326:(1969), this installation was constructed in front of an elevator so that each visitor was immediately confronted with his or her image. The monitors also featured two videotapes and a television program. The installation made visitors part of the information. It was programmed in a highly complicated fashion: in four cycles, images wandered from one monitor to another delayed by eight or sixteen seconds, while counter-clockwise a gray light impulse wiped out all of the other images every two seconds.
126:(born in 1941) is an American video and installation artist. Interested in the empirical observation of natural phenomena, his early work integrated the viewer's image with prerecorded information. He has been described as a "pioneer in video research with an almost scientific attention for taxonomies and descriptions of ecological systems and environments". His seminal work
717:, Whitney Museum of American Art, NYC (1984); "La Biennale di Venezia", Venice (1982); Corcoran Gallery of Art, Washington, D.C. (1982); Musee de Beaux-Arts, Montreal (1978); "Documenta 6 ", Kassel (1977); Biennale SĂŁo Paulo, Brazil (1976); San Francisco Museum of Modern Art (1976); Museum of Fine Arts, Boston (1976);
507:(2017-2018) is a three-channel video installation by Frank Gillette. The work focuses on humans’ experience with the natural world positions through art historical genres. Each channel is titled individually and has a slightly different duration, creating variations in time when projected:
290:, six videotape recorders (two playback prerecorded material and four record and playback time-delay loops), nine television monitors of which one is a receiver, one audio tape deck, and one automatic switcher, 9½ x 8 x 2 ft. Built for the exhibition
472:
is an artificial system that gracefully charts the patterns of a natural ecosystem. In this three-channel work, Gillette presents a microcosm of Mecox Bay, a salt marsh on Long Island, by reconstructing it within a contained aquarium
312:
that transposes present-time demands as a way to disrupt television's one-sided flow of information. Consider an example of the "earliest uses of real-time closed-circuit video technology in an art gallery",
185:
Gillette was one of the first artist to explore video as a vehicle for social and political change. Described as an "abstract painter turned media activist", Frank
Gillette's fascination with
210:
was conceived in 1969 by Frank
Gillette to "promote and disseminate ideas about video as a radical alternative to centralized television broadcasting". In October 1969, Frank Gillette,
329:
Gillette and
Schneider sought to "create a experience that would break the conventional single-screen TV perspective by providing a complex mix of live images and multiple viewports".
490:
is a recreation of an ecological environment in which natural forms — leaves, flower petals, butterfly wings — form an ever-changing, visually compelling series of compositions.
440:
links
Gillette's video and collage work. Here he constructs a series of enigmatic collages that have as their background a television monitor showing his videotapes.
193:–who was McLuhan's assistant at the Center for Media Understanding at Fordham University in the Bronx. During the spring of 1968, Ryan facilitated access to four
1094:
Meigh-Andrews, Chris (2011). "Video
Installation in Europe and North America: The Expansion and Exploration of Electronic and Televisual Language 1969-89".
134:
in 1968– is considered one of the first video installations in art history. Gillette and
Schneider exhibited this early "sculptural video installation" in
376:
Six videotape playback decks, one audio deck, 30 television monitors, 10 (h) x 20' (diameter) x 25 minutes. Six different prerecorded channels of video
721:, Whitney Museum of American Art, NYC (1975); The Museum of Modern Art, NYC (1974); Kunsthalle, Cologne (1975), Walker Art Center, Minneapolis (1974);
245:
379:
information are simultaneously displayed on the monitors, with two different channels displayed on each stack of ten in the illustrated arrangement.
1413:
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Rockefeller
Foundation, Guggenheim Foundation, New York State Council on the Arts, National Endowment for the Arts, American Academy in Rome.
454:
In this three-channel work, Gillette employs systematic formal strategies to chart the rich texture and aura of the
Hawaiian landscape.
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as a
Delaware corporation –in an ironic reference to the mainstream organization Rand Corporation. Raindance was later joined by
1408:
253:
527:(February 9 – April 21, 2019) at the Everson Museum of Art, Syracuse, New York, and is in its permanent collection.
1327:
754:. (1973) Edited by Judson Rosebush. Catalog of an exhibition held at the Everson Museum of Art of Syracuse, NY.
