Rose Art Museum: Vision & Television

Videofreex

1970 | 00:59:34 | United States | English | B&W | Mono | 4:3 | 1/2" open reel video

Collection: Videofreex Archive, Single Titles

Tags: Art History, Video History

This title documents events at the opening of the 1970 exhibition Vision and Televison.  Held at the Rose Art Museum of Brandeis University in Waltham, Massachusetts from January 21 - February 22, the exhibition is widely regarded as the first museum exhibition of artist's video.

This two disc title contains the following video documentation:

  • Nam June Paik & Charlotte Moorman - TV Bra for Living Sculpture (39:43)

Featuring live footage of cellist Charlotte Moorman, clad only in her bra made of miniature televisions, creating fields of distortion with her electrified cello as she is encircled by Nam June Paik.  Poignantly, as the crowd huddles around to watch, you can hear Bob Dylan’s The Times They Are a-Changin’ being played in the background.  After the performance, the Videofreex begin experimenting with their camera while filming other likeminded documentarians in the crowd.  The film concludes with Nam June Paik taking his shirt off and getting slapped by Moorman as he watches her prepare for another performance.

  • Panel Discusson with Artists (19:51)

A group of artists are filmed as they talk about the intersections between art and technology, difference in the personal and social implications of technological development. One participant discusses how at that time technological art meant manipulating hardware, while in the future more ethereal experiences will be created by manipulating technological software. Anticipating the complete technological integration of today’s society, the man describes a more effective experience being the affiliation of one’s self with the technological process in general as software rather than a dedication to any one particular technological output as hardware. David Cort also falls in a pool.

 

Exhibition organized by Russell Connor. Works by Frank Gillette (Amps, Volts and Watts), Ted Kraynik (Video Luminar #4) , Les Levine (The Dealer), Eugene Mattingly (Fred Helix), Nam June Paik with Charlotte Moorman,(TV Bra for Living Sculpture), Nam June Paik (The 9/23 Experiment, Still Life and Embryo for Wall to Wall TV), John Reilly and Rudi Stern (Innertube), Paul Ryan (Yes/No and Ego Me Absolvo), Ira Schneider (Random Interlace), Eric Siegel (Body, Mind and Video)., Aldo Tambellini (Some More Beginnings, Black Spiral and Black TV)), Jud Yalkut (Electronic Moon No. 2), USCO/Intermedia (Wave Forms and Tube Stills), Videofreex (Freex Out) and Joe Weintraub (AC/TV)

— Experimental TV Center

 

Pricing Information

Additional Formats/Uses
Request an Exhibition Quote Request an Archival Quote

Please contact info@vdb.org or visit http://www.vdb.org/content/prices-formats with any questions about the license types listed here.




Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung