The Legart Archive
Published in the Melbourne published magazine STORM in August 1995, the article is a report of the Ars Electronica event in Linz, Austria, an international event with a Sydney artist, Bill Seaman mentioned amongst the award winners.
Published in the Melbourne published magazine STORM in June 1995, the article was based on the research for the Burning the Interface exhibition, mounted at the Museum of Contemporary Art during 1996.
The article originally published in RealTime, was included in a Reader for the European Media Academy Day @ DEAF03_ARENA held in February 2003, in Rotterdam. It is a snapshot of the tertiary teaching situation in Australia at the time of the event.
A review by a Village Voice writer of the Shoot Shoot Shoot touring exhibition of early British avante-garde film, when it landed in New York City in early 2003.
Stuart was from an earlier generation of film activists and provided an invaluable service in the West Country where the only films to be seen were those selected by the two commercial chains. Stuart would select and introduce programs from the repertoire of classic and art cinema, from Europe, Hollywood and around the world, and then screen them using 1940 vintage projectors – the experience of cinema was unique to audiences in the 1970s and educated many generations of students passing through Exeter.
Stuart was from an earlier generation of film activists and provided an invaluable service in the West Country where the only films to be seen were those selected by the two commercial chains. Stuart would select and introduce programs from the repertoire of classic and art cinema, from Europe, Hollywood and around the world, and then screen them using 1940 vintage projectors – the experience of cinema was unique to audiences in the 1970s and educated many generations of students passing through Exeter.
in Millenium Film Journal #13 (1983-84), an interesting reference to the film Friday Fried (1981), in which the respected theorist and filmmaker Peter Gidal, gives free reign to a surprisingly subjective and interpretive response to the film. Perhaps this is a pointer to ‘problematising’ the experience, through the addition of “a young girl” and “an image which in England conjures up a domestic lower-middle class ‘scene'”, none of which are seen, but clearly present in the mind of the writer. In context, the comments were made in relation to a screening of a program of British films at the Collective for Living Cinema (NYC) in April 1983, the article commences: “Avant garde film is predominately European”.
in REWIND: British Artists’ Video in the 1970s & 1980s (2012), John Libbey, UK, ed. Sean Cubitt and Stephen Partridge.
” Integral to the new language was what was rapidly becoming performance art: a mix of theatre, happening, and in the case of Ian Breakwell and Mike Leggett’s collaborations recalled in Leggett’s chapter, a kind of structural economics exemplified by the destruction of unsold sculptures. That challenge to ‘the monopolist position of broadcast television’, as Leggett refers to it, involved ‘a highly rational and calculated approach’ to destruction. It is this mocking, ironic application of a system comprising both methodical precision and sheer mess that has allowed, as Leggett notes with considerable originality, the documentation to take on a new role today. The ontological question of liveness – where precisely is the point when the ephemeral actually and terminally vanishes? – has its corollary in the question of what and how we recall.”
pp 6-7 in REWIND: British Artists’ Video in the 1970s & 1980s (2012), John Libbey, UK, ed. Sean Cubitt and Stephen Partridge.
NB. Jackie died, sadly just as the project was taking off following many years of planning and lobbying. Her Introduction to the publication remains both fresh and forthright.
in REWIND: British Artists’ Video in the 1970s & 1980s (2012), John Libbey, UK, ed. Sean Cubitt and Stephen Partridge.
“Early television works in the 1960s in Britain (television that is, as opposed to video) were grounded in the apparatus and explorations of its use. The various Arts Lab experiments and events by John Hopkins, Malcolm Le Grice and Mike Leggett were more or less semi-private affairs for the cognoscenti. It was not until 1972….”
pp 137 in Expanded Cinema: Art, Performance, Film, (2011) Tate Publishing, London, ed A.L. Rees, Duncan White, Steven Ball, David Curtis.
This is sloppy research in my opinion. The option to record video (tapes, as artefacts is what Steve means), was restricted to but a few, one of whom was Hoppy (John Hopkins). However, he would endeavour to make CATS limited range of equipment available to artists planning to incorporate either CCTV or video recording into performances. Such was the case with Ian Breakwell and myself in Unsculpt (1970) and One (1971) described on this site and also in the REWIND publication. The videotape made of the Unsculpt event was played back to the audience at the end of the event but as tape was very expensive at this point no plans were made to keep it. The film and photographic record became the permanent recording, now in digital form (like all the later ‘videos’ made by later artists). As for ‘semi-private affairs for the cognoscenti’, at the Unsculpt performance, the place was packed. I guess Steve’s cognoscenti didn’t hear about it!