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Underscan
Nancy Holt
1973-74, 9:12 min, b&w, sound
More Info
Description
Ordering & Fees
Images
Documents
Titles by Nancy Holt
+
Art in the Public Eye: The Making of Dark Star Park
East Coast, West Coast
Going Around in Circles
Mono Lake
Pine Barrens
Revolve
Sun Tunnels
Swamp
The Making of Amarillo Ramp
Underscan
Utah Sequences
Zeroing In
Description
Ordering & Fees
Images
Documents
Titles by Nancy Holt
+
Art in the Public Eye: The Making of Dark Star Park
East Coast, West Coast
Going Around in Circles
Mono Lake
Pine Barrens
Revolve
Sun Tunnels
Swamp
The Making of Amarillo Ramp
Underscan
Utah Sequences
Zeroing In
Underscan
Nancy Holt
1973-74, 9:12 min, b&w, sound
Images
NANCY HOLT: Daylong Tribute Screening at EAI
Event Documentation: Image
Images from NANCY HOLT: Daylong Tribute Screening at EAI
![/user_files/supporting_documents/thumb_holt_middayleft.jpg](/user_files/supporting_documents/thumb_holt_middayleft.jpg "{
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\"short_desc\": \"<i>Underscan<\/i> is a seminal early video work. Holt writes: \\"...Time and the visual image are compressed. A series of photographs of my Aunt Ethel's home in New Bedford, MA had been videotaped, and re-videotaped while being underscanned....Because of this underscanning process, each static photo image, as it appears, changes from regular to elongated to compressed or vice versa. Excerpts from letters from my aunt spanning 10 years are condensed into 8 minutes of my voice-over audio.\\"\",
\"long_desc\": \"Holt writes: \\"In <i>Underscan<\/i>, time and the visual image are compressed. A series of photographs of my Aunt Ethel's home in New Bedford, MA had been videotaped, and re-videotaped while being underscanned. (The underscanning device is a structural framework particular only to video; it compresses the picture so that the edges can be seen precisely; it does away with the variation that occurs between monitors in the amount of the image which is visible.) Because of this underscanning process, each static photo image, as it appears, changes from regular to elongated to compressed or vice versa. Excerpts from letters from my aunt spanning 10 years are condensed into 8 minutes of my voice-over audio. Certain yearly occurrences repeat in an auditory rhythm, coinciding with the cycle of yearly changes.\\"\",
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\"short_bio\": \"A pioneer of earthworks and public art, Nancy Holt also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including <i>Sun Tunnels<\/i> in Utah and <i>Dark Star Park<\/i> in Virginia. In the late 1960s and early 1970s, Holt made a series of pioneering film and video works, including several collaborations with <a href=\\"artistTitles.htm?id=10961\\"><strong>Robert Smithson<\/strong><\/a>. Holt's early videos explore perception and memory through experiments with point of view and process.\",
\"long_bio\": \"A pioneer of earthworks and public art, Nancy Holt also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including <i>Sun Tunnels<\/i> in northern Utah and <i>Dark Star Park<\/i> in Arlington, Virginia. In the 1970s, Holt made a series of pioneering film and video works, including several collaborations with <a href=\\"artistTitles.htm?id=10961\\"><strong>Robert Smithson<\/strong><\/a>. Holt's early videos, which are among the most iconic works in the medium, explore perception and memory through experiments with point of view and process.