Video History Project
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Groups

95 records

  1. A Description of Media Study/Buffalo Film/Imagemaking Workshop Groups

    Founded by Dr. Gerald O'Grady. "Literacy's been with us now since the nineteenth century and is pretty much accepted to be a universal thrust. My own theory is that we should move towards what I call 'mediacy'. It's a political issue; one cannot participate in society unless one can use the channels…

  2. A Squeaky History Groups

    Squeaky Wheel (also Buffalo Media Resources) formed from community meetings in 1985–87 following the 1985 closure of Media Study/Buffalo; Julie Zando was appointed director and founding members included Tony Conrad and Chris Hill. The organization operated equipment access (SWAP), workshops, internships, a weekly public-access show (Axlegrease) and the seasonal publication The Squealer (first Upstate issue 1988); it obtained NYSCA funding (initial $22,000 in 1986) and additional support from the Buffalo Foundation, Wendt Foundation, Benton Foundation and NEA to purchase equipment including a V5000 camcorder, Hi-8 gear and Macintosh computers. Squeaky Wheel occupied storefronts at 585 Potomac Avenue, 372 Connecticut Street and 175 Elmwood Avenue and organized events such as MediaBuff (1988), a Native American Film/Video Festival (1992) and a Digital Art Interactive show (1993).

  3. Albany Public Library: Video and the Library (1977) Groups

    Excerpt from Videoscope 1977 reports that the Albany Public Library, central library of the Upper Hudson Library Federation of 25 libraries, planned a live public access studio to cablecast to 25,000 local subscribers; Bob Katz, APL Media Librarian, expected the Albany Community Video Project to produce most programming while using library facilities. The library acquired video equipment since 1970 (first portapak via LSCA) and received NYSCA support; LSCA-funded Adult Independent Learner Project will provide playback units. Katz considered token studio fees, noted staffing and content controversies, and hired two CETA workers to research cable and survey viewers while canvassing funding and other libraries.

  4. Amazing Grace Media: Overview from the Dumping Place (c. 1973) Groups

    Bearsville group producing video, film and graphics; members met through the April Video Conference in New Jersey and at Republican and Democratic conventions covered by TVTV and the Women's Video News Service. Tapes listed include Clear Light (colorized video feedback), TVTV - Four More Years, Women's Video News Service - Another Look - The Democratic Convention, Dance Therapy (Lijan Espanak), The Maine Tapes, Barge Tapes (life on the Hudson River), Viet Nam Veterans Against the War and the Gainesville Conspiracy, Ex Attica Conversations (Al Cruz and James Boyde), tapes from Japan and Formosa, University Settlement Workshop material, and Miss USA Pageant '72. Excerpts appear in Dumping Place, Vol. 2, published by April Video.

  5. An Open Letter from the Media Equipment Pool Groups

    Videofreex proposed the Mediabus to the New York State Council on the Arts to travel the state introducing people to video; the Council expanded the idea into regional equipment pools and in June 1971 awarded a grant, with the Rochester Museum and Science Center sponsoring the Mediabus and providing a house's first floor for a Rochester Media Equipment Pool. The Equipment Pool acquired hardware and people who could use and teach it (software), ran workshops and short-term loans for documentation, instruction, drama and abstract electronic feedback. The group articulated an ethic of television emphasizing producer control, consent and immediate playback, and assigned legal liability for cable programming to individual producers to guard against broadcast-style censorship.

  6. Anthology Film Archives Groups

    Anthology Film Archives opened at the end of 1970 (manifesto dated December 1, 1970) and originated from initiatives by Jonas Mekas and a 1969 plan involving Jerome Hill, P. Adams Sitney, Peter Kubelka and Stan Brakhage; a Film Selection Committee was formed to assemble the Essential Cinema Repertory. It first screened at Joseph Papp's Public Theater, relocated to 80 Wooster Street, and in 1979 acquired Manhattan's Second Avenue Courthouse, adapted by Raimund Abraham and Kevin Bone to house theaters, a reference library and a preservation department. An Independent Film Preservation program established in 1972 has preserved hundreds of films and the Archives holds more than 4,000 titles; Anthology has published works including Film Culture Reader.

