- John G. Hanhardt People
John G. Hanhardt is Senior curator of film and media arts at the Solomon R. Guggenheim Museum; he holds a B.A. from the University of Rochester and an M.A. from New York University. He was film coordinator at the Walker Art Center, Minneapolis (1972–74) and curator and head of the film and video department at the Whitney Museum of American Art (1974–96). He curated exhibitions and film and video series at the Whitney and Guggenheim, edited Video Culture: A Critical Investigation (1986) and received the Peter Norton Family Foundation Curator's Grant (1993).
- Daniel Eisenberg People
Daniel Eisenberg is Professor and Chair of Film, Video, and New Media (1994) at the School of the Art Institute of Chicago and holds a BA (1976) from Binghamton University; his work has been exhibited and screened at the Museum of Modern Art (New York), University of Amsterdam, Goldsmiths College (University of London), Centre Georges Pompidou (Paris), Whitney Museum of American Art (New York), the Bangkok Experimental Film Festival, Pacific Film Archive (Berkeley), Musee du Cinema (Brussels) and Filmmuseum (Munich). His works are held in the collections of Centre Georges Pompidou, the Museum of Modern Art, Freunde der Deutschen Kinemathek and the Nederlands Film Museum; awards include an Illinois Arts Council Artists Fellowship, a John Simon Guggenheim Memorial Foundation Fellowship and a DAAD Berlin Fellowship; online: www.danieleisenberg.com.
- Erik Moskowitz and Amanda Trager People
Erik Moskowitz makes installations and films that examine the relationship between cinema space and gallery space; solo installation exhibitions at Momenta Art, Freight and Volume, Holiday (NYC) and Le Sous Salon (Paris); festival screenings at Impakt (Netherlands), Antimatter (Canada), Oberhausen (Germany), Experimenta (India), Press Play (Carnegie Mellon) and Experiments in Cinema (University of New Mexico); website http://www.americantrance.com/. Amanda Trager combines painting, sculpture and installation with first-person prose narrative; solo exhibitions at Momenta Art, Annika Sundvik (NYC), Clifford-Smith Gallery (Boston) and Le Sous Salon (Paris); group shows include Brooklyn Museum's Open House, NextNext Visual Art program at BAM, White Box gallery and Feature gallery (NYC); both live and work in NYC.
- Not on the Shelf: Accounting for New York City Artists' Organizations' Bibliography
Alan Moore, an ex-artist turned scholar, describes his work in and with archives and notes that his personal archive includes a video distribution business. His dissertation traces politicized artists' organizations from the Art Workers Coalition through Art & Language, Artists Meeting for Cultural Change, Collaborative Projects, Political Art Documentation (PADD) and Group Material, spanning roughly 1969 to 1984. He discusses archival mortality, obsolete magnetic-media preservation and digital promises; he recounts a Syracuse experimental-video conference involving Ardele Lister and Ralph Hocking (Experimental TV Center) and references installations by Michael Smith and Josh White that invoke obsolete technologies.
- Lauren Cornell People
Lauren Cornell is Executive Director of Rhizome and oversees the organization's programs to promote and contextualize new media art. She started with Rhizome in May 2005. Previously she worked as a curator, writer and arts administrator in New York, including on the Andy Warhol Film Project at the Whitney Museum and as Executive Director of Ocularis from 2002–2004; she also worked as a youth media educator and organizer, has been published in international and online art outlets, and has curated screenings, exhibitions and performances at venues in New York, London and Warsaw.
- Tracking Video Art: Image Processing as a Genre Bibliography
Lucinda Furlong, Curatorial Assistant in the Whitney Museum of American Art's Film and Video Department, traces the emergence of image processing as a distinct video-art genre from the late 1960s through the mid-1970s; she examines terminology, aesthetic debates, and the modernist and formalist impulses that shaped the work. The text documents early tool-builders and artists (Dan Sandin, Steina and Woody Vasulka, Eric Siegel, Stephen Beck, Bill Etra, Steve Rutt, Nam June Paik and Shuya Abe), key technologies (video synthesizers, Sandin Image Processor, Rutt-Etra, Moog, Z-Grass), institutions (Whitney Museum, Radical Software, Experimental Television Center, SUNY Binghamton, University of Illinois Circle Campus) and funding developments including a $50,000 NYSCA grant to Hocking's Center.