\r\n\r\nHolt received a Bachelors degree in Biology from Tufts University, Medford, Massachusetts, in 1960. She received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa. She produced site-specific environmental works in numerous public places around the world, including <i>Sun Tunnels<\/i> (1976), a large-scale sculptural work in Great Basin Desert, Utah; <i>Stone Enclosure (Rock Rings)<\/i> in Bellingham, Washington; <i>Astral Grating<\/i> (1987) in a New York City subway station, and Dark Star Park, in Arlington, Virginia, among many others. She also completed large-scale land reclamation projects, including <i>Sky Mound<\/i> (1988) in the New Jersey Meadowlands, and <i>Up and Under<\/i> (1998), in Nokia, Finland. Holt's works, including her films and videos, have been seen in exhibitions at the John Weber Gallery, New York; The New Museum of Contemporary Art, New York; The Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Dia Center for the Arts, New York, and P.S.1 Contemporary Art Center, New York. The solo exhibition <em>Nancy Holt: Photoworks<\/em> was presented at Haunch of Venison, London, in 2012. \r\n\r\nThe retrospective exhibition <em>Nancy Holt: Sightlines<\/em> originated at Columbia University's Miriam and Ira D. Wallach Art Gallery in New York, in 2010. <em>Sightlines<\/em> traveled to Badischer Kunstverein in Karlsruhe, Germany; Graham Foundation for Advanced Studies in the Fine Arts, Chicago, IL; Tufts University Art Gallery at the Aidekman Arts Center, Medford, MA; Santa Fe Arts Institute, Santa Fe, NM, and Utah Museum of Fine Arts at the University of Utah, Salt Lake City, UT. The exhibition was accompanied by a monograph of the same name, edited by Alena J. Williams,<em> Sightlines<\/em> curator. \r\n\r\nNancy Holt was born in Worcester, Massachusetts in 1938 and lived in Galisteo, New Mexico. She died in 2014.\r\n\r\nIn 2017, the <a href=\\" http:\/\/holtsmithsonfoundation.org\\"><u>Holt-Smithson Foundation<\/a><\/u> was formed to continue the creative and investigative spirit of the artists Nancy Holt and Robert Smithson.\",
\"bibliography\": \"Holt, Nancy. \\"Sun Tunnels, Annual Ring and Sky Mound.\\" <u>Sculpting with the Environment<\/u>. Reinold, NY: Van Nostrand, 1995.<br>\r\n<br>\r\nHolt, Nancy. \\"Sun Tunnels.\\" <u>Artforum<\/u>. April 1977. (cover article)<br>\r\n<br>\r\nHolt, Nancy. \\"Pine Barrens.\\" <u>Avalanche<\/u>. Summer 1975. <br>\r\n<br>\r\nJones, Bill. \\"Cineprobe: An Evening with Nancy Holt at the Museum of Modern Art.\\" <u>The Independent<\/u> May 1979.<br>\r\n<br>\r\nMeyer, James. \\"Another Minimalism,\\" <u>A Minimal Future? Art as Object 1958-68<\/u>. Los Angeles: Museum of Contemporary Art, 2004: 32-37.<br>\r\n<br>\r\nMarter, Joan. \\"Nancy Holt?s Dark Star Park.\\" <u>Arts<\/u>. October 1984.<br>\r\n<br>\r\nPeters, Robert, Ed. \\"Three Decades of Public Art.\\" Excerpts from a lecture by Nancy Holt. <u>MASS: Contemporary Arts in the Public Realm<\/u>. Journal of the School of Architecture and Planning, Robert Peters, Ed. University of New Mexico, Vol. 13, Fall 2004: 12-19.\",
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\"see_also\": \"<strong><a href=\\"http:\/\/www.eai.org\/eai\/artist.jsp?artistID=10961\\">Robert Smithson<\/a><\/strong>\",
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\"notes\": \"\\"In terms of images for promotion of screenings (EAI\/JP note: and exhibitions): we are super-happy to do this directly. We like to have eyes on everything to make sure the image credits are correct as often organizations make up the credits rather that getting them right \u2013 it always is unfathomable to me why this happens, but it does.\\" \u2014 Lisa Le Feuvre to JP on May 23, 2024\r\n\r\nUpdate per RC - May 23, 2017: \r\n\r\nAll requests for works by Holt and\/or Smithson should include contact with Matthew Coolidge, coolidgematthew@gmail.com; and Diane Karp, Diane.karp@gmail.com (head trustees per Elyse Goldberg), and DeeDee Halleck, deedeehalleck@gmail.com.\r\n\r\nDoug Dreishpoon is no longer involved.\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson.\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/>\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\n\r\n(Old Note)\r\nImage requests require an additional copyright from:\r\nVisual Artists and Galleries Association, Inc. (VAGA). \r\nTelephone: (212) 736-6666. Fax: (212) 736-6767. \r\nAddress: 350 Fifth Avenue, Suite 2820, New York, NY 10118 \r\nE-mail: info@vagarights.com\r\nBoomerang is available (for ditribution..?) through MoMA. AA 7\/23\/09\r\n\r\n(old note)\r\nPlease write to Jane Perry and alert her of any archival sales. She worked with Nancy. Email Jane a PDF copy of the invoice \\"EAI copy\\". jperry@nancyholt.org (3\/21\/14-NL) \r\n<br><br>\",
