The Television Department of Columbia College Presents

"A VISION OF VIDEO HISTORY"A Selection ofVideo .4rt Presented by Gerald OGrady'

Gerald O'Grady, Director ofthe Center for Media Study atthe State University of New Yorkat Buffalo, and Executive Pro-ducer of THE INDEPENDENTS foThe Learning Channel, will presen-a selection of video art from 1965-198-.")'-These tapes will illustrate the kinds ofmaterials which shape the Video Historywhich he is undertaking in collaboration withJohn Minkowsky . ''There were the ex-perimental broadcasting laboratories, thevideo collectives, the creators of the newtools and technologies, the impact of thetradition of the new in the visual arts and thepopular influence of television, the move-ments toward performance and installation

Both the reception and program will be heldat Columbia College, 600 South Michigan .The reception is by invitation or ColumbiaCollege I .D . only, from 6 :OOpm to 7:OOpm atthe Museum of Contemporary Photography,lst . floor . The lecture/presentation is at7:00pm in the 1 st floor Ferguson Theater, andis free and open to the public .

FRIDAY, May 3rd, 1985, 7:00pmColumbia College, Ferguson Theater

609 South Michigan AvenueChicago, Illinois 60605-1996

art, and the development ofdistribution and exhibition net-works in galleries, museums andmedia centers-an eclectic inter-

mix of forces without parallel in thehistory of the arts .'

For additional information contact Barbara Sykes-Dietze, Visiting Lecturer Series Chair, 663-1600 ext . 203,

The video exhibition program of theMuseum of Art is supported by grantsfrom The Fisher Charitable Trust . ThePennsylvania Council on the Arts . and theNational Endowment' for the Arts .

Photograph of AHvision by Kevin Noble

5teina Vasulka : AllvisionDecember 18, 1982 -February 27, 1983Museum of Art, Carnegie InstitutePittsburgh, Pennsylvania

Steina Vasulka :AIIVisien

Allvision signifies the awareness of anintelligent, yet not human vision . The actof seeing, the image source, and thekinetic resources come from the installationitself, choreographed and programmed bythe cyclical nature of its mechanicalperformance .

All my installation pieces have involvedrotating cameras, explorations of space,,time. . . . My pieces are an analysis of aspace . or even a surveillance of a space .

Habitually, by looking, we keep selecting,subjectively "zooming" and "framing" thespace around us. I wanted to create avision that can see the whole space all thetime. It took two cameras looking into thesphere . I have done more variations withmore moving elements surveilling spaceby tiff, pan, zoom, and rotation .

You are not in charge of the space ; it isnot your choice - it is somebody else's . Itwas a challenge to me to create a spacethat would not deal with the idiosyncrasiesof human vision .

Steina,from interviews at The Kitchen? andAnthology Film Archives

Checklist of the Exhibition

Entrance GalleryAllvision, 1978Video installationtwo revoving video cameras, sphericalmirror and turntable, four video monitorsVideo Exhibition RoomBlack Sunrise, 1971with Woody VasulkaVideotapecolor, sound, 22 minutes(Shown January 4-9, 25-30, February15-20)Switch! Monitor! DnM 1976Videotapeblack and white, sound, 30 minutes(Shown January 11-16, February 1-6,22-25)Cantaloup, 1981Videotapecolor, sound, 28 minutes(Shown January 16-23, February 8-13)

Steina, born in Iceland in 1940, wastrained as a classical violinist . After studiesat the Music Conservatory in Prague,Czechoslovakia, where she met her futurehusband Woody Vasulka, she took aposition with the Icelandic SymphonyOrchestra . In 1965 she left to work as afree-lance musician in New York . There,through Woody's work in film andexperiments with electronics, she becameinvolved with video as an art form . Steinaand Woody were also co-founders, in1971, of The Kitchen, a center forcontemporary music, video, dance . andperformance art in New York City . Prior to1975 they collaborated on a number ofvideotapes, in addition to the works theymade and continue to make individually .These early works, particularly in theiruse of electronics to fuse sound andimage and the electronic synthesis andmanipulation of their video images, wereseminal to the development of video as anart form . Steina and Woody recently movedfrom Buffalo, where they lived for sevenyears and taught at the State University ofNew York at Buffalo, to Santa Fe, NewMexico, where they currently reside.

