Electronic
Arts
Intermix
Electronic Arts Intermix
About
Mission & Activities
History
Contact
Board & Funders
Opportunities
About eai.org
Artists
Artist Catalogue
Title Search
New Artists
Themes, Special Collections & Series
Distribution
Overview
Ordering Information
Policies
Image & Clip Requests
Preservation
Introduction
Technical Facility
High-Definition Video Guide
Education
Educational Streaming Service
Events
Current & Upcoming Events
Past Events
Projects
Open Circuits Revisited
The New Television: Video After Television
A Kinetic History
Published Items
Resource Guide
Search
Brooklyn Bridge
Joan Jonas
1988, 6:12 min, color, sound
More Info
Description
Ordering & Fees
Documents
Titles by Joan Jonas
+
Big Market
Brooklyn Bridge
Disturbances
Double Lunar Dogs
Duet
Glass Puzzle
Good Night Good Morning
He Saw Her Burning
I Want to Live in the Country (And Other Romances)
Left Side Right Side
Lines in the Sand
Merlo
Mirage
Mirage 2
Organic Honey's Vertical Roll
Organic Honey's Visual Telepathy
Waltz
Point of View: An Anthology of the Moving Image
Songdelay
Three Returns/Barking
Upsidedown and Backwards
Vertical Roll
Volcano Saga
Wind
Description
Ordering & Fees
Documents
Titles by Joan Jonas
+
Big Market
Brooklyn Bridge
Disturbances
Double Lunar Dogs
Duet
Glass Puzzle
Good Night Good Morning
He Saw Her Burning
I Want to Live in the Country (And Other Romances)
Left Side Right Side
Lines in the Sand
Merlo
Mirage
Mirage 2
Organic Honey's Vertical Roll
Organic Honey's Visual Telepathy
Waltz
Point of View: An Anthology of the Moving Image
Songdelay
Three Returns/Barking
Upsidedown and Backwards
Vertical Roll
Volcano Saga
Wind
Brooklyn Bridge
Joan Jonas
1988, 6:12 min, color, sound
Documents
SCREEN PLAY: MOVING IMAGE ART
Press Release
Press Release for Screen Play: Moving Image Art at the Sagamore Hotel, December, 2014
![/user_files/supporting_documents/pr_icon_4_10.jpg](/user_files/supporting_documents/pr_icon_4_10.jpg "{
\"title_id\": 2205,
\"slug\": \"brooklyn-bridge\",
\"title\": \"Brooklyn Bridge\",
\"subtitle\": null,
\"title_translation\": null,
\"alternate_title\": null,
\"completion_date\": \"1988\",
\"media_type_id\": 207,
\"running_time\": \"6:12 min\",
\"color\": \"color\",
\"sound\": \"sound\",
\"by_credit\": null,
\"price_scheme_id\": 4424,
\"image_url\": \"jonas.bridge.jpg\",
\"quicktime_url\": null,
\"keywords\": null,
\"short_desc\": null,
\"long_desc\": \"Still photographs, live video, and superimposed drawings created on a Quantel Paintbox are fused in this visual poem dedicated to a New York City landmark, the Brooklyn Bridge. Emphasizing its strength and beauty, Jonas locates the bridge as an iconic site in this meditative, cryptic study of identity and place. In <i>Brooklyn Bridge,<\/i> the transformative power of video is used to infuse the static photographs and naturalistic footage of the bridge with a mythic, animistic force, which is heightened by the artist's emblematic inscription of self onto the site.\",
\"unique_id\": \"905\",
\"extent\": null,
\"distribution_terms_and_usage\": null,
\"published\": 1,
\"program_category_id\": 0,
\"date_created\": \"1998-07-22T13:02:00-04:00\",
\"created_by_eai_user_id\": 6,
\"date_modified\": \"2017-01-06T14:49:15-05:00\",
\"modified_by_eai_user_id\": 14453,
\"for_distribution\": 1,
\"contains_multiple_titles\": 0,
\"title_ex_id\": 789,
\"running_time_seconds\": 372,
\"language\": null,
\"featured\": 0,
\"title_video_high_rez_full\": {
\"user_file_id\": 8633,
\"object_id\": 2205,
\"xref_type\": \"TITLE_VIDEO_HIREZ_FULL\",
\"filename\": \"jonas_brooklyn_vod.qtl\",
\"filepath\": \"\/user_files\/videos\/title\/hifull\/\",
\"content_type\": null,
\"title_or_caption\": null,
\"alt_text\": null,