257:
190:
322:
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Characteristic of much of
Gillette's work—which treats video as a field of light, movement and reflection—
241:
297:
519:(right, 24:00 min). This is the most recent large scale video installation by the pioneer video artist.
206:
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317:"expanded the relation of the audience to the artwork, from passive receptors to actual participants".
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extends beyond optical sensation to engage the viewer in metaphysical contemplation.
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760:(1978). Catalog of an exhibition held at the Contemporary Arts Museum, Houston, TX.
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838:
Mondloch, Kate (2011). "The Matter of Illusionism: Michael Snow's screen/space".
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contemplates the relationship between man, technology, and ecological systems.
197:
video cameras, that Gillette (and others) used to make alternative television.
382:
Taking its title from the four consonants of the ancient Hebrew name for God,
770:
Catalog of an exhibition held at the Carnegie Museum of Art, Pittsburgh, PA.
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Three-channel video installation, color, sound. 18:06 min (each channel).
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544:(February 9 – April 21, 2019). Everson Museum of Art, Syracuse, New York
194:
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in New York –dropping out also after two years. He lives with the artist
1041:
Feedback. The Video Data Bank Catalog of Video Art and Artist Interviews
574:
1989. Catherine Turner Gallery (Special Photographer's Company), London
675:
Radical Software. The Raindance Foundation, Media Ecology and Video Art
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1981. E.C. Windward Gallery, L.A. / San Francisco Art Institute, S.F.
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Gillette's work has been included in numerous group shows including:
1231:"Electronic Arts Intermix: Rituals for a Still Life, Frank Gillette"
842:. Manchester and New York: Manchester University Press. p. 88.
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Frank Gillette was born in 1941 in Jersey City, NJ. He attended
115:
1303:"Electronic Arts Intermix: Symptomatic Syntax, Frank Gillette"
340:
Video, black and white, 20 minutes. Produced with Paul Ryan.
308:(1969) is a seminal video installation by Frank Gillette and
960:
A History of Video Art: The Development of Form and Function
586:
1985. American Academy in Rome / London Video Arts, London
451:
Three-channel video installation, color, sound, 45:40 min.
1255:"Electronic Arts Intermix: The Maui Cycle, Frank Gillette"
422:
is a study of Cape Cod's woodland and coastal landscapes.
1147:. Syracuse, New York.: Everson Museum of Art. p. 12.
988:"Frank Gillette - Official Catalogue Raisonne. Video Art"
679:
The American Century Art & Culture 1900-2000 Part II
240:
Frank Gillette is the recipient of fellowships from the
1120:"Electronic Arts Intermix: Hark! Hork!, Frank Gillette"
992:
Frank Gillette - Official Catalogue Raisonne. Video Art
733:, Rose Art Museum, Brandeis University, Boston (1970);
671:
Art in Motion. 100 Masterpieces with and through Media.
169:–dropping out after two years– and studied painting at
715:
New American Video Art: A Historical Survey, 1967-1980
397:
Three-channel video, black and white, 26:00 min each.
1207:"Electronic Arts Intermix: Quidditas, Frank Gillette"
840:
Screen/Space: The Projected Image in Contemporary Art
889:"Electronic Arts Intermix - TV as a Creative Medium"
786:
Monograph edited by Suzanne Anker and Sabine Flach.
764:
American Landscape Video : The Electronic Grove
677:. ZKM | Center for Art and Media, Karlsruhe (2017):
436:
A stunning graphic composition of form and surface,
1369:
Frank Gillette, The Museum of Modern Art Collection
565:1994. Florida State University Museum, Tallahassee
111:
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1071:Video-Skulptur retrospektiv und aktuell: 1963–1989
1044:. Philadelphia: Temple University Press. pp.
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673:ZKM | Center for Art and Media, Karlsruhe (2018);
1279:"Electronic Arts Intermix: Mecox, Frank Gillette"
138:, the first show in the United States devoted to
1145:Frank Gillette - Video: Process and Meta-process
607:1980. Corcoran Gallery of Art, Washington, D.C.
501:Three-channel video installation, color, sound.
256:(1976, 1980). He was artist-in-residence at the
752:Frank Gillette; Video: Process and Meta-Process
354:Taking its title from a scene in James Joyce's
275:4-channel video, black and white, 20 min each.
