Flyer for exhibition (Arts Council) 1980. pdf here.
“Merging-Emerging is the first of Donebauer’s tapes to incorporate representational imagery. The title of the work refers to the emerging of the human form, initially unrecognisable but gradually emerging through the quality and nature of the movement, and finally through the slowly shifting focus of the cameras. Donebauer has often used defocused cameras in his work, a technique he found liberating.
‘One day when I was working in the studio at the Royal College, …
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Flyer for exhibition (Arts Council) 1980. pdf here.
Article ‘Video Work Cycling Teeming, Dawn Creation, Description’, p.93-94. pdf here.
Handwritten description and technical details of Peter Donebauer’s pieces, including ‘Dawn Creation.’ pdf here. …
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Flyer for exhibition (Arts Council) 1980. pdf here.
Article ‘Video Work Cycling Teeming, Dawn Creation’, Description, p.93-94. pdf here. …
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Flyer for exhibition (Arts Council) 1980. pdf here.
Article ‘Video Work Cycling Teeming, Dawn Creation, Description’, p.93-94. pdf here.
Handwritten description and technical details of Peter Donebauer’s pieces, including ‘Circling.’ pdf here. …
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Flyer for exhibition (Arts Council) 1980. pdf here.
Page for The Video Show Catalogue, Exhibition, 1-25th of May 1975, Serpentine Gallery, London. pdf here.
Handwritten description and technical details of Peter Donebauer’s pieces, including ‘Struggling.’ pdf here. …
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‘Entering’ Description of the work. pdf here.
Handwritten description and technical details of Peter Donebauer’s pieces, including ‘Entering’. pdf here.
Description of Peter Donebauer’s work and process, includes description of ‘Entering’. pdf here.
Flow Diagram entitled ‘Figure 2’ for the creation of the work ‘Entering’ pdf here.
National Film Theatre, Programme Notes – ‘The New Avante Garde’. …
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“With Trialogue I was beginning to want to work in a more controlled way, trying to use video across multiple monitors and multiple layers of recording to explore ideas that went beyond looking at the nature of the medium. This piece layers three parts of a single narrative across three monitors contained within a single tape. I think it was the first time I used words in a narrative sense in a video tape – …
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“Static Acceleration was first made in a 17 minute version on a half-inch open reel edit deck. A relatively new medium for artists at that time, video was still in the process of being explored for its possibilities and limitations. This is one of a series of works I made in the 1970’s examining specific technical properties while also relating them to expressive or emotive content. While Static Acceleration has an emotive element that can only come from a viewer watching the tape, …
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By 1979 when Pieces I Never Did was made, colour cameras, U-matic cassettes and a wider range of colour monitors were available. Consequently I was able to visit many performance, film, video, installation and sculpture ideas in the work.
Still from Pieces I never did
Talking to camera, I described ideas that had never got beyond a note in a sketchbook. Paradoxically, I was able to resurrect on video these items of personal performance that had been edged out by the structuralism of early video art, …
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