\"url\": null,
\"created_date\": \"2008-11-25T12:50:00-05:00\",
\"modified_date\": \"2008-11-25T12:50:00-05:00\"
},
\"contained_titles\": [],
\"see_also_titles\": [],
\"containing_titles\": [],
\"see_also_artists\": [],
\"artists\": [
{
\"artist_id\": 408,
\"slug\": \"joan-jonas\",
\"first_name\": \"Joan\",
\"last_name\": \"Jonas\",
\"alternate_name\": null,
\"link_title\": \"Joan Jonas\",
\"artist_group\": 0,
\"group_contact\": \"Joan Jonas\",
\"sex\": \"Female\",
\"cultural_background\": \"American\",
\"birth_year\": \"1936\",
\"birth_place\": \"\",
\"death_year\": \"\",
\"ss_num_or_tax_id\": \"056-32-5687\",
\"image_url\": \"jonas.leftside.gif\",
\"quicktime_url\": null,
\"keywords\": \"\",
\"published\": 1,
\"date_created\": \"2001-10-12T16:43:00-04:00\",
\"created_by_eai_user_id\": 6,
\"date_modified\": \"2024-07-24T12:12:37-04:00\",
\"modified_by_eai_user_id\": 14405,
\"collective_name\": \"\",
\"artist_ex_id\": 144,
\"artist_address_id\": 144,
\"featured\": 0,
\"_joinData\": {
\"id\": 635,
\"artist_id\": 408,
\"title_id\": 2205
},
\"with_and_about_titles\": [],
\"artist_ex\": {
\"group_members\": \"\",
\"short_bio\": \"An acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas engages in an elusive theatrical portrayal of female identity. Employing an idiosyncratic vocabulary of ritualized gesture and symbolic objects that include masks, mirrors, and costuming, she explores the self and the body through layers of meaning.\",
\"long_bio\": \"An acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry. \r\n\r\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in <i>Organic Honey's Visual Telepathy<\/i> (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time. \r\n\r\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including <i>Vertical Roll<\/i> (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body. \r\n\r\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols. \r\n\r\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales (<i>Upsidedown and Backwards<\/i>, 1980), science fiction (<i>Double Lunar Dogs<\/i>, 1984), legends (<i>Volcano Saga<\/i>, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture. \r\n\r\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery. \r\n\r\nJoan Jonas was born in 1936 in New York. She received a BA in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an MFA in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET\/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 1998, Jonas taught at Massachusetts Institute of Technology, where she is now Professor Emerita in the Program in Art, Culture, and Technology.\r\n\r\nJonas has performed and exhibited her work extensively throughout the world. In 2024, she was honored with a retrospective, titled <i>Joan Jonas: Good Night Good Morning<\/i>, at the Museum of Modern Art, New York. She has also had major retrospectives at the Queens Museum of Art, New York; Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled <i>The Shape, the Scent, the Feel of Things<\/i>, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances have been held at The Drawing Center, New York; Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Modern Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\r\n\r\nIn 2015, Jonas represented the United States in the 56th Venice Biennale. Her installation for the five galleries of the United States Pavilion, <i>They Come to Us without a Word<\/i>, was commissioned by the MIT List Visual Arts Center. Jonas also created a new video performance, with music by Jason Moran (<i>They Come to Us without a Word II<\/i>, in conjunction with her installation for the US Pavilion at the Biennale.\r\n\r\nJonas lives in New York City.\",
