Interviews
46 records
Interview with Ralph Hocking Interview
Interview with Ralph Hocking
Interview with Steina Vasulka Interview
Steina Vasulka describes the New York video scene of the late 1960s and 1970s, explaining how artists pooled expensive equipment and formed collectives to meet NYSCA funding rules; she names early groups including People's Video Theater, Freex, Raindance, Global Village and the Perception group. She recounts founding the Kitchen with Woody Vasulka and Andy Mannik as a venue for video, dance and music; programming initiatives such as the Women's Video Festival; residencies at the TV Lab; the tape Participation (material from 1969–1970) with a 1/2" reel-to-reel master; and the move to Buffalo in spring 1973.
Interview with Steina Vasulka Interview
Interview with Steina Vasulka
Interview with Steina Vasulka by Peer Bode, Andrew Deutsch, Dave Jones and Jessie Shefrin. April 1, 1998 Interview
Interview with Steina Vasulka by Peer Bode, Andrew Deutsch, Dave Jones and Jessie Shefrin. April 1, 1998. Edited by Pamela Hawkins. An interview with Steina Vasulka. April 1, 1998 at the home of Jessie Shefrin. Complete transcript.
Interview with Walter Wright Interview
Walter Wright moved from architecture into computer graphics around 1966 at the University of Waterloo, where he developed early 3D software and CAD programs and worked with electronic music and a Moog synthesizer; he later worked in New York for companies such as Computer Image Corporation using the Scanimate. He became Associate Director of The Kitchen and organized the weekly Open Screening, acquired a SONY portapak, and in 1972 was the second artist in residence at the Experimental Television Center in Binghamton, NY, where he worked with the Paik/Abe Video Synthesizer, ran demonstrations and workshops, and discussed NYSCA funding and shifts from live performance to museum-based installation.
Interviews at the Video History: Making Connections Conference Interview
Interviews at the Video History: Making Connections Conference. Interviews Conducted by Kathy High with Jean Haynes, Carlota Schoolman, Chris Hill. Video History: Making Connections Conference (October 16-18, 1998) at Syracuse University, and organized by the Experimental Television Center. Intervie…
Interviews at the Video History: Making Connections Conference. Interviews Conducted by Kathy High with Richard Fung, Tony Conrad, Richard Simmons, Connie Coleman, Peer Bode, Lisa Steele, Kim Tomczak, Sara Hornbacher, Ardele Lister, Rita Myers Interview
Interviews at the Video History: Making Connections Conference. Interviews Conducted by Kathy High with Richard Fung, Tony Conrad, Richard Simmons, Connie Coleman, Peer Bode, Lisa Steele, Kim Tomczak, Sara Hornbacher, Ardele Lister, Rita Myers. Video History: Making Connections Conference (October 1…
Jud Yalkut: A Video Beachcomber Interview
Jud Yalkut (born New York City, 1938) is a video artist who worked from the 1960s onward; he collaborated with USCO, Nam June Paik, Trisha Brown and John Cage and explored image processing across 8mm, a Bolex 16mm camera, video and digital methods. His key works include Diffraction Film (16mm, mid-1960s, first shown 1965), the film Turn, Turn, Turn (with Paik), the installation Vision Cantos (2000, Whitney Museum retrospective) and the single-channel Light Display: Color (2002) based on Moholy-Nagy's Space-Light Modulator. He lived in Big Sur in 1957, wrote art criticism for ARTS-Magazine in 1966, and received a Lifetime Achievement Fellowship from the Montgomery County Arts and Cultural District while residing in Southwest Ohio since 1973.
Links to Other Sites with Online Interviews with Video Artists and Activists Interview
The following are links to other sites which publish interviews with artists active in the evolution of the medium. This list is updated periodically; please send us your links and citations. Chris Hill conducted a number of interviews as part of the research for the series Surveying the First Decad…
Occupied Territories: Mapping the Transgressions of Cultural Terrain - an interview/essay with Jayce Salloum and Molly Hankwitz Interview
Interview with video artist Jayce Salloum by Molly Hankwitz about his practice addressing representation and resistance in the Middle East, especially Lebanon; Salloum discusses production and reception strategies, critique of documentary conventions, and creating audiences through screenings and workshops. He details projects and collaborations including Muqaddimah Li-Nihayat Jidal (1990, with Elia Suleiman), Up to the South (Talaeen a Junuub, 1993, with Walid Raad, 60 min), This is Not Beirut (1994, 49 min), Kan Ya Ma Kan installation (1995–2000), and untitled/everything and nothing (2001–ongoing) featuring Soha Bechara; he reports fieldwork, a Beirut media studio, 150+ hours of interviews and ~50 hours of archival material, and hundreds of screenings.
On That Very Uncomfortable Edge: An Interview with Alan Sondheim Interview
Alan Sondheim, identified as a writer, teacher, curator, filmmaker, musician and contemporary art theorist, served as curator of Atlanta's Nexus Contemporary Art Center beginning in 1983 for two years, taught at the University of Texas in Dallas from 1986 to 1987, and served last year as artistic director of Hallwalls Contemporary Art Center in Buffalo. He recently returned to the Southeast to live in Atlanta and teaches contemporary art issues at the Atlanta College of Art and Western Carolina University; his book Disorders of the Real was issued by Station Hill Press. The interview was conducted in February at Western Carolina University with WCU instructor and book artist Leonard Seastone participating.
