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Media Art: Defining a Field
Thursday, Apr 23, 2020, 6:00PM - 8:00PM
Osher Lecture Hall
SFAI—Chestnut Street Campus
800 Chestnut Street, San Francisco, CA 94133
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VISITING ARTISTS + LECTURE SERIES
Media Art: Defining a Field

New York-based curator Barbara London is the author of Video/Art: The First Fifty Years, recently published by Phaidon. In her talk she explores how video art began as gear first reached the consumer market in the mid-1960s, when much of the world seemed to be in radical transition. She illustrates the madcap trajectory of a pliable medium, as video opened up and became a multifaceted art form that grew to encompass a range of formats, including not only single-screen videos but also multiscreen installations and projections; immersive audiovisual environments; and moving-image works that are streamable as digital files. Her story follows her journey as a proponent of the art form’s progress.

ABOUT THE SPEAKER
Barbara London is a New York-based curator and writer, who founded the video-media exhibition and collection programs at The Museum of Modern Art, where she worked between 1973 and 2013. Her current projects include the book Video/Art:The First Fifty Years (Phaidon: 2020), and the exhibition “Seeing Sound” (Independent Curators International, 2020-2024).

London organized one-person shows with such media mavericks as Laurie Anderson, Peter Campus, Teiji Furuhashi, Gary Hill, Joan Jonas, Shigeko Kubota, Nam June Paik, Song Dong, Steina Vasulka, Bill Viola, and Zhang Peili. Her thematic exhibitions at MoMA included Soundings: A Contemporary Score (2013); Looking at Music (2009); Video Spaces (1995); Music Video: the Industry and Its Fringes (1985); and Video from Tokyo to Fukui and Kyoto (1979). She was the first to integrate the Internet as part of curatorial practice, with Stir-fry (1994); Internyet (1998); and dot.jp (1999).

London teaches in the Sound Art Department, Columbia University, and previously taught in the Graduate Art Department, Yale, 2014-2019. Her honors include: Getty Research Institute scholar, 2016; the Courage Award, Eyebeam, 2016; Gertrude Contemporary Residency, Melbourne, 2012; Dora Maar House Residency, Menerbes, 2010; a CEC Artslink award in Poland, 2003; a Japanese government Bunkacho Fellowship, 1992-93; and a National Endowment for the Arts Fellowship, 1988-89.

 

PARTNERS
KADIST believes contemporary artists make an important contribution to a progressive society, their work often addressing key issues of our time. KADIST, a non-profit organization dedicated to exhibiting the work of artists represented in its collection, encourages this engagement and affirms contemporary art’s relevance within social discourse. Its programs develop collaborations with artists, curators and many art organizations around the world, facilitating new connections across cultures. Local programs in KADIST’s hubs of Paris and San Francisco include exhibitions, public events, residencies and educational initiatives. Complemented by an active online network, they aim at creating vibrant conversations about contemporary art and ideas