\"bibliography\": \"Crimp, Douglas, ed. <u>Joan Jonas: Scripts and Descriptions, 1968-1982<\/u>, Berkeley, California: University Art Museum, 1983.\r\n<br><br>\r\n\\"Joan Jonas: Five Works.\\" Flushing, NY: Queens Museum of Art, 2004. Text by Susan Howe, Jeanne Heuving, Carlos Amorales, Barbara Clausen, Sung Kim, Astrid Klein, John Miller, Paul D. Miller, and Marina Warner. <br><br>\r\nMignot, Dorine, ed. <u>Joan Jonas: Works 1968-1994,<\/u> Amsterdam: Stedelijk Museum, 1994.\r\n<br><br>\r\nSchmidt, Johann-Karl, ed. <u>Joan Jonas: Performance Video Installation 1968-2000<\/u>, Galerie de Stadt Stuttgart, Stuttgart, Germany: Hatje Cantz Verlag, 2000.\r\nEssays by Ralf Christofori, Chrissie Iles, Andrea Jahn, Johann-Karl Schmidt, Joan Simon, Annette Tietenberg. In German and English.<br><br>\r\nSmith, Roberta. \\"An Artist's Span, Austere to Extravagant.\\" <u>The New York Times<\/u> 19 Dec. 2003.\",
\"documents\": null,
\"see_also\": \"<a href=\\"http:\/\/www.eai.org\/eai\/artist.jsp?artistID=296\\"><b>WGBH<\/b><\/a>\r\n<br><br>\r\n<a href=\\"http:\/\/www.eai.org\/eai\/tape.jsp?itemID=10476\\"><b>Point of View: An Anthology of the Moving Image<\/b><\/a><br>\r\n<br>\r\nThe <i>Point of View<\/i> anthology is a boxed DVD set that features eleven of the most important artists working in film, video, and digital imagery today: Francis Al\u00ffs, David Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien, William Kentridge, Paul McCarthy, Pipilotti Rist and Anri Sala. Each DVD includes newly commissioned works, in-depth interviews with the artists, and reference material.\",
\"url\": null,
\"notes\": \"In general, Joan does not like her works to be exhibited as part of long compilations, either of her own work, or with other artists' work. Always notify her in advance if her work is to be compiled with others for exhibition. (per email w\/ NL 6\/18\/13)\",
\"royalty_notes\": null,
\"public_distribution_notes\": null,
\"artist_ex_id\": 144,
\"digitization_rights_and_restrictions\": null
}
}
],
\"price_scheme\": {
\"price_scheme_id\": 4424,
\"price_scheme_name\": \"000 - 029 min Standard\"
},
\"media_type\": {
\"media_type_id\": 207,
\"media_type_desc\": \"Video\"
},
\"title_image_extra_large\": {
\"user_file_id\": 1981,
\"object_id\": 2205,
\"xref_type\": \"TITLE_IMG_XL\",
\"filename\": \"_xl\/jonas_bridge_xl.jpg\",
\"filepath\": \"\/user_files\/images\/title\/\",
\"content_type\": \"image\/jpeg\",
\"title_or_caption\": null,
\"alt_text\": null,
\"url\": null,
\"created_date\": null,
\"modified_date\": null
},
\"title_ex\": {
\"preservation_location\": \"PM\",
\"preservation_id\": \"1798141\",
\"preservation_restoration_notes\": \"dbeta struck 1\/2001 at Audio Plus Video. 1\\" transferred to digi beta without correction. Audio copied from 3\/4\\" dubmaster to digi beta and lined up with 3\/4\\" edit. Audio master appears to have been lost by Joan. 1\\" at PM: #1308869 (A roll\/xfer from DVTR), #1310786 (05\/09\/88), 3\/4\\": #1804341 (05\/09\/88 - B roll\/xfer frp).\",
\"preservation_restoration_report\": null,
\"preservation_restoration_history_and_notes\": \"dbeta struck 1\/2001 at Audio Plus Video. 1\\" transferred to digi beta without correction. Audio copied from 3\/4\\" dubmaster to digi beta and lined up with 3\/4\\" edit. Audio master appears to have been lost by Joan. 1\\" at PM: #1308869 (A roll\/xfer from DVTR), #1310786 (05\/09\/88), 3\/4\\": #1804341 (05\/09\/88 - B roll\/xfer frp).\r\n\r\n\r\n1\/3\/2001\r\n\r\n\r\nStephen Vitiello note, Feb. 13, 2001: \\"Tapes transferred with funds from Langlois.\\" July 7, 2010 J.Carter\r\n\r\n\r\nStephen Vitiello note,Dec.8, 2000: \\"At EAI. Working out tapes to be transferred next. From 1\\" Master, add sound from 3\/4\\" (Joan left original at Harvestworks 12 years ago bu they do not know if they still have it).