  7. Artists Television Network Groups

    http://www.lib.uiowa.edu/spec-coll/ltfs/atn.htm In the 1960s, New York City's SoHo district had more video artists per square block than the rest of the country put together. In 1976 exhibition facilities like the Kitchen, Global Village, and Anthology Film Archives joined with a number of individua…

  8. Artists TV Lab - Woodstock: Artists TV Lab 1976-1977 Groups

    Artists TV Lab began as a project of Woodstock Community Video in Woodstock; Gary Hill served as coordinator for visiting artists. After the Lab moved to Rhinebeck, the program discontinued visiting artists and instead had founding members as artists in residence. The record directs readers to Woodstock Community Video for detailed information about the program's founding.

  9. Association of Video and Filmmakers: The Fab Formation (of a Media Arts Organization) Groups

    The Association of Independent Video and Filmmakers (AIVF) formed in the mid-1970s around organizers including John Culkin and founding board member and first president Ed Lynch; early activity comprised screenings, workshops and advocacy, notably a late-1974 Fifth Avenue Cinema series and a national campaign that defeated an AFI federal funding bill. AIVF established ICAP and in 1975 incorporated the Foundation for Independent Video and Film (FIVF) to dispense grants; it administered CETA funds beginning in 1977 and a NEA-funded Short Film Showcase, grew from 99 Prince Street to 625 Broadway, and published The Independent.

  10. Binghamton University - Cinema Department & Artists Lab at School for Advanced Technology, (1977, 1980, 1983, 1998) Groups

    Cinema Department Pamela Susan Hawkins, 1998 The Electronic Gallery Exhibitions 1980, 1983 Cinema Department Program & Relationship with Experimental Television Center Survey of Film/Television/Video/Still Photography/Electronic Music Activity at State University of New York Campuses John Minkowsky.…

  11. Bode Sound Company: Brief History (1998) Groups

    Harald Bode was an audio tool design engineer born in 1909 in Germany who formed the Bode Sound Company after moving to the Buffalo area in 1961; the company marketed many of his original designs, including the Bode Frequency Shifter and Bode Vocoder. He published both individually and in collaboration with engineers and designers such as Robert Moog, collaborated with Woody and Steina Vasulka on device design and integration, and presented work at the Audio Engineering Society, Media Study/Buffalo and the Experimental Television Center; his tools and devices are found in electronic music studios around the world. Gordon Mumma described Bode as an engineering hero in the development of electronic music instruments.

  12. Brief History of Cornell Cinema Groups

    Cornell Cinema, founded in 1970 as a university film society and now a media arts center, programs close to 400 films and videos annually, seven nights a week in the Willard Straight Theatre and hosts visiting filmmakers. Its primary purpose is to expose Ithaca and regional audiences to alternative forms of cinema and alternative voices; its secondary purpose is to provide affordable, second-run commercial entertainment for the Cornell community. It supplements screenings with a media study library, publications and a film collection and offers frequent guest artists and critics; it is a program of the Department of Theatre, Film and Dance and is cosponsored by the Office of the Dean of Students.

  13. Center for Media Study at University of Buffalo: Activities (1977, 1986, 1998) Groups

    Chronology and program notes documenting activities around the Center for Media Study (CMS) at the State University of New York at Buffalo and the nonprofit Media Study/Buffalo, with citations to Pamela Susan Hawkins (1998), Marguerite W. Knowles (1996) and John Minkowsky (1977). Dr. Gerald O'Grady founded and directed CMS in 1972 and led initiatives including an Oral History of the Independent American Cinema and multiple conferences and summer institutes; CMS offered undergraduate and graduate coursework and degrees in media-making, history/theory and social effects of media, maintained extensive film and video facilities, and recorded over five hundred hours of filmmaker interviews. The record lists programs, dates, speakers, faculty, facilities, and funding sources from the 1970s through the 1990s.

