peter campus: video ergo sum

(Friday) (Sunday)

 

Widely regarded as a pioneer of video art, peter campus creates complex installations that engage and amuse, while leading the viewer in a journey of discovery and self-awareness. From the early closed-circuit video installations he began making in 1971 to the more recent work, campus’ entire oeuvre deals with processes of perception and vision, exploiting the specific characteristics of both the electronic and the digital image. His work provides a unique experience for the visitor, who activates the work while exploring their own image. campus’ seminal interactive installations from the 1970s used live camera recordings that reflected the image back to the viewer. With a strong element of theatrics, campus’ work provides a constant source of mystery and strangeness for the viewer by making the relationship to one’s own image problematic. Indeed, without participation those artworks would not exist.

 

In 1978, campus devoted his time entirely to outdoors photography, working with nature as his subject. When he returned to video in 1996 after an extended hiatus, the medium had become digital and the equipment much lighter. His video productions from this period are intimate and poetic, yet still as experimental as the earlier work. In 2007, he began creating videographs of landscapes around Long Island composed of static, unedited shots. Campus’s treatment of the images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer in new exercises in perception and interpretation. His intense connection to site and his attention to light, color and framing may best be seen in his most recent work, created especially for this exhibition. Filmed in a natural setting in 4K, ultra-high definition, the visitor’s gaze intersects with the sensibility and emotion of the artist’s vision.

 

A special screening of peter campus’ Head of a Sad Young Woman, 1976-77, will be on view throughout the month of March in Times Square as part of the Midnight Moment exhibition program organized by the Times Square Alliance.

 peter campus: video ergo sum has been organized by Anne-Marie Duguet for Jeu de Paume, Paris, in collaboration with the Bronx Museum of the Arts. Support for this exhibition generously provided by Jeu de Paume.

Widely regarded as a pioneer of video art, peter campus creates complex installations that engage and amuse, while leading the viewer in a journey of discovery and self-awareness. From the early closed-circuit video installations he began making in 1971 to the more recent work, campus’ entire oeuvre dealswith processes of perception and vision, exploiting the specific characteristics of both the electronic and the digital image. His work provides a unique experience for the visitor, who activates the workwhile exploring their own image. campus’ seminal interactive installations from the 1970s used live camera recordings that reflected the image back to the viewer. With a strong element of theatrics,campus’ work provides a constant source of mystery and strangeness for the viewer by making the relationship to one’s ownimage problematic. Indeed, without participation those artworks would not exist.In 1978, campus devoted his time entirely to outdoors photography, working with nature as his subject. When he returned to video in 1996 after an extended hiatus, the medium had become digital and the equipment much lighter. His video productions from this period are intimate and poetic, yet still as experimental as the earlier work. In 2007, he began creating videographsof landscapes around Long Island composed of static, unedited shots. Campus’s treatment of the images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer in new exercises in perception and interpretation. His intense connection to site and his attention to light, color and framing may best be seen in his most recent work, created especially for this exhibition. Filmed in a natural setting in 4K, ultra-high definition, the visitor’s gaze intersects with the sensibility and emotion of the artist’s vision. A special screening of peter campus’ Head of a Sad Young Woman, 1976-77, will be on view throughout the month of March in Times Square as part of the Midnight Moment exhibition program organized by the Times Square Alliance.peter campus: video ergo sumhas been organized by Jeu de Paume, Paris,in collaboration with theBronx Museum of the Arts. Support for this exhibition generously provided byWidely regarded as a pioneer of video art,

peter c

ampus creates complex installations that

engage and amuse, while leading the viewer in a journey of discovery and self

-

awareness.

From the early closed

-

circuit video installations he began making in 1971 to the more recent

work,

c

ampus’ entire oeuvre deals

with processes of perception and vision, exploiting the

specific characteristics of both the electronic and the digital image. His work provides a unique

experience for the visitor, who activates the work

while exploring

their own image.

c

ampus’

seminal i

nteractive installations from the 1970s used live camera recordings that reflected the

image back to the viewer. With a strong element of theatrics,

c

ampus’ work provides a constant

source of mystery and strangeness for the viewer by making the relationshi

p to

one’s own

image problematic. Indeed, without participation those artworks would not exist.

In 1978, c

ampus devoted his time entirely to outdoors photography, working with nature as his

subject. When he returned to video in 1996 after an extended hiat

us, the medium had become

digital and the equipment much lighter. His video productions from this period are intimate and

poetic,

yet

still as experimental as the earlier work. In 2007, he began creating

videographs

of

landscapes around Long Island compose

d of static, unedited shots. Campus’s treatment of the

images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer

in

new exercises in perception and interpretation. His intense connection to site and his attention

to li

ght, color and framing may best be seen in his most recent work, created especially for this

exhibition. Filmed in a natural setting in

4K,

ultra

-

high definition

,

the visitor’s gaze intersects with

the sensibility and emotion of the artist’s vision.

A sp

ecial screening of peter campus’

Head of a Sad Young Woman

, 1976

-

77, will be on view

throughout the month of March in Times Square as part of the Midnight Moment exhibition

program organized by the Times Square Alliance.

peter campus

:

video ergo sum

has been organized by Jeu de Paume, Paris

,

in collaboration with

the

Bronx Museum of the Arts

.

Support for this exhibition generously provided by

The Bronx Museum of the Arts
1040 Grand Concourse at 165th Street
10456 New York
United states
(718) 681-6000
http://www.bronxmuseum.org/exhibitions/peter-campus-vid...

