The Legart Archive
An article about the adoption of digital tools and their adaptation in the making of traditional artforms. Reference is made to the Virtual Cermaics (1993), the CyberCeramics websites and the work of K. Inoue and Robin Best. (NB I have mislaid where an exactly when this appeared – TBC)
ARTLINK Issue 21:3 | September 2001: “Through a process of active lobbying by various people around the country in the mid-eighties, the funding and institutional support for art and technology practice in Australia began to materialise. Some key figures in this push were Stephanie Britton, Louise Dauth and Gary Warner who saw the Australian Network for Art and Technology (ANAT) come into existence. The progress of the Australian new media arts scene is here documented from these early years and the various initiatives and supportive programs and events through to what is now the fundamental arts and cultural practice of the twentieth century. Artists Maria Miranda, Norie Neumark and Mari Velonaki are featured.”
Rodney Hall is an Australian prize-winning author born outside Bristol in Britain in the 1930s. His account of experiencing the War as a child explores memory, experimenting with the kind of expressions used by children learning to use language to express themselves. I had met him some years previously during a residency and having lived in Bristol on two occasions, was attracted to the book. I wrote this short piece having collaborated on an earlier project with historians from the University of Western England.
The 14-pages of notes were compiled following an extensive tour on a Greyhound bus of North America in 1976 with the recently completed Sheepman & the Sheared series of films. The report was commissioned by the British Council, the intention being to inform other prospective filmmaker tourers of what to expect as only one or two of us from the London Filmmakers Co-op had made the trip. It was also to provide feedback to the organisations I visited, many of whom did not know one another or were unaware of the larger international artists' film scene.
Roger Hewins worked as an independent filmmaker in Birmingham, Nottingham, Derby and Chicago before settling in Norwich in 1984. This exhibition will present his films and documentation of the period including the organisations promoting independent filmmaking in the English Regions at that time.
Unappeased is a project that commenced in Penang, Malaysia during 2013, initiated by Alan Schacher and Wei Zen Ho during the Hungry Ghost Festival. The following year they joined with Aida Redza, the Penang-based performance artist, Robbi Avenaim, percussionist, and Bangkok video artist Kob to develop the project. In June 2015 the company re-assembled in Albury NSW for a final fortnight’s preparation leading to a ‘showing’ for invited guests. Unfortunately Kob fell ill and Mike Leggett filled the gap at short notice to devise and operate video projections for the two showings. The performance and the project was described for RealTime by Ruby Rowat & Anne-Maree Ellis, both of whom are Albury-Wodonga based performers.
Real Time (Sydney) #71: “Introducing the computer and its various applications to the arts scene was bootstrapped with the hosting of TISEA (Third International Symposium of Electronic Art) in Sydney in 1992 — listed in the Timeline context section of the book — and the author Darren Tofts picks up creative developments from around then until 2005.”
Radical Light – alternative film and video in the San Francisco Bay Area 1945-2000. Steve Anker, Kathy Geritz, Steve Seid (eds) for Leonardo journal
ARTICLE in LEONARDO 45(1):70-71 · JANUARY 2012 “Some seventy contributors: curators, critics, managers, artists and filmmakers themselves, are wrangled into a compendium that more than adequately describes the scene. As an artist filmmaker myself who screened work in North America during a tour in the mid-1970s, the vigour of activity in San Francisco left vivid memories. “
LEONARDO, Vol. 43, No. 5 (2010) “As an academic with the University of Amsterdam and Curator with the Dutch Film Museum the author brings a wealth of knowledge both theoretical and practical. Consolidated under the International Federation of Film Archives (FIAF) in 1938, the field is a site of rivalries, jealousies and disagreements which the author negotiates by laying out the principle approaches taken by the archivist and the technician.”