  14. CEPA Gallery: Description (1997) Groups

    Pamela Susan Hawkins, 1997; description of the Center for Exploratory and Perceptual Art (CEPA), founded in 1974, as a research and education center for photo-related art and new photographic technologies, with exhibitions, lectures, a video/computer imaging facility, film programming, residencies and grants. CEPA's scope is international and includes support for artists in Western New York and the Tuscarora and Seneca Nations; funding is cited from National Endowment for the Arts, New York State Council on the Arts, City of Buffalo, County of Erie, Campos Photography Center and CEPA members.

  15. Chautauqua Cattaraugus Library System: Descriptions (1977, 1998) Groups

    Jean Haynes developed the Chautauqua-Cattaraugus Library System's 3/4" U-Matic video collection after moving to Jamestown in October 1966; it was supported by the Library Services and Construction Act and NYSCA funded a circulating collection in 1984. Haynes and Survival Arts Media (Howard Gutstadt and Mollie Hughes) introduced portapak works, ran workshops and provided postproduction assistance using 8650 editing decks while co-producing the Artists and Craftsmen Anthology and a visiting-artist series. VHS supplanted U-matic and Hallwalls acquired most tapes in the early 1990s; Haynes published a 1989 Sampler.

  16. Collaboration in Electronic Image Processing Groups

    Electron Movers was a Providence video collective formed at RISD in the early 1970s by Robert and Dorothy Jungels, Dennis Hlynsky, Laurie McDonald and the author; RISD hosted workshops by Brice Howard and the Vasulkas and had acquired basic video gear in 1970. Incorporated in 1974 as Electron Movers, Research in the Electronic Arts Inc., they occupied a 2,500 sq ft loft, received an RI State Arts Council fellowship (Hlynsky) and an NEA fellowship (author), and pooled tools including a six-level George Brown mixer, Templeton colorizers, a Buchla synthesizer, editing gear, cameras and monitors. The group produced the interactive Video Maze (1974–76), staged dance/video installations and community workshops, and dissolved around 1978 with members continuing in documentary, production and institutional media roles.

  17. Collaborations in Art, Science and Technology: Descriptions (1976, 1998) Groups

    CAST was funded by the New York State Council on the Arts in 1970 to explore creative uses of video and exhibited at the Everson Museum in 1975; the Scalas were included in New Work in Abstract Video Imagery (1977) at the Everson. Community Video ran June 2–28, 1975 at the Everson Museum. Joseph Scala held a BS in Mathematics and a postgraduate degree from Cornell and taught at Syracuse University's Department of Experimental Studios, introducing computers into artistic practice; Patsy Scala, with a background in poetry, was artist in residence at the SI Newhouse School, accessed 2" recording technology and attended a Ken Knowlton workshop.

  18. Community Video Project: Descriptions (1972, 1977) Groups

    Community Video Project, founded in New Paltz, NY, counted Steven Kolpan among its founding members and produced a one-hour cable show, Community Mix, on Channel 12 in the early 1970s; New Paltz had about 7,500 residents at that time. CVP promoted grassroots community programming focused on individuals and civic affairs and opposed commercialization and commercials on Channel 12. Kolpan listed videotapes for purchase and exchange documenting video feedback, video distortion, oscilloscope images and audio experimentation; Captain Video in New Paltz distributed tapes on new and old technologies. The group was profiled in Radical Software V2 N1 (1972) and cited in Jonathan Price, Video Visions: A Medium Discovers Itself (1972, 1977).

  19. Dave Jones Design by Dave Jones (1998) Groups

    Dave Jones formed Designlab in 1985 (now Dave Jones Design) to manufacture analog and digital image-processing machines for artists; he developed analog and early digital video-processing tools in the mid-1970s at the Experimental Television Center. He formed Silver Bullet Video in the early 1970s to market portable batteries and later worked as technician at the Experimental Television Center and as a freelance video engineer and digital consultant. Designlab built custom control-voltage-enabled systems for artists including Ralph Hocking and Gary Hill and returned to bespoke video-art tools after 1991.

  20. Downsville Community TV: Description of Activities (1972) Groups

    Downsville Community TV was founded and operated by Dean and Dudley Evenson in Downsville in the Catskill Mountains; the pair produced and cablecast local programming using a Sony 3600 Portapak, with weekly broadcasts transmitted by a green VW van that connected two cables to a Portapak and aired on Channel 3. Programs included profiles of local workers (a teacher canning chairs, a grocer making sausages, a cop discussing the non-existence of crime), interviews on local political issues, and civic and cultural events; they planned a series on small-farm problems and noted concern for environmental issues. Reported in Radical Software, Vol. 2, No. 1, 1972.

