Judith Goddard studied at the Univeristy of Reading and Royal College of Art, London, and has taught at the Rijksakademie, Amsterdam, and the Slade School of Art, London. She began making videos in 1981, both single screen and large-scale installations that have been shown widely both in the UK and abroad. Associated with the second wave of video art in the UK, Goddard developed a rich visual style in works such as ‘The Garden of Earthly Delights’ …
Terry Flaxton, whether in his own work or in his involvement with early video groups Vida and Triple Vision has had a long term commitment to the ‘politics of beauty’ within the creation of art work, both analogue and digital. Beginning in 1976 with formats such as 2 inch Quadruplex, 1 inch reel to reel, or half inch black and white, Flaxton has sort to squeeze the maximum imaging capacity from the formats limited resources. …
Marty St James, high exponent of the video portrait, has worked primarily across performance art, video art and drawing. “Exploring the physical, the electric and the pencil”, as he describes it. A time-based media artist straddling modernist and post-modernist times, his work locates itself between the narrative of meaning and the meaninglessness of re-assemblage. Working with Anne Wilson in the 1980s, he developed a satrical performance style of video chronicling the life and times of suburban England. …
“Born in London 1953. Studied at Ealing School of Art, 1972-75; Royal College of Art, London, 1976-79.
Screenings include Bracknell Video Festival; Hayward Gallery, London; The Kitchen, New York; Stedelijk Museum, Amsterdam; National Film Theatre, London; Image Forum, Tokyo.
Video Fellowship (awarded by Arts Council of Great Britain and Sheffield City Polytechnic), 1982-83.
Co-instigator with Chris White of HOUSEWATCH (est. 1985): a group of mixed-media artists who collaborate, individually or collectively, …
Rose Garrard trained as a sculptor at Stourbridge, Birmingham and Chelsea Schools of Art and was awarded a British Council Scholarship to the Ecole des Beaux Arts in Paris where she won the Prix d`Honneur de Paris Gold Medal for Sculpture in 1971. Her work extended into installation, multi-media, performance, video and audio pieces. For thirty years she received many further awards, curated group exhibitions and exhibited in major galleries both nationally and internationally, including in the Institute of Contemporary Art, …
George Barber’s work on “The Greatest Hits Of Scratch Video” is internationally known and has been featured in many galleries and festivals across the world. The Independent and Sunday Times ran features and the tapes, unusually for video art, once sold in record shops. His two famous works of the period, ‘Absence of Satan’ and ‘Yes Frank No Smoke’ are screened regularly and many other works in his canon are considered seminal in the history of British Video Art. …
Mick Hartney is one of the first generation of video artists in the UK. He is also the first systematic chronicler of the medium, setting out the aesthetic and political territory of video art in influential articles such as: ‘An Incomplete and Highly Contentious Summary of the Early Chronology of Video Art (1959-75)’ (LVA Catalogue, 1984) and ‘After the Small talk; British Video Art in the Eighties’ (Video Positive Catalogue, Liverpool, 1989). Hartney is also author of a number of monographs on video and media artists including Nan Hoover and Jack Goldstein. …
Katharine Meynell studied at Byman Shaw School of Art and the Royal College of Art where, on 2000, she also completed a doctoral thesis on Time Based Work in Britain since 1980.
Meynell’s practice ranges from moving image works, to drawings, bookworks and performances. She was Abbey Fellow at the British School in Rome 2003-04. Video installations include ‘Moonrise’ (Tate Liverpool), ‘Her Gaze’ (ICP New York), ‘Vampires Eat’ (Kettles Yard), ‘Light, Water, Power’ …
Stephen Littman is an artist, visual theatre documentalist and academic based at University College for the Creative Arts at Farnham; he has been involved in the organisatiion of festivals such as Video Positive, National Review of Live Art (Video) and was a member of the LVA management committee from 1980 to 1987 running the screening programmes and technical workshops.
His work has ranged from lyrical narrative to strict structural investigations of the language and form of video – …
Meigh-Andrews first experimented with video in Montreal in 1973 and began exhibiting his work internationally in the late 1970’s. His early single screen video works have featured in a number of key exhibitions: “Short Histories of Video Art, (Part 2)”, John Hansard Gallery, Southampton, 2004; “Electric Eyes: British Artists’ Video 1985-88”, Tate Gallery and the Institute of Contemporary Art (ICA), London; Museo de Arte Moderno, Medellin, Columbia, Akademie der Bildenden Kunst, Vienna 1988; …
