Hollywood, its shopworn (and ridiculous) gender constructs, and canned sentimentality are the prime targets of David Berezin’s work in photography and video.
Was the Internet intended for you? It’s hard to think about it structurally without throwing personal use into the mix.
Navigating the concentric interiors of the Glass Pavilion at the Toledo Museum of Art, the building unfolds along a serpentine walkway. Through the museum’s glass walls, the view opens uninterrupted.
The artist Taliesin pays homage to the spirits and toys with commercialism.
The chapter titles of activist and artist DeeDee Halleck’s guide to cheap, collaborative media speak for themselves, advising readers on “Community Control of Technology” and “Experimental Video and Public Television.”
In much the same way that painting changed with the development of photography, writing has changed with the development of the tape recorder.
Our culture’s dreams of sex, money, beauty, and youth are compressed into explosive little images of desire.
The Public Airwaves: teletype originating in New York travels across the video image beamed from San Francisco and is returned.
I sat behind the front desk of a well known art gallery for six years. This gallery had an “open viewing policy” which means that any artist could come in the gallery with representation of his artwork, have it looked at, and considered for exhibition.
On the brink of the massive 1984 cable deregulation, Michael McClard talks TV politics with ETC’s Jim Chladek. With home entertainment changing, yet again, by the internet, this discussion on public access takes on new meaning.
For over a decade, on the international circuit in Nairobi, Havana, Paris and Belgrade, at first in UNESCO corridors, later on the agenda of working subcommittees, a new concept has been gaining ground.