1379:Frank Gillette, ZKM | Center for Art and Media
1374:Frank Gillette, Whitney Museum of American Art
729:, Everson Museum of Art, Syracuse, NY (1971);
725:, Everson Museum of Art, Syracuse, NY (1972);
701:, Museum of Modern Art, San Francisco (1989);
685:, Whitney Museum of American Art, NYC (1994);
681:, Whitney Museum of American Art, NYC (1999);
709:, Carnegie Museum of Art, Pittsburgh (1988);
705:, Neuer Berliner Kunstverein, Berlin (1989);
418:Originally designed as a three-channel work,
8:
1328:"Suzanne Anker & Frank Gillette: Strata"
806:Video Art: The Castello di Rivoli Collection
622:1978. Contemporary Arts Museum, Houston, TX
589:1983. Lawrence Oliver Gallery, Philadelphia
583:1986. Institute of Contemporary Art, Boston
362:evokes natural and subconscious landscapes.
746:Between Paradigms: The Mood and Its Purpose
598:1982. Woodstock Arts Center, Woodstock, NY
1069:Herzogenrath, Wulf; Edith, Decker (1989).
918:. New York: Thames & Hudson. pp.
802:Gianelli, Ida; Beccaria, Marcella (2005).
697:, Kolnischer Kunstverein, Cologne (1989);
655:1973. Everson Museum of Art, Syracuse, NY
634:1977. Whitney Museum of American Art, NYC
613:1979. University Art Museum, Berkeley, CA
592:1983. Whitney Museum of American Art, NYC
556:1999. Everson Museum of Art, Syracuse, NY
433:Video, black and white, sound, 24:54 min.
351:Video, black and white, sound, 19:25 min.
214:, Louis Jaffe, and Marco Vassi registered
25:
713:, The Museum of Modern Art, NYC (1984); "
1394:History of RainDance at Radical Software
1098:. London: Tate Publishing. p. 127.
1038:K. Horsfield and L. Hilderbrand (2006).
616:1979. Honolulu Academy of Art, Honolulu
601:1982. Honolulu Academy of Art, Honolulu
553:2000. Universal Concepts Unlimited, NYC
550:2002. Universal Concepts Unlimited, NYC
547:2004. Universal Concepts Unlimited, NYC
542:Frank Gillette: Excavations and Banquets
525:Frank Gillette: Excavations and Banquets
358:in which Finnegan awakens from a dream,
1359:Frank Gillette, Electronic Art Intermix
1096:Expanded Cinema: Art, Performance, Film
794:
577:1987. Zenith Gallery, Washington, D.C.
226:, who worked producing the publication
142:. In October 1969, Frank Gillette and
19:For the Oklahoma Territory judge, see
780:Frank Gillette: Axis of Observation I
7:
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741:Authored Publications and Monographs
646:1974. Art/Tapes 22, Florence, Italy
628:1978. Robinson Gallery, Houston, TX
737:, Howard Wise Gallery, NYC (1969).
643:1975. Anthology Film Archives, NYC
640:1975. Long Beach Museum of Art, CA
248:(1979), as well as grants from the
177:in Manhattan and East Hampton, NY.
250:New York State Council on the Arts
14:
1159:"Tetragramaton | Video Data Bank"
810:. Milan: Skira Editore. pp.
652:1974. Lowe Art Museum, Miami, FL
536:Selected list of solo exhibitions
373:Video, black and white, 138 min.
637:1976. Leo Castelli Gallery, NYC
631:1977. Leo Castelli Gallery, NYC
619:1979. Leo Castelli Gallery, NYC
595:1982. Leo Castelli Gallery, NYC
523:was premiered at the exhibition
484:Video, color, sound, 27:20 min.
415:Video, color, sound, 19:00 min.
1384:Frank Gillette, Centre Pompidou
1364:Frank Gillette, Video Data Bank
711:Primitivism in 20th Century Art
658:1969. Howard Wise Gallery, NYC
254:National Endowment for the Arts
189:'s ideas made him connect with
1389:Frank Gillette, Art in Context
1143:Rosebush, Judson, ed. (1973).
