum and Science Center: Program (1971) Groups

    Funded by NYSCA, the Media Equipment Pool at the Rochester Museum and Science Center provided portable video equipment to local artists and community organizations and was separated from the museum by 1972 to become a program of the Portable Channel. Coordinator Bonnie Klein reported loaning equipment to over 50 groups and acquiring Sony 1/2" Porta Paks and editing support systems; the Pool lobbied for community access cable, sought a tape distribution system and began a library of edited tape; statement dated October 14, 1971 to Ralph Hocking.

  18. Media Ithaca: Description of Programs (1997, 1998) Groups

    Media Ithaca was formed after an Upstate Media Conference in Ithaca in spring 1987 and operated as a community forum to encourage independent media work; NYSCA supported a Coordinator for the Central New York Programmers Group and the office was housed at Ithaca College. The organization was initially a program of Cornell Cinema in 1988 and received support and services from Ithaca College School of Communications. In the early 1990s it awarded small grants (program begun 1991), organized a summer Film and Video Festival (begun 1990), hosted workshops including an Amiga workshop, and presented screenings and discussions by Cheryl Dunye, Craig Baldwin and Wilhelm Hein; leadership changes occurred in 1993–1994 and Media Ithaca was disbanded in 1994, with the Regrant program administered by Cornell Cinema.

  19. Museum of Modern Art Video and Film Program: Descriptions of Programs, Barbara London (1984, 1997) Groups

    Barbara London, Associate Curator, Video, Department of Film and Video, Museum of Modern Art, documents MoMA's video activities in two texts dated 1984 and 1997; the museum opened in 1929 and presented its first video exhibition in 1968. The Projects series began in 1971, a dedicated video gallery opened in 1974, and the Video Viewpoints lectures began in 1977; the Museum established acquisitions of artists' tapes and a Circulating Video Library (over 50 titles). The Video Study Center opened in 1984 and by 1997 held extensive archival materials and more than 800 titles; the Museum maintains off-site preservation facilities and collaborates with international archives to develop preservation policies and a shared cataloging system for video.

  20. National Association of Media Arts Centers: Evolution of NAMAC (1997) Groups

    Chronology of the National Alliance of Media Arts and Culture (NAMAC) tracing developments from 1967 through the founding conference in Boulder, CO, May 29–31, 1980. It records antecedent studies and conferences including the Stanford Report (1967), the Mohonk Conference (1973), the Pittsburgh Conference (1978) and the Minnewaska/1979 National Conference; funding came from the Rockefeller Foundation, the John and Mary Markle Foundation and the National Endowment for the Arts, and publications include The Independent Film Community (1977) and the 1979 conference report. Organizers and leaders named include Virgil Grillo and Robert Haller; NAMAC approved bylaws, set objectives and identified 17 project areas including network feasibility, touring projects, surveys and information exchange.

  21. National Center for Experiments in Television at KQED-TV: Description by Steve Seid and Maria Troy (2000) Groups

    Steve Seid (Video Curator, Pacific Film Archive) and Maria Troy (Associate Curator, Wexner Center) wrote on June 17, 2000 about planned Pacific Film Archive exhibitions of NCET videoworks centered on The Videola (1973). They trace NCET from its 1967 founding at KQED as the Experimental TV Project with NEA and Rockefeller funding to its 1969 renaming and CPB support; Brice Howard is cited as director. They mention Graham Tape Delay and Beck's Direct Video Synthesizer, and note that the Pacific Film Archive will assemble compilations, publish a small catalogue by fall 2000.

  22. New York State Council on the Arts Annual Report 1969-70 Groups

    The report documents NYSCA-supported film and media activities including a Young Filmmakers Albany South End workshop sponsored by Upper Hudson Library Federation, Aldo Tambellini working with elementary students at a television studio, and high school students screening films in Yorktown. It records Elaine Summers’ Electric Kinetic Gymnasium at C.W. Post College on Long Island planned to use twenty-four projectors. The Young Filmmakers Foundation and the Film Club on Rivington Street were chosen for pilot financial assistance; the report includes quotations from Howard Taubman and W. McNeil Lowry.

  23. New York State Council on the Arts Annual Report 1969-70: A summary of Council activities 1960-69 Groups

    Excerpt from the New York State Council on the Arts Annual Report 1969–1970 summarizing Council activities 1960–69; documents the Council's creation in 1960–61 with an initial $50,000 study grant and lists annual state appropriations and National Council on the Arts grants through 1968–69. Describes statewide surveys and local meetings, the initiation and expansion of Touring, Traveling Exhibitions, Technical Assistance, Special Projects, Film, Museum Aid, Ghetto Arts and Festival programs, and the establishment of American Dance Theatre and the Young Artists Program; notes collaborations with SUNY, museums, schools, and other cultural institutions and specific grants, publications, exhibitions, tours, and residencies.

  24. New York State Council on the Arts Annual Report 1969-70: Staff, Programs and Financial Report Groups

    The New York State Council on the Arts annual report 1969–70 lists programs in performing arts, film and visual arts and documents the agency's creation in 1960 with a $50,000 study grant and its establishment as a permanent State agency the following year with a $450,000 operating budget. The report names Council and past members and staff, including Executive Director John B. Hightower and program directors. It records that State funds and a National Endowment for the Arts grant raised the budget to $1,554,477 in 1966–67 and provides a financial statement of receipts and disbursements for the three-year period ended March 31, 1970, with tabulated funds received and program expenditures for 1967–70.

  25. New York State Council on the Arts Annual Report 1970-71 Groups

    Annual report of the New York State Council on the Arts for 1970–71 includes Seymour H. Knox's chairman's statement and Eric Larrabee's administrator's report; it records a $20.2 million legislative appropriation with $18 million allocated to Aid to Cultural Organizations (nearly 600 applicants) and $2.2 million for Council administration, with $2.3 of the $18 million designated for the New York Public Library research facilities. The report documents more than 2,000 free or low-priced performances, 384 new productions, 3,057 weeks of arts workshops and about 100 exhibitions; it notes initiatives in educational television, multimedia, literature, community visual-arts projects and regional equipment pools and lists Council members, staff and a financial statement.