Barbara Rosenthal

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Barbara Rosenthal
Birth name Barbara Ann Rosenthal
Born 1948
New York
Nationality American
Field avant-garde art, writing

Barbara Rosenthal (b. 1948, The Bronx, New York) is an American avant-garde artist and writer. Her existential themes have contributed to contemporary art and philosophy.[1] Her pseudonyms include "Homo Futurus," taken from the title of one of her books,[2] and "Cassandra-on-the-Hudson",[3] which alludes to her studio and residence since 1998 on the Hudson River in Greenwich Village, NYC.

Barbara Rosenthal standing in her top-floor loft at 727 Avenue of the Americas, NYC, in 1990. These framed photo-text artworks show how she incorporates existential philosophy into art, and the avant-garde way she utilizes framing and edges, particularly in "Dead Astronaut/Live Artist" above, and in the diamond-shaped work to her left, "Swimmer in the Universe/Scientists Are The Priests And Prophets". This work is composed of nine 20" x 20" separately framed segments of a swimmer in the distance, repeated exactly in all frames; the view into the water is horizontal, but the frame is tipped, and within each frame white text, printed as photograms, asserts various, non-repeated original ideas such as "God is the Idol of Science."

As an artist, Rosenthal works in media including photography,[4] video,[5] performance,[6] projection,[7] installation,[8] interactive[9] and New Media (digital media),[10] text,[11] collage, prints,[12] artists' books[13] and objects.[14] Almost all are produced in editions.[15] Most combine camera, text and performative aspects.[16] Elements of Rosenthal's body of work, "Surreal Photography"[17] are often present. Rosenthal is known for often revisiting past works, recombining old elements with new,[16] and often appears in her work in some way. These may include x-rays, brain scans and clothing.[18] Sometimes she utilizes physical or textual elements from her journals. As a creative artist within the fields of surrealism and existentialism, Rosenthal brings existential content, via the subconscious, to conceptual art,[19] and is known for her intense introspection.[20]

As a writer, Barbara Rosenthal has kept a lifelong journal since age eleven, and produces aphorisms, slogans, quips, poetry, stories, novels, text-based art, artist's books, pamphlets, art criticism, reviews and essays.[21] Rosenthal is a regular contributor to NYArts Magazine and is known for her principled stand against art as advocacy, which she labels “retro-garde”.[22] This sets her in opposition to the prevailing political, cultural and feminist trends in contemporary art.[22]

Contents

[edit] Education and early career

At age eleven, Rosenthal was a weekly columnist for her town newspaper, The Franklin Square Bulletin.[23]

Rosenthal attended the Brooklyn Museum Art School, studying figure drawing and painting taught by Isaac Soyer, in 1962-64; the Art Students' League, for figure drawing and painting, NYC, in 1964-66; New York University, for Art History, NYC, in 1966. She attended Carnegie-Mellon University and while there was editor of the literary-art magazine, Patterns, as a sophomore and once again as a senior. She spent her junior year at Temple University/Tyler School of Art in Rome, Italy, studying art and art history, in 1968-69; and received her BFA in painting from Carnegie-Mellon in 1970. She attended The City University of New York/City College, for education and psychology in 1970-71; Seattle Pacific College, for media and education of the gifted in 1972-73; and received her MFA in painting at The City University of New York/Queens College in 1975.

During her years as an art student and teacher, Rosenthal supplemented her earnings as an assembly-line-painting artist; as a photojournalist stringer for The Village Voice, The East Village Eye, and The New York Post; and as a go-go dancer at clubs including the famed Metropole Cafe and Club Mardi Gras in Times Square, New York City.[24] From 1972-4, she taught printmaking and was director, set designer and lighting technician for several performances at the Lakeside School, a private high school in Seattle, Washington.

[edit] Image /text art

Although, like many avant-garde artists, Barbara Rosenthal’s work is difficult to classify, it is usually described by categories of movement or media, even though many projects fuse elements from several: conceptual photography, surreal photography, artists' books and objects, installation, performance, video, film, cartoons, text-based art, mail art, and writings (in all forms of literature and exposition).[21]

One important series that appears in several forms is “Homo Futurus,” which comprises two artist’s books of that title (one a blank book, eMediaLoft.org, 1984[25] and one with text and images, VSW Press, 1986[26]), a wall work (shown at the Carlo Lamagna Gallery, 1987-88[27]), and several print editions of various sizes.[28] The purpose of this project has been described as lending insight into what makes us human, particularly in terms of ideals and values, and lending insight into the production of art, by citing information from the artist’s own experience and practice, as well as from various news sources.[27] Imagery consists of reproduced news photos and articles, postcards, and personal archival and family photographs, juxtaposed with Rosenthal's "Surreal Photographs". Text is edited from Rosenthal’s Journals.

