Chris Meigh-Andrews is an artist, writer and curator who has been making and exhibiting screen-based video and sculptural moving image installations since the mid 1970’s. His site-specific and commissioned installations often incorporate renewable energy systems and establish direct relationships with the natural and constructed environment.
Meigh-Andrews studied Photography, Film & TV at the London College of Printing, Fine Art at Goldsmiths (MA) and completed a PhD at the Royal College of Art. He was Arts Council International Artist Fellow, Krakow, Poland. (2003-2004); Video Artist in Residence, Prema Arts Centre, Gloucester (1995); Video Artist in Residence, Cleveland Arts (1995);Artist in Residence, Saw Contemporary Art Centre, Ottawa, Canada (1994); Resident Artist in Digital Imaging, School of Visual Arts, Music & Publishing, Oxford Brookes University, (1994) and is currently engaged in a residency at the Cambridge School of Art, Anglia Ruskin University.
Curatorial projects include Yes, Snow Show, (British Film Institute, 2009), Analogue: Artists’ Video from the UK, Canada and Poland: 1968-88, (Tate Britain and Modern, London, and at venues in Liverpool, Norwich, Warsaw, New York, Toronto, Ottawa, Valletta and Berlin: 2006-2009) and The Digital Aesthetic, a series of exhibitions and symposia organised in collaboration with the Harris Museum, Preston (2001, 2007 & 2012).
From 2013-2017 Meigh-Andrews was Visiting Professor at the Centre for Moving Image Research, Faculty of Arts, Creative Industries and Education at the University of the West of England (UWE). He is currently External Examiner for MA Digital Arts at the University of Malta, MA Photography-Contemporary Dialogues, Faculty of Art & Design, at the University of Wales, Trinity St David and BA and MA Digital Media at Bournemouth University.
Meigh-Andrews has written extensively on the history and context of artists’ video. His book, A History of Video Art: the Development of Form and Function, (Berg, Oxford and New York, 2006) and in Japanese (Sangensha, Tokyo, 2013), provides an overview of the development of artists’ video since its inception. An enlarged and expanded edition of the book was published by Bloomsbury in Dec 2013 and will be published in Mandarin Chinese by the China Pictorial Publishing House, Beijing in 2018.
Book Chapters include “The Emergence of Early Artists’ Video in Europe and the USA and its Relationship to Broadcast TV”, Materializing Memories: Dispositifs, Generations, Amateurs, (Bloomsbury), (Forthcoming, 2018); “Location & Dislocation, Site & Architecture: Video Installation by Palestinian Artists”, Palestinian Video Art: Constellation of the Moving Image, Bashir Makhoul, ed, (Palestinian Art Court-al Hoash, Jerusalem, 2013.) “Optiks: Peter Campus”, The BFI Gallery Book, (British Film Institute, London 2011) and “Video Installation in Europe and the USA: The Expansion and Exploration of Electronic and Televisual Space: 1968-1988”, Expanded Cinema: Film Art Performance, (Tate Publications, London, 2011.)
He is currently General Editor Europe, of the forthcoming three-volume “Encycolpedia of New Media Art” for Bloomsbury Academic.
Meigh-Andrews is represented by Tesserarts Gallery
Address: The Benham Studios, Cuckoo Farm, Boxted Road, Colchester CO4 5HH, England.
Mobile/Cell: +44 (0)78 55954298