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
Mexican and Latino Art Museum | San Francisco | In Association With The Smithsonian Institution - Th
Fort Mason Center, 2 Marina Blvd., Building D
San Francisco
peter campus: video ergo sumThe Bronx Museum of the Arts Main address:
The Bronx Museum of the ArtsWells Fargo Center1040 Grand Concourse at 165th Street10456New York, The Bronx Museum of the ArtsWells Fargo Center1040 Grand Concourse at 165th Street10456New York,
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