“The participatory video time-delay artwork Videvent (’75) came out of Hoey’s research with the computer department at the Slade School of Art. He and Wendy Brown collaborated on various video artworks, and as Artists in Residence they initiated and ran the yearly Biddick Farm Arts Centre Shows in Tyne and Wear from ’76-’80, which positioned British works alongside contemporary international video art. Hoey was one of the founding members of LVA.”
Brian Hoey studied Fine Art at Exeter College of Art graduating with a Dip. A.D. (1st Hons.) and completed his post-graduate studies at the Slade School of Fine Art in 1974.
Whilst at the Slade he began working on interactive video installations and this work eventually led to the installation VIDEVENT which was one of the first video installations to be exhibited at the Tate Gallery (May 1976).
He curated ARTISTS VIDEO, Britain’s first annual, international festival devoted exclusively to video art along with Wendy Brown.
Brian has taught in London, the Netherlands and the USA and is currently Head of the BA (Hons.) Media Production Programme at Northumbria University.
Brian has exhibited widely, on an international basis, since the 1970’s and his work is in permanent collections at Galleria del Cavallino, Venice; the Pennsylvania State University, The Museum of the Moving Image, London and Hampshire College, Massachusetts.
Hoey is also an accredited Life Coach and Licensed Practitioner of Neuro-Linguistic Programming and these disciplines contribute to his current research activities.
Interview of Brian Hoey and Wendy Brown
View the interview transcript here
Co-ordinator of “Two Borough Film and Video Project”, Wandsworth and Lambeth.
The Video Show, Serpentine Gallery, London
One-man show: D.L.I. Museum and Arts Centre, Durham. Exhibition of interactive light sculptures.
Video: Towards Defining an Aesthetic: presentation of Videvent installation at the Third Eye Centre, Glasgow.
Video Show: Tate Gallery, London. Presentation of Videvent.
Current Work: Joint show with Wendy Brown at Northern Arts Gallery, Newcastle upon Tyne.
Group showing of British Video artists at Galleria del Cavallino, Venice and Galleria Bon a Tirer, Milan.
Film en Video Manifestatie, Bonnefantenmuseum, Maastricht, Netherlands.
Video Konst, Fylkingen Foundation, Stockholm, Sweden.
Group showing of international video art at Herbert Art Gallery, Coventry
Videotapes by British Artists, The Kitchen, New York City.
London Video Arts screenings, AIR Gallery, London.
Festival of Celtic Film, Western Isles, Scotland.
Group showing of international video art, Jan Van Eyck Academie, Maastricht, Netherlands.
Group showing of international video art, C.A.I.R.N. Paris.
Festival of Celtic Film, Harlech, Wales. Also presentations at The Pennsylvania State University, Ohio
State University and Off-Centre Centre, Calgary, Canada.
Party Piece: video installation at Off-Centre Centre, Calgary.
Fringe Sunday presentation of inflatable play sculptures at Edinburgh Fringe Festival.
A Sense Of Place: Massachusetts Video Art: screenings at Zone Arts Centre, Springfield, Massachusetts.
Weaving Water: A video installation commissioned by the Durham Art Gallery for Visual Arts UK.
Second Sightings: A group exhibition touring Scotland and Wales. Venues are Highland Printmakers Workshop and Gallery, Inverness; Iona Gallery, Kingussie; St. Fergus Gallery, Wick; Swanson Gallery, Thurso; Llantarnam Grange Arts Centre, Gwent; An Tuirrean Arts Centre, Isle of Skye; Timespan Heritage Centre, Helmsdale; An Tobar Arts Centre, Isle of Mull. Screenings.
WRO97: Media Art Biennalle, Warsaw, Poland
The Victoria Independent Film and Video Festival, Victoria, British Columbia, Canada.
AV Digital Communication Festival, Tyneside Cinema, Screening of collaborative video productions with Daniel Warner (USA).
Videotapes by Brian Hoey:
Tir Na Nog
Special FX for music video ‘Revolution’, The Cult
I’d Rather Be Flying
American States (with Daniel Warner)
Riverweave (installation and single screen piece)
Timepiece (with Daniel Warner)
Tir Na Nog (remake with Daniel Warner)
Videotapes by Brain Hoey and Wendy Brown
Videotapes by Wendy Brown
Out of Sink
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’. With information on Hoey’s Videvent
"Videvent employed two video recorders to create a tape loop feedback system; it also made use of the time delay created between the record head of one machine and the playback head of the second. A video camera was focused on the participant and connected to the first recorder; the delayed image from the second recorder was then mixed with the first to build a gradually accumulating image sequence displayed on a single monitor. Hoey saw this directly interactive and 'live' approach to art as crucial to maintaining contact with his audience; 'For a system in which the spectator is participating with aspects of his own appearance or behavior the most suitable medium appeared to be video, as it provides the basis for real-time relation of events coupled with the ability to modify images in a fluid organic manner. Practical possibilities include the manipulation of the participant in time: he may be seeing himself in the past with his actions over a period of time built up as a composite picture'"
-Brian Hoey (1976) Studio International, May/June, p.255.
-Chris Meigh-Andrews, A History of Video Art, The Development of Form and Function. Berg, 2006.