One line in the 1986 book is "All history, documentation, journalism, diplomacy, thought, art, culture, etc., serve only to influence behavior of single individuals at single moments."[29] This particular line, designed as text-based art, has also appeared in Rosenthal's print suite "Provocation Cards," first issued as an anonymous Mail Art series in 1989, later as a portion of her video-performance "Lying Diary / Provocation Cards", 1990, and then handed out during live performances 2005-9 in New York,[30] Berlin,[31] and Prague,[32] hung as wall art at the Lucas Carrieri Gallery (Berlin, 2009),[33] and enlarged as a billboard (installed in Padua, Italy in 2010) for the Fourth Tina B. Prague Contemporary Art Festival.[34] Each time, the text and the image of the text were increasingly refined.

In the Tina B. Prague Contemporary Art Festival, October 2009, she represented the United States in both Performance Art and Text-Based Art,[35] for which a second billboard, also an insight from Homo Futurus, reads "The Flaw of the Ideal Is That It Does Not Encounter Time or Touch.".[34]

[edit] Video

Although all Rosenthal's work is presented in a straightforward manner, her video is the most deceptively simple.[36] The videos are often very brief, and like her other works, consist of text (sometimes onscreen, and sometimes in a title pun) and/or performance and/or single-shot surreal photography, or straight-on cinematography.[37] These images and texts come directly from observation of a real phenomenon often shot in the course of her real life.[38] Then, if a more profound significance becomes apparent to her, they are presented without adulteration or commentary, either with or without juxtaposition of related footage to reveal a personal vision that is often considered political.[38]

It is this simple exposure of real, extant phenomenon, without "artistic" additions, that reveals her world view, which often seems bleak.[39] Nevertheless, much of it contains wry humor.[38] It is often honed and remade, with sections added and refined over the years.[37] One such video is "Dead Heat," which premièred at her mini-retrospective at The Directors Lounge in Berlin, June 25, 2009.[37] It is a 3-minute piece consisting of 4 horizontal split-screen segments which were shot in different video gauges between 1987 and 2009. In each segment, a figure transverses the screen, apparently in real time, from left to right: a bird, a horse, herself, a ship. But because each takes its own time, Rosenthal repeats the transverse crossing, so they lap each other. But she has mathematically tweaked the timing, so that each figure enters the screen on frame one and leaves the screen on the final frame, simultaneously. The bird, being the fastest, repeats the traverse many times, and the ship (which was shot from her window on the Hudson), only once. The horse (ridden by one of her children across the cornfield of one of her friends) and herself (in a park in Berlin) cross at their own speed.[37] The title, "Dead Heat", is an American pun that means a tied race, so, upon analysis, it can be understood to mean that our lives as individuals might be lived according to our own natures, but we all begin with the same first step, and we all end, together, in death.[37]

[edit] Art philosophy

In a videotaped 1992 panel discussion with critic Ellen Handy about art-making at The Gallery Of Contemporary Art in Fairfield, Connecticut, she enumerated many "dictums that guide [her] production: that pattern serve as color; that as few materials are used as possible; that as little space is used as possible; that there be no embellishment or superfluous element of design; that a work be visible and present new elements at every distance; that it engage a viewer differently from separate vantages; that it reach several centers of the psyche simultaneously; so a viewer is left room to freely associate; that mystery is always present; that it does not advocate; that it does not mimic past successes; that it can maintain its veracity in an imaginary room of great works; that it be available to everyone and that it be both produced and priced at lowest possible cost."[19]

[edit] Recent solo exhibitions

Recent solo exhibitions include the following:

