Letter to Stephen Partridge from Lewis Biggs the curator of exhibitions and displays, at Tate Liverpool regarding his possible involvement in the upcoming New North exhibition and information release from the Tate Liverpool, regarding the New North Exhibition

Letter to Stephen Partridge from Lewis Biggs the curator of exhibitions and displays, at Tate Liverpool regarding his possible involvement in the upcoming New North exhibition and information release from the Tate Liverpool, regarding the New North Exhibition

Brochure for ‘Vis a Vis Video Project’, featuring Stephen Partridge’s ‘Interrun’, Camden, 20th November-3rd December 1989. (includes Meynell’s ‘Moonrise’, Goddard’s ‘Silver Lining’ and Littman’s ‘On A Clear day You Can See Forever’)

Brochure for ‘Vis a Vis Video Project’, featuring Stephen Partridge’s ‘Interrun’, Camden, 20th November-3rd December 1989. (includes Meynell’s ‘Moonrise’, Goddard’s ‘Silver Lining’ and Littman’s ‘On A Clear day You Can See Forever’)

Article from Studio International, 1976 ‘Video – Report by Tamara Krikorian’. Krikorian reports on two events in Glasgow – ‘Symposium: The future of video in Scotland, Event: Towards Defining an Aesthetic, Third Eye centre’. Includes information on ‘Installation 1’

Article from Studio International, 1976 ‘Video – Report by Tamara Krikorian’. Krikorian reports on two events in Glasgow – ‘Symposium: The future of video in Scotland, Event: Towards Defining an Aesthetic, Third Eye centre’. Includes information on ‘Installation 1’

8 x 8 x 8: Information on the installation 8x8x8, for the Video Show, Tate Gallery, London, 1976. Document written by S.Partridge, May 1976.

8 x 8 x 8: Information on the installation 8x8x8, for the Video Show, Tate Gallery, London, 1976. Document written by S.Partridge, May 1976.

“There is a characteristic of video which is peculiar to itself: camera switching. The importance of mixing/switching seems to have been overlooked in most analysis of video aesthetics; the dialogue mainly being concerned with the difference between the film frame and the video field. Using an electronic switcher/mixer it is possible to switch from camera to camera, and produce dissolves, wipes and fades all in ‘real-time’, whilst the same effects in film cannot be achieved without an interruption in time. …

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