Tags

Art, Museum, Paris, Film, Woman,

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peter campus: video ergo sum The Bronx Museum of the Arts Main address: The Bronx Museum of the Arts 1040 Grand Concourse at 165th Street 10456 New York, United states The Bronx Museum of the Arts 1040 Grand Concourse at 165th Street 10456 New York, United states  

Widely regarded as a pioneer of video art, peter campus creates complex installations that engage and amuse, while leading the viewer in a journey of discovery and self-awareness. From the early closed-circuit video installations he began making in 1971 to the more recent work, campus’ entire oeuvre deals with processes of perception and vision, exploiting the specific characteristics of both the electronic and the digital image. His work provides a unique experience for the visitor, who activates the work while exploring their own image. campus’ seminal interactive installations from the 1970s used live camera recordings that reflected the image back to the viewer. With a strong element of theatrics, campus’ work provides a constant source of mystery and strangeness for the viewer by making the relationship to one’s own image problematic. Indeed, without participation those artworks would not exist.

 

In 1978, campus devoted his time entirely to outdoors photography, working with nature as his subject. When he returned to video in 1996 after an extended hiatus, the medium had become digital and the equipment much lighter. His video productions from this period are intimate and poetic, yet still as experimental as the earlier work. In 2007, he began creating videographs of landscapes around Long Island composed of static, unedited shots. Campus’s treatment of the images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer in new exercises in perception and interpretation. His intense connection to site and his attention to light, color and framing may best be seen in his most recent work, created especially for this exhibition. Filmed in a natural setting in 4K, ultra-high definition, the visitor’s gaze intersects with the sensibility and emotion of the artist’s vision.

 

A special screening of peter campus’ Head of a Sad Young Woman, 1976-77, will be on view throughout the month of March in Times Square as part of the Midnight Moment exhibition program organized by the Times Square Alliance.

 peter campus: video ergo sum has been organized by Anne-Marie Duguet for Jeu de Paume, Paris, in collaboration with the Bronx Museum of the Arts. Support for this exhibition generously provided by Jeu de Paume.

Widely regarded as a pioneer of video art, peter campus creates complex installations that engage and amuse, while leading the viewer in a journey of discovery and self-awareness. From the early closed-circuit video installations he began making in 1971 to the more recent work, campus’ entire oeuvre dealswith processes of perception and vision, exploiting the specific characteristics of both the electronic and the digital image. His work provides a unique experience for the visitor, who activates the workwhile exploring their own image. campus’ seminal interactive installations from the 1970s used live camera recordings that reflected the image back to the viewer. With a strong element of theatrics,campus’ work provides a constant source of mystery and strangeness for the viewer by making the relationship to one’s ownimage problematic. Indeed, without participation those artworks would not exist.In 1978, campus devoted his time entirely to outdoors photography, working with nature as his subject. When he returned to video in 1996 after an extended hiatus, the medium had become digital and the equipment much lighter. His video productions from this period are intimate and poetic, yet still as experimental as the earlier work. In 2007, he began creating videographsof landscapes around Long Island composed of static, unedited shots. Campus’s treatment of the images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer in new exercises in perception and interpretation. His intense connection to site and his attention to light, color and framing may best be seen in his most recent work, created especially for this exhibition. Filmed in a natural setting in 4K, ultra-high definition, the visitor’s gaze intersects with the sensibility and emotion of the artist’s vision. A special screening of peter campus’ Head of a Sad Young Woman, 1976-77, will be on view throughout the month of March in Times Square as part of the Midnight Moment exhibition program organized by the Times Square Alliance.peter campus: video ergo sumhas been organized by Jeu de Paume, Paris,in collaboration with theBronx Museum of the Arts. Support for this exhibition generously provided byWidely regarded as a pioneer of video art,

peter c

ampus creates complex installations that

engage and amuse, while leading the viewer in a journey of discovery and self

-

awareness.

From the early closed

-

circuit video installations he began making in 1971 to the more recent

work,

c

ampus’ entire oeuvre deals

with processes of perception and vision, exploiting the

specific characteristics of both the electronic and the digital image. His work provides a unique

experience for the visitor, who activates the work

while exploring

their own image.

c

ampus’

seminal i

nteractive installations from the 1970s used live camera recordings that reflected the

image back to the viewer. With a strong element of theatrics,

c

ampus’ work provides a constant

source of mystery and strangeness for the viewer by making the relationshi

p to

one’s own

image problematic. Indeed, without participation those artworks would not exist.

In 1978, c

ampus devoted his time entirely to outdoors photography, working with nature as his

subject. When he returned to video in 1996 after an extended hiat

us, the medium had become

digital and the equipment much lighter. His video productions from this period are intimate and

poetic,

yet

still as experimental as the earlier work. In 2007, he began creating

videographs

of

landscapes around Long Island compose

d of static, unedited shots. Campus’s treatment of the

images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer

in

new exercises in perception and interpretation. His intense connection to site and his attention

to li

ght, color and framing may best be seen in his most recent work, created especially for this

exhibition. Filmed in a natural setting in

4K,

ultra

-

high definition

,

the visitor’s gaze intersects with

the sensibility and emotion of the artist’s vision.

A sp

ecial screening of peter campus’

Head of a Sad Young Woman

, 1976

-

77, will be on view

throughout the month of March in Times Square as part of the Midnight Moment exhibition

program organized by the Times Square Alliance.

peter campus

:

video ergo sum

has been organized by Jeu de Paume, Paris

,

in collaboration with

the

Bronx Museum of the Arts

.

Support for this exhibition generously provided by
Book tickets