- Description:
- 1/2 in., VHS, NTSC. viewing copy. 1 videocassette of 1.
b/w.
fullscreen. sound.
- Notes:
- Produced by Video Data Bank. Includes: PERFORMER/AUDIENCE/MIRROR (Dan Graham, 1975, 23 min.); SELECTED WORKS [TWO DOGS AND BALL, USED CAR SALESMAN, DOG BISCUIT IN GLASS JAR] (William Wegman, 1972, 8 min.); BALDESSARI SINGS LEWITT [Excerpt] (John Baldessari, 1972, 4 min.); UNDERTONE [Excerpt] (Vito Acconci, 1972, 10 min.); VERTICAL ROLL (Joan Jonas, 1972, 20 min.); MY FATHER (Shigeko Kubota, 1975, 15 min.); EXCHANGE (Robert Morris, 1973, 32 min.). Study guide available.
Titles
+ Performer / Audience / Mirror
- Director:
- Graham, Dan
- Running Time:
- Short. 23 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1975
- Language:
- English
- Genre:
- Experimental / Avant Garde, Video Production
- Notes:
- Graham voices his unrehearsed observations, activating the various feedback cycles taking place within himself as performer, between the performer and audience, and among audience members. Issues of duration and attention are critical for both performer and audience.
+ Two Dogs And Ball
- Alternate Title:
- Dog Duet
- Director:
- Wegman, William
- Running Time:
- Short. 3 minutes
- Sound:
- silent - no soundtrack
- Color:
- b/w
- Country:
- USA
- Year:
- 1975-1976
- Genre:
- Experimental / Avant Garde, Video Production, Silent Cinema
+ Used Car Salesman
- Director:
- Wegman, William
- Running Time:
- Short. 2 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1972
- Language:
- English
- Genre:
- Experimental / Avant Garde, Video Production
+ Dog Biscuit In Glass Jar
- Director:
- Wegman, William
- Running Time:
- Short. 3 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1972
- Genre:
- Experimental / Avant Garde, Video Production
+ Baldessari Sings Lewitt [excerpt]
- Director:
- Baldessari, John
- Running Time:
- Short. 4 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1972
- Language:
- English
- Genre:
- Experimental / Avant Garde, With Songs, Video Production
- Notes:
- Original duration 12 min 50 sec. Seated and holding a sheaf of papers, Baldessari proceeds to sing each of Sol LeWitt's 35 conceptual statements to a different pop tune.
+ Undertone [excerpt]
- Director:
- Acconci, Vito
- Running Time:
- Short. 10 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1972
- Language:
- English
- Genre:
- Experimental / Avant Garde, Video Production
- Notes:
- Original duration 37 min 20 sec. Carrying on a rambling dialogue that shifts back and forth between the camera/spectator and himself, Acconci sexualizes the implicit contract between performer and viewer—the viewer serving as a voyeur who makes the performance possible by watching and completing the scene, believing the fantasy.
+ Vertical Roll
- Director:
- Jonas, Joan
- Running Time:
- Short. 20 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1972
- Genre:
- Experimental / Avant Garde, Video Production, Female Directors
- Notes:
- VERTICAL ROLL uses a common television set malfunction of the same name to establish a constantly shifting stage for the actions that relate both to the nature of the image and to the artist's projected psychological state.
+ My Father
- Director:
- Kubota, Shigeko
- Running Time:
- Short. 15 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1975
- Language:
- English
- Genre:
- Experimental / Avant Garde, Video Production, Female Directors
- Notes:
- Kubota mourns her father's death and recounts the last days of his life.
+ Exchange
- Director:
- Morris, Robert
- Running Time:
- Short. 32 minutes
- Sound:
- sound
- Color:
- b/w
- Country:
- USA
- Year:
- 1973
- Language:
- English
- Genre:
- Experimental / Avant Garde, Video Production
- Notes:
- A response to Lynda Benglis's Mumble. At the beginning of the tape, Morris comments on the nature of the collaboration, their interaction, and what they represent to each other. Morris's speculations about work, travel, and relationships are juxtaposed with frozen images of race cars, Benglis herself, images from Benglis's tape, and Manet's Olympia. An asymmetry of elements forms as the tape moves from the professional towards the personal—a shift that gives the work humanity and, concerning the development of early conceptual video, its unique historical importance.