  • "Barbara Rosenthal: Existential Wall Works,Photography, Drawing and Performance", Lucas Carrieri Gallery, Berlin, Germany, June 26, 2009.[40]
  • "Barbara Rosenthal - 33 Existential Videos”, Directors Lounge, Berlin, Germany, June 25, 2009.[40]
  • "Existential Interact", a series of street performances in front of KW Kunst-Werke Institute for Contemporary Art during the Wooloo Berlin New Life Festival in Berlin, Germany, June, 2008.[41]
  • "Existential Cartoons", an exhibition of digital prints, DVD projections and animated cartoons at the L-Gallery of Contemporary Art, Moscow, Russia, June, 2007.[42]
  • “Barbara Rosenthal Contemplates Suicide,” a Bathroom Installation of printed and sewn objects, button pins, and video at the Pool Art Fair, Chelsea Hotel, NYC, Oct., 2006.[43]
  • "Devolution of Self", an exhibition of digital prints on mylar, roped to ceiling, floor and each other, at the Pickled Art Centre, Beijing, China, June, 2006.[43]

Rosenthal's group shows include venues such as Jewish Museum (New York),[44] and the Stenersenmuseet Museum, Oslo, Norway.

[edit] Major collections

The largest holdings of Rosenthal's works in Europe are at Artpool Art Research Center,[45] and the Tate Britain Library, London, England. The largest American holdings of her work are in The Dadabase Collection of The Museum of Modern Art[46] and The Whitney Museum of American Art.[47] Her archives, including over one hundred volumes of workbooks and Journals, and fifty drafts of her unpublished novel, "Wish For Amnesia", are currently housed at eMediaLoft.org, NYC, and bequeathed to the Special Collections of the Hunt Library at Carnegie-Mellon University, upon her death.[48]

[edit] Teaching positions and other employment

Rosenthal's first college teaching position was as a sabbatical replacement instructor of painting at Stephens College, Columbia, Missouri, in 1976-77. In 1982, with video pioneer Bill Creston, she founded eMediaLoft.org and .com. Since 1990, Rosenthal has taught writing as an adjunct lecturer at the College of Staten Island of The City University of New York (CUNY/CSI). Rosenthal has also taught photography, video, multi-media, painting, drawing, design, crafts and art history at other colleges, including, among those in New York, The School of Visual Arts (SVA) and Parsons School of Design, where she was editor and producer of The College Council Faculty Affairs Newsletter. She also taught as an Adjunct Assistant Professor of Photography at SUNY/Nassau in 1994. She co-founded the Outrageous Consortium with filmmaker Margot Niederland in 2005; and founded The Museum of Modern Media in NYC, 2006.

[edit] Grants, honors, awards

In 2006, Rosenthal received an Artist's Residency from Red Gate Gallery, Beijing [49] This follows residencies in 2000 at Visual Studies Workshop Press, Rochester, NY; an Amiga Computer Video Imaging Residency Grant at Adaptors/Brooklyn, NY, in 1996; three Electronic Arts Grant Video Residency, Experimental TV Center, Owego, NY in 1989, 90 and 91;[50] a Harvestworks Audio-Video Residency, NYC in 1988 and a Video Arts Residency at Real Art Ways, Hartford, CT in 1988.

Monetary awards have included a Media Presentation Grant from Experimental TV Center, Owego, NY in 2000;[51] Finishing Funds from Film Bureau in NYC 1991; a New York State Council on the Arts Video Facility Subsidy Grant at Margolis/Brown Adaptors, Brooklyn, NY in 1998; a Finishing Funds Grant from Media Bureau/The Kitchen in NYC, in 1988; three Artists Space/Artists Grants in NYC 1986, 89 and 90; and a Creative Arts for Public Service C.A.P.S. Grant in Video, New York State, in 1984.[52]

Rosenthal received a Medal of Honor from the Brussels Ministry of Culture, Brussels, Belgium, in 1990; Rosenthal received a Global Village Documentary Festival Award in NYC, 1983; listing as a Fiction Writer, Poet, and Spoken Word Artist by Poets & Writers, NYC, since 1986;[53] and elected membership in Pi Delta Epsilon National Publications Honor Society, USA, in 1970.

In 1982 Rosenthal became an associate founding member of The Women's Institute For Freedom of the Press, Washington, DC[54] and is still an active member.