Steina has continued to work both withvideotapes to be viewed on a singlemonitor and with installation works suchas Allvision which incorporate the galleryor exhibition space itself . Her concerns asa video artist have been directed moretoward the creative application of videotechnology than toward the developmentof the technology itself . The videotapeBlack Sunrise (1971) . made with Woody,abstracts camera images and generatesnew images and sounds to create adramatic journey through an artificiallandscape. The videotape Switch! MonitorsDrift! (1976) is Steina's first use of theturntable for a video camera ; the revolvingimagery looking out from a central positionis a spatial reversal of the views by theinward looking cameras in Allvision .

Cantaloup (1981) uses the combination ofvideo and computer in a digital "framestore" system, designed in part by Woodyand Steina, to explore the expressivepossibilities of real-time image manipulation .

Steinas conception and design of AllvisIORwhich Woody built, is one of the mostengaging examples of her inventive use ofvideo in an installation situation. Allvision isan elegant and deceptively simple machine,with two video cameras rotating around aspherical mirror, and the images fromthese cameras visible on video monitors .Upon entering the gallery, one is presentedwith three versions of space : the three-dimensional gallery space which oneshares with the machine and monitors assculptural objects ; the space which onesees mirrored in the sphere ; and the'Whole" of space which is taken in by thecameras and presented in flattened versionon the monitors . These versions of spacecorrespond to three quite different ways ofunderstanding "reality" : as a physical,material presence verifiable by touch ; as avisual perception, in which the materialworld may be rearranged or distorted butwhich is nevertheless comprehensible asan optical entity, like a painting orphotograph ; as a concept, in which anabstract system must be taken into accountbefore the reality it presents is understood .Our experience of the interaction betweenthese differing aspects of Allvision isshaped by the particular movement of themachine's rhythmic revolutions. Theresulting unity of this work rewards ourcontemplation with something far morerich and satisfying than its separateingredients might at first suggest.

William JudsonCurator of Film and Video

Section of Film & VideoMuseum of Art, Carnegie Institute4400 Fortes AvenuePittsburgh, PA 15213Office : (412) 622-3212

LH

MOA : Museum of Art TheatreLH : Lecture Hall

TicketsWhen admission is charged, ticketsare available at the door one half hourbefore screenings begin . No reservedseating . General admission to mostevents is $2.50, admission forCarnegie Institute members, seniorcitizens, and students is $2.00 .Collection screenings are free .

Film & Video StaffWilliam Judson, CuratorGeralyn Huxley, Curatorial AssistantKathleen Butler, Travel Sheet editor,

and assistant

These programs are funded in part by :The National Endowment for the Arts,The Pennsylvania Council on the Arts,The Howard Heinz Endowment,The Fisher Charitable Trust .

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Film Series

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JACQUES TATI -- DIRECTORS SERIES

This series of the feature films byFrench director Jacques Tati,recently deceased, is intended asa tribute to one of the cinema'sgreatest comedians .

RICHARD MYERS -- VISITING FILMMAKER

Myers, one of the most prolific andversatile independent filmmakersworking in our region, will presentand discuss his 1978 film FLOORSHOW .

VINTAGE HORROR CLASSICS

Presented in the tradition of theSaturday matinee, these creepyclassics from the 1930s are ofparticular interest for theircontributions to the styles andconventions of the genre .

SOVIET CINEMA -- HISTORY OF FILM

This eight week series highlightssome of the best and most popularRussian films made since World War11 . THE BROTHERS KARAMAZOV and ANUNFINISHED PIECE FOR PLAYER PIANOare Pittsburgh premieres .

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Video Exhibition

STEINA VASULKA : ALLV ISION

An exhibition of work by SteinaVasulka, a pioneering andinfluential video artist, is beingpresented during the Museum of Art'sregular gallery hours . Her elegantand engaging Al lvision machine isinstalled in the Entrance Gallerythrough FebruarrU 27,

Three of hervideotapes are being shown in theVideo Exhibition Room :Black Sunrise (1971, with WoodyVasulka , shown January 4-9, 25-30,February 15-20 .Switch ! Monitor? D rift! (1976), shownJanuary 11-16, February 1-6, 22-25 .Cantaloup (1981), shown January18-23, February 8-13 .

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