Sturken, Marita

A Narrative Conceit: From the Academy to the Avant Garde Bibliography

An Interview with Barbara Buckner Interview

Video artist Barbara Buckner has been working with image processing devices for more than 10 years. She discovered video in 1972 after studying film and began working with processing tools. Over the years, she gained access to and explored the possibilities of increasingly complicated systems; inclu…

An Interview with George Stoney Interview

George C. Stoney (born 1916) is a community and media activist, film and video professor, and maker of about 40 sponsored social and educational documentaries including All My Babies (1952). He became executive producer of the National Film Board of Canada’s Challenge for Change in 1968 and pioneered half‑inch video experiments and community training (VTR‑St. Jacques; Drumheller, 1969); after returning to New York he chaired NYU’s Undergraduate Division and co‑founded the Alternate Media Center (1972). He helped design an NEA‑funded cable internship program that produced 29 interns and contributed to the founding of the National Federation of Local Cable Programmers (1976); the interview was recorded August–September 1983.

Denman's Col (Geometry): Mary Lucier Bibliography

Mary Lucier’s Denman’s Col (Geometry) was shown at the Whitney Museum in November; the installation comprises two synchronous video channels displayed on five monitors mounted in a jagged sculptural framework evoking a city skyline, with screen sizes ranging from 12 in. to 21 in. The work juxtaposes urban architecture and drinking-glass interiors, including a central wine-glass shot reflecting buildings, and uses rotated and inverted screens so a two-channel presentation reads as five channels. Lucier incorporates a layered soundscape—police siren, clothesline squeak, church bells, rain, wind, pouring liquids and a spinning rim note—and the title references a family name and the term col, a pathway between mountains.

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.

Feminist Video: Reiterating the Difference Bibliography

Review of two 1984–85 exhibitions of feminist video: Revising Romance: New Feminist Video, organized and distributed by the American Federation of Arts and curated by Linda Podheiser and Bob Riley (ICA Boston, Sept 1–Dec 31, 1984; touring to Ohio State, Portland, and Cornell in 1985), and Difference: On Representation and Sexuality, videotapes curated by Jane Weinstock (New Museum, Dec 8, 1984–Feb 10, 1985; Renaissance Society and ICA London in 1985). The essay surveys numerous videotapes and artists (Condit, Yonemoto, Broughel, Antin, Godard, Birnbaum, Almy, Roster, among others), notes formats including super-8, three-channel black-and-white and television-produced half-hour tapes, and critiques curatorial emphases on Lacanian film theory and program balance while highlighting several standout works.

Imaging postmemory/renegotiating history Bibliography

The nature of history, the practice of historicization and the processes of memory pose special problems for postmodern thought.https://www.findarticles.com/p/articles/mi_m2479/is_6_26/ai_54869104

James Byrne's Video Projects: The Aesthetics of the Subject Bibliography

Media Independents Push for Access Bibliography

Independent video and film producers increased political organizing to gain programming and funding access; AIVF lobbied the Corporation for Public Broadcasting during its reorganization after the Carnegie Commission report and advocated a clear definition of independents and Program Fund set-asides. A dispute at WNET-Channel 13 over four peer-panel-selected films produced the Coalition To Make Public Television Public, meetings with president Jay Iselin on Feb. 11 and a protest at Lincoln Center on Feb. 24, and scrutiny of station finances. Independent feature filmmakers formed the Independent Feature Project (director Joy Pereths) after a New York Film Festival market (Sept. 1979); national organizing includes a Minnewaska meeting (April 1979) leading to a NAMAC conference in Boulder (May 29–31).

Out of Sync: Electronic Visions at the Hudson River Museum Bibliography

Marita Sturken reviews Electronic Visions, a group exhibition of video and computer-based works guest-curated by John Minkowsky (video/electronic arts curator, Media Study/Buffalo) at the Hudson River Museum. The show included installations by Steina and Woody Vasulka, Dan Sandin (computer-generated holograms made with his self-designed Image Processor), Ralph Hocking and Sherry Miller (video The Tub and computer-derived stills), and Gary Hill (Happenstance; Glass Onion), plus single-channel tapes by Peer Bode, Barbara Buckner, Ed Emshwiller, Nam June Paik, and Jane Veeder; Sturken critiques the exhibition's spatial, audio, and installation decisions and highlights technological and curatorial issues.