[edit] Bibliography

[edit] Publications about Barbara Rosenthal

  • Boyle, Deirdre, "Video Playback: Less is More, and Other Video Verities" "Sightlines", Summer 1982
  • Carswell, Clare, "New Life Berlin Festival : Barbara Rosenthal : 'I Think You Think. What Do You Think?'", Interface, Newcastle, UK, June 2008
  • Carswell, Clare, "Existential Interaction" NYArts, New York, NY, Nov-Dec 2008
  • Coleman, A.D.,"Revising Revisionism: Footnotes to the Current Fantasy", Center Quarterly, Woodstock, NY, Winter 1985-86
  • Dargis, Manohla, "Countercurrents: Change of Direction", Village Voice, New York, NY, August 16, 1988
  • Fletcher, Milton, "Taboo or Not Taboo: Barbara Rosenthal During Performa05", Art Fairs International, New York, NY, March–April 2006
  • Handy, Ellen, "Messages: Carlo LaMagna Gallery", Arts, New York, NY, Feb 1988
  • Handy, Ellen, "First Impressions, Last Resorts: Printmaking at the End of the Century," Center Quarterly, Woodstock, NY, Sept 1999
  • Handy, Ellen, "Time and Memory: The Limits of Photography", Center Photography Quarterly, Woodstock, NY, 1994
  • Handy, Ellen, "Time and Memory, Video Art and Identity", Catalogue, The Jewish Museum, New York, NY, 1988
  • Hoffberg, Judith A., "Three From Barbara Rosenthal", Umbrella, Santa Monica, CA, 2000
  • Hoffberg, Judith A., "Reviews: One 4-Word Book/Four 1-Word Books", Umbrella, Santa Monica, CA, 1995
  • Kostelanetz, Richard, editor, "Barbara Rosenthal", Dictionary of the Avant-Gardes , Schirmer Books, NYC, Paper: 2002, hardcover: 2001
  • Lieberman, Laura C. , "Once Is Not Enough", Afterimage, Rochester, NY, Fall, 1990
  • Morgan, Robert C., "Art: Structure, Repetition and 'The Body", Cover, New York, NY, April 1994
  • Myers, George, Jr., "Cretan Bull Dancers: Carolee Schneemann, Terry Kennedy, Irene Siegel, Linda Montano & Barbara Rosenthal," Introduction to Modern Times, Lunchroom Press, East Lansing, MI, 1982
  • Parker, Ara Rose, "Clues to Myself by Barbara Rosenthal", Photo-Communique, Toronto, Canada, Winter 1982
  • Russell, John, "Views of Jewishness In Museum Video Show", New York Times, July 29, 1988
  • Spector, Buzz, "Artists' Writings," Art Journal, New York, NY, Fall, 1990
  • Yerkov, Sergei, "Existential Cartoons: Barbara Rosenthal in Moscow" NYArts, New York, NY, Nov-Dec 2007

[edit] Publications by Barbara Rosenthal

[edit] Books

  • Clues to Myself, Visual Studies Workshop Press, Rochester, NY, 1981 ISBN 0-89822-015-7
  • Homo Futurus, Visual Studies Workshop Press, Rochester, NY, 1986 ISBN 0-89822-046-7
  • Sensations, Visual Studies Workshop Press, Rochester, NY, 1984 ISBN 0-89822-022-X
  • Soul & Psyche, Visual Studies Workshop Press, Rochester, NY, 1998 ISBN 0-89822-121-8
  • Weeks, (collaboration with poet Hannah Weiner), Xexoxial Endarchy, Madison, WI, 1990

[edit] Pamphlets

  • Catalogue Raisonné, The Museum of Modern Media, NYC, 2007
  • Children's Shoes, eMediaLoft.org, NYC, 1992
  • Introduction to the Trilogy, eMediaLoft.org, NYC, 1985
  • Names/Lives, eMediaLoft.org, NYC, 2001
  • Old Address Book, eMediaLoft.org, N.Y.C., 1984
  • Structure And Meaning, eMediaLoft.org, NYC, 1981