\\" July 7, 2010 J.Carter.\r\n\r\n\r\nStephen Vitiello note,Jan.3, 2001: \\"At Audio Plus Video. 4 tapes by Joan Jonas viewed with Bob (aka Cheech) the restoration specialist. Brooklyn Bridge 1\\"s were viewed. EAI has the original A roll and B roll tapes as well as a Master and Submaster. All are silent and in very good condition. It was decided that no visual corrections needed to be made. 1\\" Master was copied to digi beta. The audio was originally done at Harvestworks. Neither Joan nor Harvestworks can find the audio original. My guess is that the soundtrack was laid back directly onto the 3\/4\\" which becomes the audio master.\\" July 7, 2010 J.Carter.\",
\"preservation_restoration_date\": \"2001-01-03T00:00:00-05:00\",
\"original_production_format\": null,
\"original_location\": null,
\"accession_format\": null,
\"misc_notes\": null,
\"other_titles\": null,
\"dub_notes\": \"01 1531\",
\"credits\": \"Editors: Jill Kroesen, Peter Eggers. Slides\/Drawings: Joan Jonas. Produced by Joan Jonas and Festival des Arts Electroniques, Rennes.\",
\"royalty_notes\": null,
\"transcript\": null,
\"title_purpose_id\": null,
\"delivered_by\": null,
\"date_delivered\": null,
\"housing_information\": null,
\"cassette_information\": null,
\"digital_storage_notes\": null,
\"inspection_report\": null,
\"internal_supporting_notes\": null,
\"artist_statement\": null,
\"dubbing_instructions_and_technical_notes\": \"01 1531\",
\"dubmaster_physical_condition\": null,
\"dubmaster_notes_on_cassette\": null,
\"dubmaster_technical_condition\": null,
\"sound_notes\": null,
\"source_and_date_for_preservation_master_information\": null,
\"digital_master_carrier_id\": \"20-Capture\",
\"condition_report\": null,
\"location_of_duplicates_and_other_preservation_masters\": null,
\"retired_numbers\": null,
\"images_available_through_eai\": 1,
\"public_distribution_terms_and_usage\": null,
\"image_rights_and_restrictions_notes\": null,
\"title_ex_id\": 789,
\"aspect_ratio_id\": null,
\"dubmaster_creation_date\": null,
\"digitization_rights_and_restrictions\": null,
\"file_names\": \"jonas_brooklynbridge-beta\",
\"file_size\": \"11.49 GB\",
\"digital_storage_creation_date\": \"2014-11-06T00:00:00-05:00\",
\"digital_master_carrier_location_lookup_id\": 216,
\"operator_lookup_id\": 259,
\"card_tbc_lookup_id\": 280,
\"hardware_lookup_id\": 285,
\"operating_system_lookup_id\": 286,
\"data_rate\": null,
\"software_lookup_id\": 282,
\"video_compression_codec_lookup_id\": 241,
\"audio_compression_sampling_rate_lookup_id\": 250,
\"frame_rate_lookup_id\": 260,
\"video_low_rez_full_url\": \"285875626\",
\"video_low_rez_excerpt_url\": null,
\"video_low_rez_full_caption\": null,
\"video_low_rez_excerpt_caption\": null,
\"video_intro_url\": null,
\"video_intro_caption\": null,
\"video_intro_link_text\": null,
\"accession_notes\": null,
\"delivered_to\": null,
\"additional_digital_master_carrier\": null,
\"digital_version_master\": 0,
\"digital_version_dvd\": 0,
\"video_education_url\": \"285875626\",
\"video_education_caption\": null,
\"digital_master_file_type_id\": 75
},
\"supporting_documents\": [
{
\"supporting_document_id\": 846,
\"title\": \"SCREEN PLAY: MOVING IMAGE ART\",
\"ed_site_only\": false,
\"published\": 1,
\"supporting_document_category_id\": 58,
\"supporting_document_navigation_category_lookup_id\": 35,
\"author\": null,
\"source_recieved_from\": null,
\"document_title\": null,
\"date_of_item\": null,
\"long_desc\": \"Press Release for Screen Play: Moving Image Art at the Sagamore Hotel, December, 2014\",
\"short_desc\": \"Press Release for Screen Play: Moving Image Art at the Sagamore Hotel, December, 2014\",