Productive Unclarities - An interview with media artist Barbara Lattanzi Interview
Productive Unclarities - An interview with media artist Barbara Lattanzi
Roundtable - Discussion with Carolyn Tennant, Mona Jimenez, Pamela Susan Hawkins, Sherry Miller Hocking Interview
Roundtable - Discussion with Carolyn Tennant, Mona Jimenez, Pamela Susan Hawkins, Sherry Miller Hocking.
Taka Iimura Interview Interview
Taka Iimura, a Japanese film and video artist who spent more than ten years in the United States, discusses his practice and the independent film/video scene in Japan; his early work includes Junk (Standard 8, 1962) and later pieces include Line A,B,C,D,E (1972, revised 1980), Talking in New York and Talking Picture, and he screened work at gallery 360 in December 1982. The interview addresses influences (Dada/Surrealism, Western underground film), exhibition infrastructure (Image Forum, Seibu studio 200), lack of government subsidies, technical approaches (photographed image, sync sound, direct address) and political activity (demonstrations against the American military treaty).
Television Fictions: An Interview with Ed Bowes Interview
Ed Bowes, trained in the film industry, reframes videotape as a medium for television drama and made feature-length works including Romance (1976), Better, Stronger (1978), and How To Fly (1980); he was developing an eight-part series Oh, No. Paula!. He emphasizes real-time aesthetics, long complex master shots, narration and conversational syntax, and has used both nonactors and professionals; Better, Stronger was made as artist-in-residence at WNET/Thirteen's Television Laboratory. Bowes served on NYSCA's media panel (1982–85), on the NYFA Artists' Fellowship Board, received grants from NEA, Jerome, NYSCA, CAPS and Rockefeller, teaches at the School of Visual Arts and lives in New York City; the interview was conducted in November–December 1985 and funded by an NYSCA media writing grant.
The Archetron Of Thoman Tadlock Interview
Thomas Tadlock discusses the Archetron, a machine commissioned by collector Dorothea Weitzner that processes live television by removing triangular sections and repeating them through three units and an electronic palette with nine color controls to produce kaleidoscopic images. In a Jud Yalkut interview Tadlock situates the device within his practice as a former light sculptor trained at the Rhode Island School of Design, links its development to Nam June Paik and Richard Aldcroft, notes a Channel 13 broadcast and a $186,000 color projector, and mentions plans to complete a ferrocement boat in California to live on and transport the Archetron.
The Beat Among Us: Jud Yalkut Interview
Jud Yalkut (born 1938) is an experimental filmmaker, videographer, educator, painter, poet and art critic who helped bridge film and video and collaborated with Nam June Paik and Yayoi Kusama. He worked with the multi-media group USCO, made The Aquarian Rushes (1969) documenting Woodstock and completed a 1998 documentary on Pee Wee Russell. A Bronx native who studied at City College and McGill (where he befriended Leonard Cohen), he has lived in Dayton since 1973, taught experimental media at Wright State (1973–77) and received multiple Ohio Arts Council fellowships and an Ohio Humanities mini‑grant for Walking the Nickel, premiered April 14 at the Dayton Cultural Center; his films have been shown at the Guggenheim and a Whitney retrospective is scheduled.
The Whitney Museum and the Shaping of Video Art: An Interview with John Hanhardt Interview
John Hanhardt is curator of film and video at the Whitney Museum of American Art in New York City; he integrated video into the Whitney’s exhibition program and curated the Nam June Paik retrospective in 1982. Trained at NYU with a MoMA internship, he became Whitney department head in 1974 after serving at the Walker Art Center; he organized Projected Video (1975) and Re-Vision (1979) and placed video in Biennials from 1973. He secured Rockefeller Foundation funding to equip the theater, is writing Expanded Form in Film and Video (due spring 1983), and pursued touring and distribution via the AFA.
TV As a Creative Medium: Howard Wise and Video Art Interview
Howard Wise, a Cleveland-born gallery owner who opened the Howard Wise Gallery on W. 57th St. (1960), organized the May 17, 1969 exhibition TV as a Creative Medium, which showcased video installations (Wipe Cycle), performances by Nam June Paik and Charlotte Moorman, and experiments with portapaks and video synthesizers. Wise closed the gallery and founded Electronic Arts Intermix (EAI) in 1971 to fund, edit and distribute video art; EAI received NYSCA and NEA support (including $35,000 from NYSCA its first year), established editing/postproduction facilities and a distribution service, and built a collection of over 350 videotapes.
Up in the Air, An Interview with Brian Springer Interview
Brian Springer, a founding member of Squeaky Wheel who recently returned to Buffalo after three years on the West Coast, served as Hallwalls Video Artist-in-Residence and mounted Viewing Baby From the Blimp, a living-room installation incorporating behind-the-scenes satellite broadcasts, wireless telephone transmissions and intercom interceptions with a portable satellite dish. He also produced Home Video Theater, a Public Access television series airing on three Western New York cable networks to showcase local home video; in the interview he discusses his interest in surveillance technologies, a reenacted car-telephone whistleblower conversation, camcorder proliferation since 1985, and New York State public-access rules requiring locally originated, non-profit programming.
What is Grace in All This Madness: The Videotapes of Dan Reeves Interview
Dan Reeves is a video artist who began making film and videotapes in 1979 after earlier work in sculpture and photography; his work treats political and social issues, notably nuclear war and Vietnam, as well as spiritual themes. Major tapes include Smothering Dreams (1981), about his Vietnam combat experience, and Sabda (1984), assembled from footage shot in India in 1983 with sound by Debra Schweitzer and Guggenheim support. He worked at Cornell's Educational Television Center, collaborated with Jon L. Hilton, and employed slow motion, Quantel and digital-imaging techniques.