Private Money and Personal Influence: Howard Klein and the Rockefeller Foundation's Funding of the Media Arts Bibliography

Howard Klein was an arts officer at the Rockefeller Foundation from 1967 to 1986, director for arts 1973–1983 and deputy director for arts and humanities 1983–1986; he personally directed most media grants and promoted public-television research projects including NCET (KQED), the New Television Workshop (WGBH) and the Television Laboratory (WNET/Thirteen). Klein worked closely with advisor Nam June Paik, funded artist residencies and equipment, and the foundation awarded more than $3.4 million for experimental public-television works from 1967–1977 and $1.1 million core support plus a $150,000 startup grant to the WNET lab (1972–1976).

Set in Motion: The New York State Council on the Arts Celebrates 30 Years of Independents The Moving Image in Space: Public Funding and the Installation Form Bibliography

The New York State Council on the Arts (NYSCA) funded production and exhibition spaces for film and video installations, increasing state support in the early 1970s and moving media art from alternative venues into museums. Institutions cited include the Everson Museum (early 1970s video curator), the Whitney (video exhibitions from 1971, Re/Visions 1979, Nam June Paik retrospective 1982) and MoMA (Projects 1971, video department 1974); artists and technologies ranged from 1960s avant-garde closed-circuit and multi-monitor work to later interactive and multicultural installations such as The Erl King (1986) and Color Schemes (1990).

Steina and Woody Vasulka: Machine Media Bibliography

Articles on Installations (Robert Riley), Videotapes (Marita Sturken), and essays by Sturken, Maureen Turim and Woody Vasulka. Biographies. Videography. Exhibition history. Institution/Organizer: San Francisco Museum of Modern Art Site: San Francisco Museum of Modern Art Sturken,Marita Exhibition Da…

Steina and Woody Vasulka: Machine Media Bibliography

essays by Robert Riley; Marita Sturken; Maureen Turim and Scott Nygren; Woody Vasulka Institution/Organizer: San Francisco Museum of Modern Art Site: San Francisco Museum of Modern Art

Technological Visions: The Hopes and Fears that Shape New Technologies Bibliography

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.

Temporal Interventions: The Videotapes of Bill Viola Bibliography

The Gentrification of Video Bibliography

Alive from Off Center

The Politics of Video Memory: Electronic Erasures and Inscriptions from Resolutions: Contemporary Video Practices Bibliography

Essay examines how photographic, cinematic and television-video images produce personal and cultural memory while simultaneously enabling forms of forgetting; it argues that television's live flow and videotape materiality complicate preservation and historical status. It surveys independent video practices and collectives (Videofreex, Raindance) and analyzes works by Woody Vasulka (Art of Memory, 1987), Rea Tajiri (History and Memory, 1991), Janice Tanaka (Memories from the Department of Amnesia, 1990; Who's Going to Pay for These Donuts, Anyway?, 1992) and Jeanne Finley (Nomads at the 25 Door, 1991), addressing Japanese American internment, Yugoslavia (1990), televised events (Challenger, Tiananmen, Berlin Wall) and videotape deterioration. The artists use videotape, found footage and reenactment to create counter-memories, bear witness and contest national narratives.

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.

Video as a Performance Medium Bibliography

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.

Whitney Museum of American Art - Video Program: Chronology: Video at the Whitney Museum 1971-1983, Marita Sturken (1983) Groups

Chronology compiled by Marita Sturken for Afterimage (May 1983) documenting video programs at the Whitney Museum from 1971 through 1983; it lists exhibitions, biennials, retrospectives and thematic programs with artists and individual works. Entries record formats and presentation modes including projected video, two-channel pieces, satellite and Manhattan cable telecasts, film and video installations, audio installations and performance/telecasts; dates for works and exhibitions are given throughout. Notable recurring items include biennial exhibitions and a Nam June Paik retrospective.