Very Slow Scan Television (VSSTV) is a new television format that we have developed building upon Slow Scan Television (SSTV), an image transmission system used by Ham Radio amateurs. VSSTV uses broadcasts from this historic public domain television system and regular bubble wrap to construct an analogous system: Just as a Cathode Ray Tube mixes the three primary colors to create various hues, VSSTV utilizes a plotter-like machine to fill the individual bubbles with one of the three primary CRT colors, turning them into pixels on the VSSTV “screen”. Large television images with a frame rate of one per day are the result, images that take the idea of slow scan to the extreme.
Chinese artist Wang Du’s first UK solo exhibition will introduce The Space-Time Tunnel, a large-scale sculptural installation which submerges the visitor into a giddying media flow. Exhibition visitors are invited to journey through a mass of newspapers and magazines combined with more than 66 TV-screens, incessantly broadcasting programmes from global television networks.
Circular File Channel is the TV Network as TV Show. The project combines content produced by Circular File (principal members - Josh Kline, Anicka Yi, Jon Santos, Thomas Torres Cordova, Tatiana Hamilton) with contributions from invited artists (including Uri Aran, Alisa Baremboym, Luke Calzonetti, Anne Eastman, Greg Edwards, Debo Eilers, Shana Moulton, Takeshi Murata, Patrick Price, Fatima Al Qadiri, Ken Okiishi, Georgia Sagri, Trevor Shimizu, Brina Thurston, Allyson Vieira, Xeno & Oaklander, and others). The content was edited together into three 28 minute long episodes broadcast in November 2009 on Manhattan Cable Access, and streamed on Vimeo, YouTube, and PerformaTV. Content was produced around the following themes: computer-aided new century modernist art and architecture, the creative industries, The Bush Economic Bubble (ie 2005, 2006, 2007), human capital/exploitation, posthumanism, comedy, tragedy, and tragicomedy.
Everything In Heaven Is TV is a Totally Wreck Production Institute Production in association with Channel Austin Public Access. Season One was released and aired during the fall season of 2008. Produced by Amanda Joy, Juan Cisneros, Eli Welbourne, Ben Aqua and Chad Allen, with the ongoing help and support of many like minded artists, salesmen, psychics, cats, psychic cats, and the love of many many confused viewers.
The American Music Show began in 1981 and ran until 2005 on People TV, the public access station in Atlanta, Georgia. It was produced by Potsy Duncan, Bud Lowry, James Bond, and Dick Richards. Campy and over-the-top, the show parodied American popular culture with John Waters-esque absurdism. I discovered the show through misterrichardson's page on YouTube, of The Funtone USA Network.
Produced by the Artists' Television Network, the Live! Show ran in 1979 and from 1982-1983 on Manhattan’s Cable channel J. A weekly program overseen by Jaime Davidovich, the Live! Show was a variety show, featuring performances and videos by a host of New York downtown artists. Below you will find the second episode, which aired on December 28, 1979, with appearances by Jaime Davidovich, Carole Ann Klonarides, John Sanborn, Kit Fitzgerald, Lucio Pozzi, Tomiyo Sasaki, Stuart Sherman, The Social Climbers, and Youth in Asia. A playlist of other episodes may be found here.
Today, I will be posting videos from various art-related public access TV shows in the United States from the past 30 years or so. The shows profiled in these posts were selected because they share a similar fun, lively and subversive spirit. Public access television has been an important forum for artistic experimentation, allowing artists to respond to television's conventions within the medium itself. The videos shown here comprise part of that story.
This grouping is not an exhaustive survey, so readers, if there are shows that you would like to share, please post links or videos in the comments section.
The current exhibition at Art in General is “Erratic Anthropologies", which features Guy Benfield, Shana Moulton, Rancourt/Yatsuk, and Hong-An Truong, who construct narratives through video and performance that investigate a host of social subcultures (from hippie crafters to failed south Florida housing developers). In collaboration with Performa 09, a special series of performances have been organized to accompany the show. Last Wednesday, November 10, Benfield, Moulton, and Rancourt/Yatsuk performed in temporary environments in the gallery space. They will perform again tonight at 7pm. Rhizome Curatorial Fellow Jenny Jaskey writes about Shana Moulton’s "The Undiscovered Antique."
In a crowded room on Wednesday night, video and performance artist Shana Moulton presented the ninth installment of Whispering Pines, a series in which her alter ego Cynthia relishes the life-changing potential of home décor, beauty routines, and self-help mantras. Cynthia’s obsession in this episode, entitled The Undiscovered Antique, focuses on her journey to confirm the value of personally meaningful domestic artifacts á la The Antiques Roadshow. Moulton’s work is a layering of video, performance, and prop staging that is, in its more effective moments, abstract and dreamlike. In the spirit of Sara Goldfarb minus the amphetamines, Cynthia fantasizes about the transcendental payoff of her kitsch consumer fetishes, which include a head massager and footbath. Moulton achieves this sense of escapism by fully integrating her character into a two-dimensional digital landscape: projected objects move in choreographed syncopation with Cynthia’s body, sometimes appearing to control its movement or color its surface.
Moulton’s work makes us particularly attuned to the social structure surrounding its protagonist through its exaggerated and fragmented representation of Cynthia’s environment. It uses this fiction as a means for creating a kind of framed anthropological analysis ...
An ongoing project by artists Michael Smith and Joshua White, Open House was commissioned by the New Museum, and presented in its lower level public gallery in 1999 when the institution still resided on Broadway. In this version, Open House was a large-scale installation of a Soho artist’s loft belonging to the fictional artist “Mike Smith,” who is created and played by the artist Michael Smith and who, viewers learned through a video-taped sales pitch playing in the entrance to the installation, has lived in the loft for over twenty years, and is now looking to sell it. According to the pitch, the new owner will inherit the loft and, in a gesture that lies somewhere in between personal erasure and a Buddhist-like surrendering of material possessions, the past twenty years of Mike Smith’s art, all made while he lived in Soho. This dual sale—of art and life—turns the Open House installation into both a marketing pitch and a memoir. It presents the artist’s two-decade trajectory in Soho: video-taped documentation of the rigorous building of the loft, which in itself resembles a durational performance art piece of the 1970s, his multi-faceted, multi-media art, his activism, and his personal evolution, all with a price-tag. Presented at a critical juncture in the fictional artist’s life, Mike’s story with Soho ends where Open House begins, with the desire to leave the neighborhood, or what it has become, for some place more affordable and less pretentious.
This interview with Michael Smith took place in anticipation of the launch of an online version of Open House—a project that was realized thanks to my colleague John Michael Boling, who worked with Smith to transfer the work from DVD to the web.