580:1986. Loughetton Gallery, NYC
1:
1414:American installation artists
1326:Roniger, Taney (2019-05-01).
1073:. Koln: DuMont. p. 114.
954:Meigh-Andrews, Chris (2006).
867:. Madrid: Exit. p. 14.
758:Aransas: Axis of Observation
693:, Kunsthaus, Zurich (1990);
559:1999. Laumont Editions, NYC
286:Video installation with one
116:http://www.frankgillette.com
689:, The Kitchen, NYC (1991);
661:1964. Granite Gallery, NYC
252:(1970, 1972, 1974) and the
1445:
956:"The Origins of Video Art"
75:, Video installation art,
18:
962:. Oxford: Berg. pp.
568:1992. B-4-A Gallery, NYC
515:(center, 23:28 min), and
1429:Techspressionist artists
1183:"Muse | Video Data Bank"
707:American Landscape Video
699:American Video Landscape
571:1991. Attitude Art, NYC
562:1999. Art-Life MOCA, LA
438:Rituals for a Still Life
427:Rituals for a Still Life
258:American Academy in Rome
1019:www.radicalsoftware.org
863:Ross, David A. (2010).
735:TV As A Creative Medium
683:TV as a Creative Medium
649:1974. The Kitchen, NYC
625:1978. The Kitchen, NYC
610:1980. The Kitchen, NYC
468:Rhythmically composed,
323:TV as a Creative Medium
293:TV As A Creative Medium
136:TV as a Creative Medium
79:, Raindance Corporation
1409:American video artists
912:Rush, Michael (2007).
242:Rockefeller Foundation
236:Awards and recognition
731:Vision and Television
687:Raindance: 20th Years
246:Guggenheim Foundation
207:Raindance Corporation
201:Raindance Corporation
149:Raindance Corporation
511:(left, 23:29 min),
298:Howard Wise Gallery
167:Columbia University
1015:"Radical Software"
488:Symptomatic Syntax
478:Symptomatic Syntax
320:In the exhibition
161:Life and education
130:–co-produced with
1332:The Brooklyn Rail
929:978-0-500-28487-2
865:100 Video Artists
774:Of Another Nature
665:Group exhibitions
513:Counter-Statement
181:Video Art pioneer
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21:Frank E. Gillette
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85:Notable work
1419:1941 births
1307:www.eai.org
1283:www.eai.org
1259:www.eai.org
1235:www.eai.org
1211:www.eai.org
1187:www.vdb.org
1163:www.vdb.org
1124:www.eai.org
893:www.eai.org
531:Exhibitions
497:, 2017-2018
429:, 1974-1975
411:, 1974-1975
360:Hark! Hork!
347:, 1972-1973
345:Hark! Hork!
288:CCTV camera
224:Beryl Korot
61:Nationality
53:Jersey City
1403:Categories
1337:2019-05-16
1312:2017-01-17
1288:2017-01-17
1264:2017-01-17
1240:2017-01-17
1216:2017-01-17
1192:2017-01-17
1168:2017-01-17
1129:2017-01-17
1024:2017-01-11
997:2017-01-17
898:2017-01-11
790:References
509:Still Life
315:Wipe Cycle
305:Wipe Cycle
280:Wipe Cycle
270:Keep, 1968
128:Wipe Cycle
89:Wipe Cycle
42:1941-07-26
915:Video Art
517:Landscape
461:, 1976-77
420:Quidditas
409:Quidditas
216:Raindance
195:Portapack
191:Paul Ryan
156:Biography
140:Video Art
98:Video art
73:Video art
776:(1988).
748:(1973).
521:Riverrun
505:Riverrun
495:Riverrun
334:The Rays
94:Movement
64:American
723:Circuit
112:Website
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782:(2018)
766:(1988)
540:2019.
480:, 1981
447:, 1976
393:, 1974
369:, 1973
336:, 1970
282:, 1969
104:Awards
470:Mecox
459:Mecox
55:, NJ.
1100:ISBN
1075:ISBN
1050:ISBN
968:ISBN
964:61–3
924:ISBN
869:ISBN
844:ISBN
816:ISBN
402:Muse
391:Muse
222:and
36:Born
1046:118
727:Air
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