[edit] Articles and reviews

  • A Crack In The Sidewalk, Weekly Columns, The Franklin Square Bulletin, 1963–65
  • "Allan McCollum is Not Locked In", NYArts Magazine, November/December 2004
  • "All Great Art is Myth: John Baldessari at Marian Goodman", NYArts Magazine, May–June 2007
  • "Co-Conspirators: Artist and Collector: Chelsea Museum, NY", NYArts Magazine, November/December 2005
  • “Dana Schutz, Amy Sillman, Kara Walker", "Todd Hido, 'Roaming'”, "Street Art", "Patterson Beckwith, 'Home'”, "Liz-n-Val, 'After Art'”, "EIDIA, 'We Apologize Book Launch'”, "Theresa Hackett, 'More Ground to Cover'”, "Jeanne Susplugas, 'Ordinary Landscapes'”, "Richard Deacon, Sculpture at Marian Goodman", AC (ArtCircles), NYC, Fall-Winter 2004
  • "Lester Rapaport, Works on Canvas and Paper," "Focal Point Series presents Christian Marclay", "Yoko Ono, “Editions, Ephemera and Printed Works", "“Reflecting the Mirror,” curated by Karina Daskalov, Marian Goodman Gallery," AC (ArtCircles), NYC, Summer-Fall 2004
  • "Martha Rosler Library Vis-a-Vis The Danish Cartoons", NYArts Magazine, Feb. 2006
  • "Self-Devolution in Beijing", NYArts Magazine, Sept-October, 2005
  • “Their Lives in Art: Robert Henry and Selina Trieff”, “65th Anniversary Exhibition, Part I: Galerie St. Etienne", "Sarah Moon: Circus” “From Fontana to Zauli”, "Romare Bearden at Bill Hodges Gallery", "'John Biggers 'My America'” “The French Connection at Mary Ryan Gallery", "Gustavo Lopez Armentia Retrospective", AC (ArtCircles), NYC, December–January 2004-2005.
  • "The Way In and The Way Out: At the Nomadic Museum", NYArts Magazine, July/August 2005/July/August 2005)
  • "Tim Hawkinson: Artist as the Center of the Universe", NYArts Magazine, May/June 2005
  • "Well Dog My Katz!", NYArts Magazine, January/February 2005