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\"html\": \"<html>\r\n<head>\r\n<title>Nancy Holt @ 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=\\"500\\" 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\nEAI pays tribute to artist <strong><a href=\\"http:\/\/eai.org\/artistTitles.htm?id=10960\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Nancy Holt<\/font><\/a><\/strong> (1938-2014) with a daylong celebration of her extraordinary film and video works. EAI will screen twelve of Holt's moving-image pieces, which span the years 1968 to 2013, honoring her life through a daylong immersion in her work.\r\n<\/p>\r\n<br \/><\/td>\r\n<\/tr>\r\n\r\n<tr>\r\n\r\n<td width=\\"250\\" valign=\\"top\\"><img src=\\"https:\/\/www.eai.org\/\/user_files\/supporting_documents\/holt_monolake_portrait_xl.jpg\\" width=\\"250\\" height=\\"188\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\" \/><\/td>\r\n<td width=\\"30\\" valign=\\"top\\"> <\/td>\r\n<td width=\\"238\\" valign=\\"top\\">\r\n<p class=\\"normalbold\\">\r\n<strong>Saturday, April 5th, 2014<br \/><br \/>\r\nNoon - 7 pm<br \/>\r\n<br \/>\r\nElectronic Arts Intermix (EAI)<br \/>\r\n535 West 22nd Street, 5th floor<br \/>\r\nNew York, NY 10011<\/strong><br \/>\r\n<strong><a href=\\"http:\/\/www.eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><br \/>\r\n<br \/>\r\nAdmission Free<\/p><\/td>\r\n<\/tr>\r\n\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\nA pioneer of earthworks and land art, Holt is best known for her large-scale environmental sculptures and public art projects. Beginning in the late 1960s, Holt created a significant body of film and video works. Through these pieces, which include some of the most important and iconic works of media art, Holt explored perception and memory through experiments with point of view and process.\r\n<br \/><br \/>\r\nAmong the works to be screened are Holt's pivotal videos, such as <em>Underscan<\/em> (1976) and <em>Revolve<\/em> (1977), her evocative landscape film <em>Pine Barrens<\/em> (1975), and several key collaborations with Robert Smithson, including <em>Swamp<\/em> (1971) and <em>East Coast, West Coast<\/em> (1969).\r\n<br \/><br \/>\r\nCovering a span of forty-five years, the screening will include <em>Mono Lake<\/em>, which Holt produced and edited in 2004 from footage recorded on a 1968 trip with Smithson and Michael Heizer, as well as Holt's final piece, the 2013 <em>The Making of Amarillo Ramp<\/em>.\r\n\r\n<br \/><br \/>\r\nHolt was a visionary whose art was at once large-scale and intimate, powerful and generous. From her transformative environmental sculptures, such as <em>Sun Tunnels<\/em> in northern Utah and <em>Dark Star Park<\/em> in Arlington, Virginia, to her groundbreaking film and video works, she leaves an indelible artistic legacy.\r\n<br \/><br \/>\r\nPlease click <strong><a href=\\"https:\/\/www.eai.org\/user_files\/supporting_documents\/04_14_nancy%20holt_pn_print_2.pdf\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">here<\/font><\/a><\/strong> for the full title and screening schedule.\r\n\r\n<\/p>\r\n\r\n<\/p>\r\n\r\n\r\n\r\n <font color=\\"#000000\\" size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n \r\n \r\n<p class=\\"onefive\\"><strong><a href=\\"http:\/\/www.eai.org\/artistTitles.htm?id=10960\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Nancy Holt<\/font><\/a><\/strong> was born in Worcester, Massachusetts on April 5, 1938 and died in 2014. She received a Bachelors degree in Biology from Tufts University, Medford, Massachusetts, in 1960. She received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa. She produced site-specific environmental works in numerous public places around the world, including <em>Sun Tunnels<\/em> (1976), a large-scale sculptural work in Great Basin Desert, Utah; <em>Stone Enclosure (Rock Rings)<\/em> in Bellingham, Washington; <em>Astral Grating<\/em> (1987) in a New York City subway station, and Dark Star Park, in Arlington, Virginia, among many others. She also completed large-scale land reclamation projects, including <em>Sky Mound<\/em> (1988) in the New Jersey Meadowlands, and <em>Up and Under<\/em> (1998), in Nokia, Finland. Holt's works, including her films and videos, have been seen in exhibitions at the John Weber Gallery, New York; The New Museum of Contemporary Art, New York; The Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Dia Center for the Arts, New York, and P.S.1 Contemporary Art Center, New York. The solo exhibition <em>Nancy Holt: Photoworks<\/em> was presented at Haunch of Venison, London, in 2012.