\"video_url\": null,
\"audio_url\": null,
\"html\": \"<html>\r\n<head>\r\n<title>Gerry Schum @ EAI<\/title>\r\n<meta http-equiv=\\"Content-Type\\" content=\\"text\/html; charset=iso-8859-1\\" \/>\r\n<style type=\\"text\/css\\">\r\nt.left {}\r\nh.red {font-family:Helvetica, Arial, Verdana, sans-serif; font-weight:bold; color:#990000}\r\np.two {line-height:200%;}\r\np.onefive {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:200%; color:#000000}\r\np.normalbold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:11px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.twelvebold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:12px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.normal {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:150%; color:#000000}\r\na:link {color:#000000; text-decoration:none;} \/* unvisited link *\/\r\na:visited {color:#000000; text-decoration:none;} \/* visited link *\/\r\na:hover {color:#000000; text-decoration:none;} \/* mouse over link *\/\r\na:active {color:#000000; text-decoration:none;} \/* selected link *\/\r\n<\/style>\r\n<\/head>\r\n<body>\r\n\r\n<table width=\\"550\\" border=\\"0\\" cellspacing=\\"0\\" cellpadding=\\"0\\" align=\\"left\\">\r\n\r\n<tr>\r\n\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n\r\n<p class=\\"twelvebold\\">\r\n\r\n<strong><font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">EAI is pleased to collaborate with Sagamore, The Art Hotel to present a special exhibition of moving image artworks for the public spaces of the hotel during Art Basel Miami Beach.<\/strong><\/font><br \/><\/strong><br \/>\r\n<br>\r\n\r\n<\/td><\/tr>\r\n<tr>\r\n<td width=\\"250\\" valign=\\"top\\">\r\n<img src=\\"https:\/\/www.eai.org\/user_files\/images\/public_program\/thornton_binocular_flamingo_xl.jpg\\" width=\\"296\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\" \/>\r\n<br \/>\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"1\\"><em>Binocular Menagerie<\/em> (2014), Leslie Thornton<\/font>\r\n<\/td>\r\n<td width=\\"23\\" valign=\\"top\\"> <\/td>\r\n<td width=\\"235\\" valign=\\"top\\">\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<strong>Screen Play:<br \/>\r\nMoving Image Art <br \/>\r\n<br \/>\r\nOn view during Art Basel Miami Beach\r\n<br \/>\r\n<br \/>\r\nSagamore, The Art Hotel<br \/>\r\n1671 Collins Avenue<br \/>\r\nMiami Beach, Florida<\/strong><br \/>\r\n\r\n<\/font>\r\n<\/font>\r\n<\/td>\r\n<\/tr>\r\n\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n <br \/>\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n<strong><a href=\\"http:\/\/eai.org\/publicProgram.htm?id=217\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Screen Play<\/font><\/a><\/strong> brings together a selection of film, video and digital artworks that present artists' dynamic engagements with the moving image across six decades. Drawn from EAI's extensive archive, these works highlight the cross-disciplinary relation of the moving image to other artistic media and forms—performance, photography, painting, drawing, sculpture—while also exploring the distinctive languages of video, film and digital media.<br \/>\r\n<br \/> \r\nThe public will be able to view artists' moving image works on screens in multiple public spaces of The Sagamore Hotel, as well as on an \\"EAI TV Channel\\" for the hotel guest rooms. <br \/>\r\n<br \/>\r\nScreen Play features moving image works by artists including Takeshi Murata, Leslie Thornton, Jacolby Satterwhite, Joan Jonas, Merce Cunningham, Alex Hubbard, Dara Birnbaum, Shana Moulton, Michael Bell-Smith, Lawrence Weiner, Steina, Nam June Paik, and John Baldessari.