  21. Downtown Community TV Center: DCTV: Our History Groups

    Downtown Community Television Center (DCTV) was founded in 1972 by Keiko Tsuno and Jon Alpert in a Canal Street loft; they taught free video workshops, ran a mobile outreach unit with funding from the New York Department of Cultural Affairs, and launched a high-school program for at-risk youth in 1976. The group acquired early color Portapaks in 1974, relocated to an abandoned firehouse in 1979 and developed a verité documentary style culminating in Third Avenue (1980), which won a National Emmy. DCTV collaborated with NBC and later HBO on national broadcasts, produced numerous documentary programs, and from 2000–2003 developed the Cyberstudio, ConnecTV, the Cybercar/Speak Up New York! project, and the Afghanistan: From Ground Zero to Ground Zero documentary (2002).

  22. Early Video History at Visual Studies Workshop Groups

    Under director Nathan Lyons, Visual Studies Workshop established a media center in 1973 with production facilities, workshops and exhibitions; early video activity increased in 1974 with student workshops and an equipment purchase supported by a 1973–74 New York State Council on the Arts grant. VSW hosted events including Polyfusion (Strasenburgh Planetarium, Sept 20–21, 1974), ran a 1974–75 visiting-artist program that included Nam June Paik and Bill Viola, and collaborated with WXXI and Portable Channel on broadcasts and exchanges. The Research Center holds extensive media-center files, and the videotape collection—augmented by Portable Channel (1989) and Ithaca Video Festival deposits (1993)—contains over 4,000 tapes.

  23. Electronic Arts Intermix: Howard Wise essay Groups

    Marita Sturken's Afterimage essay (May 1984) documents Howard Wise's founding of the Howard Wise Gallery (Cleveland 1957; New York 50 W. 57th St., opened 1960) and his organization of the seminal exhibition TV as a Creative Medium (opened May 17, 1969). Wise (b. Nov 6, 1903, Cleveland) established Electronic Arts Intermix (EAI) circa 1971 to fund, edit and distribute video art; EAI received NYSCA support ($35,000 first year), distributed over 100 tapes and grew to a collection exceeding 350 with an operating budget near $250,000 while Wise took no salary.

  24. Electronic Arts Intermix: Statements (1975, 1982) Groups

    Electronic Arts Intermix is presented (1975) as a New York not-for-profit supporting artists in electronic media; it operates the Artists Videotape Resource for distribution and editing/post-production and lists Howard Wise (President), John Trayna (Director) and Flora Meyer (Assistant); funding is from the National Endowment for the Arts and the New York State Council on the Arts. A 1982 statement by Howard Wise traces EAI origins to the Howard Wise Gallery and Nam June Paik exhibitions, cites Sony's 1967–68 portable television as pivotal, notes over 225 programs in the catalogue, and identifies artist-developed hardware and a 3 1/4-inch editing facility serving about 300 artist/producers annually.

  25. Electronic Body Arts: Descriptions (1978, 1979, 1995) Groups

    Electronic Body Arts, Inc. (EBA) of Albany, N.Y., chartered in 1973, designed, built and maintained the Pantomation video studio and developed the computer-controlled Pantograph with George Kindler, Phil Edelstein and Tom DeWitt; work used a minicomputer/PDP-8, an EAB VideoLab, a Rutt/Etra synthesizer, Hearn Videolab, Serge synthesizer and related video/computer hardware. Funding and institutional support involved NYSCA, WMHT/WHMT allocations, NEA and a Guggenheim grant to DeWitt (April 1978); public demonstrations and residencies occurred at WNET Studio 46 and the University at Albany Performing Arts Center (14 September 1977), and workshops were offered at WRPI. Tom DeWitt also recorded associations with Rensselaer Polytechnic Institute, SUNY Albany, Dutchess County Community College and Hillary Harris, noting collaborations on vector-to-raster and motion-control technologies.