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Poster for Daniel Reeves ‘Well of Patience’, 1990 at the Pearce Institute, Govan. An exhibition of the 12 screen video installation ‘Well of Patience’
Letter to Stephen Partridge from Eddie Berg of Merseyside International Video Festival, regarding the work ‘Interrun’ at the ‘Video Positive’ exhibition of 1989
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’)
Videowall – Stephen Partridge, Tate 14 – 26 February, Commission, ‘Interrun’. Information on the work Interrun exhibited at Video Positive Tate Gallery Liverpool, 1989
‘Video vis a vis Video’ Brochure on ‘The National Video Wall Project in Camden’, The Dirorama, 20 November-3 December 1989
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’
‘Steve Partridge’, uncredited article, c.1976
Study of British Video Installation work which makes reference to Stephen Partridge’s works, 1984
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. …