<br \/>\r\n<br \/>\r\nScreen Play was guest curated by Lori Zippay, EAI's Executive Director.<\/font>\r\n<\/td><\/tr>\r\n\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n <br \/>\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n___________________________________\r\n\r\n<\/font><\/font><\/p>\r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\"><strong>About EAI<\/strong><br \/>\r\n<br \/>\r\nEAI is one of the world's leading resources for moving image art. Founded in 1971, EAI is a New York-based nonprofit organization that fosters the creation, exhibition, distribution, and preservation of video and media art. EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today's emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI also presents public programs such as artists' talks, exhibitions and panels; extensive digital resources; viewing access; technical facilities, and educational services. EAI's Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art's histories and current practices:\r\n<strong><a href=\\"http:\/\/www.eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><br \/><br \/>\r\n\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">___________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n\r\nElectronic Arts Intermix<br \/>535 West 22nd Street, 5th Floor<br \/>New York, NY 10011<br \/>t (212) 337-0680<br \/>f (212) 337-0679<br \/>\r\n<strong><a href=\\"mailto:info@eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">info@eai.org<\/font><\/a><\/strong><\/font><\/p>\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n<strong><a href=\\"http:\/\/www.facebook.com\/pages\/Electronic-Arts-Intermix-EAI\/69797591849?ref=nf\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Facebook<\/font><\/a><\/strong><br \/>\r\n\r\n<strong><a href=\\"http:\/\/twitter.com\/#!\/eai_org\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Twitter<\/font><\/a><\/strong>\r\n<\/font><\/p><br \/>\r\n<br \/>\r\n\r\n<\/td>\r\n\r\n<\/tr>\r\n\r\n<\/table>\r\n\r\n\r\n\r\n<\/body>\r\n<\/html>\",
\"internal_notes\": null,
\"digital_location\": null,
\"physical_location\": null,
\"date_digitized\": \"2014-12-08T00:00:00-05:00\",
\"file_type\": null,
\"rights_and_restrictions\": null,
\"courtesy_permission\": null,
\"date_created\": \"2014-12-08T10:01:25-05:00\",
\"created_by_eai_user_id\": 14325,
\"date_modified\": \"2015-01-28T10:32:40-05:00\",
\"modified_by_eai_user_id\": 14325,
\"display_date\": null,
\"supporting_document_url\": \"http:\/\/www.eai.org\/supportingDocumentView.htm?id=846\",
\"template\": \"supporting_doc_html\",
\"sequence_on_web_pages\": 0,
\"_joinData\": {
\"id\": 1423,
\"title_id\": 2205,
\"supporting_document_id\": 846
},
\"supporting_document_image_small\": {
\"user_file_id\": 14544,
\"object_id\": 846,
\"xref_type\": \"SUP_DOC_IMG_S\",
\"filename\": \"pr_icon_4_10.jpg\",
\"filepath\": \"\/user_files\/supporting_documents\/\",
\"content_type\": \"image\/jpeg\",
\"title_or_caption\": null,
\"alt_text\": null,
\"url\": null,
\"created_date\": \"2014-12-08T10:01:25-05:00\",
\"modified_date\": \"2014-12-08T10:01:25-05:00\"
},
\"supporting_document_navigation_category\": {
\"lookup_id\": 35,
\"lookup_type\": 210,
\"name\": \"Documents\",
\"date_created\": \"2013-09-12T13:51:30-04:00\",
\"created_by_eai_user_id\": 5,
\"date_modified\": \"2013-09-12T13:51:30-04:00\",
\"modified_by_eai_user_id\": 5,
\"long_description\": \"40\"
},
\"supporting_document_category\": {
\"lookup_id\": 58,
\"lookup_type\": 10,
\"name\": \"Press Release\",
\"date_created\": \"2008-01-28T06:54:00-05:00\",
\"created_by_eai_user_id\": 225,
\"date_modified\": \"2008-01-28T06:54:00-05:00\",
\"modified_by_eai_user_id\": 225,
\"long_description\": null
}
}
]
}"){kind=icon}
