Echoes, B&W publicity postcard, 2000.pdf here
Echoes Article 1988 by Nik Hougton. pdf here …
Echoes
Faded Wallpaper
Press Release for the Tate gallery, Patrons of the New Art, Performance installation by Tina keane: “Faded Wallpaper”, 24th, 26th & 27th November 1988, London.pdf here.
Performance: Tina Keane, Michael O’Pray profiles Tina Keane’s career so far for Performance Magazine, 1988.pdf here.
VIDEOaktiv magazine: Magazin.Video-Galerie 1987 pdf here.
Poster for ‘Faded Wallpaper’ being shown at the Tate, London taken from publication Electronic Shadows, …
In Our Hands, Greenham
Postcard from ‘In our hands, Greenham’ 1984 pdf here.
‘Independent Media, Teaching Alternative Media – A Look At Alternative Film and Video Practice’ a preview of the conference by Steve Brooks which shows a screening of Tina Keane’s, ‘In Our Hands Greenham’, March 1987.pdf here.
Performance: Tina Keane, Michael O’Pray profiles Tina Keane’s career so far for Performance Magazine, 1988.pdf here.
Programme and explanatory information on video and performance works exhibited as part of the British/Canadian Video Exchange ’84: Installations, …
Hopscotch (Single Screen)
A sketch for the installation ‘Hopscotch’ pdf here. …
Sticks Performance
Feet
Interrun (1989 – 34 monitor video wall version)
“Cutting the image down into rhythmic clusters, isolating the fragment from its original real-time context and remixing it, Partridge pushed against the time barrier which he further broke in such large scale pieces as Interrun, 1989, a decade later. In some ways, he was in parallel with Cunningham’s own fusion of live and recorded sound, devising ways of sampling long before the technology was available or even named.
Installation shot at TATE Liverpool
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Installation No 1 (1976)
Closed-circuit video installation using 4 cameras and 4 monitors and vision mixer. Cameras 1 and 2 were fed to a mixer which superimposed one on the other and fed monitors B and D. Cameras 3 and 4 fed monitors A and C and therefore the spectator could not see their image directly, only as a mix on monitors B and D as an iage within an image.
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David Hall checking his image in Installation No.1
8 x 8 x 8 (1975)
“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. …
Dialogue For Four Players (1978)
‘Dialogue for four players is a video playback installation by Steve Partridge at the AIR Gallery during Mid-March. Four Monitors stand in a square facing the viewer in a darkened room: their own light is the only illumination. Each monitor is replaying a different tape; each showing the lower half of (the same?) woman’s face, thus each speaks its own contribution to the dialogue.
The Four tapes are fifteen minutes long, they are played simultaneously, …