<br \/><br \/>\r\nThe retrospective exhibition <em>Nancy Holt: Sightlines<\/em> originated at Columbia University's Miriam and Ira D. Wallach Art Gallery in New York, in 2010. Sightlines traveled to Badischer Kunstverein in Karlsruhe, Germany; Graham Foundation for Advanced Studies in the Fine Arts, Chicago, IL; Tufts University Art Gallery at the Aidekman Arts Center, Medford, MA; Santa Fe Arts Institute, Santa Fe, NM, and Utah Museum of Fine Arts at the University of Utah, Salt Lake City, UT. The exhibition was accompanied by a monograph of the same name, edited by Alena J. Williams, <em>Sightlines<\/em> curator. Holt lived in Galisteo, New Mexico.\r\n\r\n<\/p>\r\n\r\n\r\n\r\n <font color=\\"#000000\\" size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n \r\n \r\n\r\n \r\n <p class=\\"onefive\\"><strong>About EAI<\/strong><br \/>\r\n <br \/>\r\nFounded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art. A pioneering advocate for media art and artists, EAI fosters the creation, exhibition, distribution, and preservation of video art and digital art. EAI's core program is the distribution and preservation of a major collection of over 3,500 new and historical media works by artists. EAI's activities include viewing access, educational services, extensive online resources, and public programs such as artists' talks, exhibitions and panels. The Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and also features extensive materials on exhibiting, collecting and preserving media art: \r\n \r\n<strong><a href=\\"http:\/\/www.eai.org\\">www.eai.org<\/a><\/strong>\r\n\r\n <\/p>\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n <p class=\\"onefive\\">\r\n\r\n\r\n<strong>Friends of EAI Membership 2014<\/strong><br \/>\r\n<br \/>\r\n Become a <strong><a href=\\"https:\/\/www.eai.org\/eai\/members.htm\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">2014 Friends of EAI Member<\/font><\/a><\/strong> at one of four different levels. Membership helps to support our programs and services, including our online resources, educational outreach, and vital preservation activities. By becoming a Friend of EAI, you support the future of media art and artists. Memberships begin at $40 ($25 for students).<br \/><br \/>\r\n \r\n For more information, and to become a member, please visit:<br \/><strong><a href=\\"https:\/\/www.eai.org\/eai\/members.htm\\">https:\/\/www.eai.org\/eai\/members.htm<\/a><\/strong>.\r\n <\/p>\r\n \r\n<br \/>\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n\r\n\r\n<p class=\\"onefive\\">Electronic Arts Intermix<br \/>\r\n535 West 22nd Street, 5th Floor<br \/>\r\nNew York, NY 10011<br \/>\r\nt (212) 337-0680<br \/>\r\nf (212) 337-0679<br \/>\r\n<strong><a href=\\"mailto:info@eai.org\\">info@eai.org<\/a><\/strong><br \/>\r\n<br \/>\r\n<strong><a href=\\"http:\/\/www.facebook.com\/pages\/Electronic-Arts-Intermix-EAI\/69797591849?ref=nf\\" target=\\"_new\\">EAI on Facebook<\/a><\/strong><br \/>\r\n<strong><a href=\\"http:\/\/twitter.com\/#!\/eai_org\\" target=\\"_new\\">EAI on Twitter<\/a><\/strong><br \/><\/p>\r\n<br \/>\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n \r\n\t\r\n<p class=\\"normal\\">This program is supported, in part, by public funds from the New York City Department of Cultural Affairs.<\/p>\r\n<img src=\\"http:\/\/www.eai.org\/pressreleases\/images\/funders\/dca_logo_web_0807.jpg\\" \/><br \/>\r\n\r\n\t\t<br \/>\r\n\r\n\r\n \r\n\r\n <br \/><\/td>\r\n<\/tr>\r\n<\/table>\r\n\r\n\r\n<\/body>\r\n<\/html>\",
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