OUR BLOGS

Without Thresholds: Contemporary Artist’s Video: Diversity of Form, Possibility and Potential. Today, most gallery visitors are blissfully unaware of the complex history of video art, but ‘way back at the

Some Notes on the Influence and Interrelationship Between Experimental Film & Artists’ Video When any of my students return from a shooting session with a video camera, they inevitably tell

Chris Meigh-Andrews: Early Video Tapes: 1978-87. This essay traces the development of my single screen video tapes, 1978-1987. The relationship between available technology and the ideas and content of the

Unencoded – My Shifting Relationship to Electronic & New Media Practice I have a confession to make: I’m an Essex man.I was born in Braintree in 1952, and the following

Chris Meigh-Andrews, Video Tapes, Installations & Projections; 1978-2001 Video is a fluid medium, it needs to get out of the studio. I soon lost interest in the broadcast television connotations

Pioneering Video Artist/Engineers & Electronic Imaging Technology: 1968-78 During the period between 1965 and 1975, which could be considered as the defining period of video art, there was significant research

VIDEO POSITIVE 1991, Art Monthly, Issue 147, June 1991 The 1991 ‘Video Positive’ Festival in Liverpool is the second of what now seems set to become a regular, bi-annual event.

ABSTRACT STILL LIFE PORTRAIT, Art Monthly, Issue 156, May 1992. Kettles Yard Cambridge, March 14th-April 19th, 1992. Kettles Yard has mounted an exciting show of three new video installation work

THE VISIBLE AND THE INVISIBLEArt Monthly, Issue 173, February, 1993. Bill Viola: Unseen Images is at the Whitechapel Gallery, London until February 13 The exhibition tours to Tel Aviv this

TONY OURSLER : Dolls, Dummies and poison Candy. Art Monthly, Issue 171, November 1993. It is refreshing to see an exhibition of small-scale video pieces. Most often ‘video installation’ means