[edit] References

  1. ^ Parker, Ara Rose. "BOOKS: Clues to Myself by Barbara Rosenthal", "Photo-Communique magazine, Summer 1982, retrieved March 6, 2009
  2. ^ Rosenthal, Barbara (1986). Homo Futurus. Rochester, NY: Visual Studies Workshop Press. ISBN 0-89822-046-7. 
  3. ^ "Major modern & contemporary visual artists". Kunst-net.nl. http://the-artists.org/artist/Barbara_Rosenthal.html. Retrieved 5 December 2008. 
  4. ^ “Absolute Arts” Retrieved September 22, 2009.
  5. ^ Russell, John. “Views of Jewishness In Museum Video Show” “New York Times” July 29, 1988, retrieved September 22, 2009
  6. ^ Fletcher, Milton. “Taboo or Not Taboo”, “NY Arts magazine, March-April, 2006
  7. ^ Yerkov, Sergei. “”Existential Cartoons”, NY Arts magazine, Nov-Dec, 2007, retrieved September 22, 2009
  8. ^ “Experimental TV Center Artists Biographies” retrieved September 22, 2009
  9. ^ “Artpool Art Research Center: Barbara Rosenthal Interactive Novelties” retrieved September 22, 2009
  10. ^ Eisenlohr, Klaus W. “BARBARA ROSENTHAL: EXISTENTIAL VIDEO,” “Netzpannung Catalog", retrieved September 22, 2009
  11. ^ Carswell, Clare. “Q&A Interview With Barbara Rosenthal”, “Wood Coin” online magazine, Fall 2008, retrieved September 22, 2009
  12. ^ Yerkov, Sergei “Existential Cartoons” “NY Arts” magazine, November–December, 2007, retrieved September 22, 2009
  13. ^ “Museum of Modern Art Dadabase” “New York Art Resources” retrieved September 22, 2009
  14. ^ Kostelanetz, Richard. “Barbara Rosenthal” “Dictionary of the Avant-Gardes” ISBN 978-0-02-865379-2 retrieved September 22, 2009
  15. ^ Rosenthal, Barbara “Catalogue Raisonne” eMediaLoft.org October, 2006, retrieved September 22, 2009
  16. ^ a b Carswell, Clare “New Life Berlin Festival: Barbara Rosenthal” “Interface” June 2008, retrieved September 22, 2009
  17. ^ Rosenthal, Barbara (1998). Soul & Psyche. Rochester, NY: Visual Studies Workshop Press. ISBN 0-89822-121-8. 
  18. ^ “Photography Now” retrieved September 22, 2009.
  19. ^ a b Creston, Bill. "“Barbara Rosenthal” Video History Biographies". Experimental TV Center, Owego, NY. http://www.experimentaltvcenter.org/history/search/search.php3?id=708&base=bios. Retrieved 5 December 2008. 
  20. ^ Handy, Ellen (September 1999). "First Impressions, Last Resorts: Printmaking at the End of the Century". Center Quarterly (Woodstock, NY). 
  21. ^ a b Kostelanetz, Richard."Dictionary of the Avant-Gardes," Second Edition, h.b., Chicago Review Press, 1993 ISBN 0-02-865379-3
  22. ^ a b Carswell, Clare (October/November 2008). "Existential Interaction". NYArts Magazine (New York, NY). 
  23. ^ Rosenthal, Barbara. "A Crack in the Sidewalk," "The Franklin Square Bulletin", 1959-61
  24. ^ Rosenthal, Barbara (2006). Sensations. Rochester, NY: Visual Studies Workshop Press. ISBN 0-89822-022-x. 
  25. ^ [1] rertrieved October 20, 2009
  26. ^ Rosenthal, Barbara, "Homo Futurus," Visual Studies Workshop Press, Rochester, NY, 1986. ISBN 0-89822-046-7 retrieved October 20, 2009
  27. ^ a b Handy, Ellen, "Messages: Carlo LaMagna Gallery", Arts, New York, NY, Feb 1988, retrieved October 20, 2009
  28. ^ Rosenthal, Barbara, "Catalogue Raisonne 2007", eMediaLoft.org, New York, NY, 2007. retrieved October 20, 2009
  29. ^ Rosenthal, Barbara. Homo Futurus, Visual Studies Workshop Press, Rochester, NY, 1986 ISBN 0-89822-046-7
  30. ^ Fletcher,Milton. [2]"Taboo or Not Taboo", NY Arts magazine, March–April 2006, retrieved October 20, 2009
  31. ^ Carswell,Clare. [3]"Existential Interaction", NY Arts magazine, Nov-Dec 2008, retrieved October 20, 2009
  32. ^ http://www.tina-b.eu/en/stranka-programme-4
  33. ^ Carswell,Clare. Directors Lounge / Lucas Carrieri Gallery, Berlin, Flash Art magazine, October, 2009.{[4]}retrieved Oct. 30, 2009
  34. ^ a b http://www.tina-b.eu/en/gl-barbara-rosenthal-150
  35. ^ http://www.tina-b.eu/en/stranka-tina-b-on-the-road-13
  36. ^ Boyle, Diedre, "Less is More, and other Video Verities," Sighlines magazine, Summer, 1982. Retrieved November 13, 2009.
  37. ^ a b c d e Carswell, Clare. "Barbara Rosenthal:Directors Lounge / Lucas Carrieri Gallery, Berlin","Flash Art International" magazine, November 2009, retrieved November 13, 2009
  38. ^ a b c Eisenlohr, Klaus. "Netspanung Showcase” Media Arts and Electronic Culture, June, 2009. Retrieved November 13, 2009
  39. ^ Russell, John. "Views of Jewishness In Museum Video Show" New York Times, Friday, July 29, 1988. [5] Retrieved November 13, 2009
  40. ^ a b Eisenlohr, Klaus.“Frameworks Archive” , June 2009, retrieved September 11, 2009
  41. ^ Carswell, Clare. “New Life Berlin Festival : Barbara Rosenthal : 'I Think You Think. What Do You Think ?'” “Interface Critical Writings”, June 2008, retrieved September 11, 2009
  42. ^ Yerkov, Sergei. “Existential Cartoons: Barbara Rosenthal in Moscow” “NY Arts” magazine, November–December 2007, retrieved September 11, 2009
  43. ^ a b [6] retrieved September 11, 2009
  44. ^ Russell, John. “Views of Jewishness In Museum Video Show” “NY Times”, Friday, July 29, 1988, retrieved September 11, 2009
  45. ^ [7], Budapest, Hungary
  46. ^ "MoMA Dadabase 'Barbara Rosenthal'” retrieved September 22, 2009
  47. ^ [8]
  48. ^ Rosenthal, Barbara (2006). "Catalogue Raisonné". eMediaLoft.org. http://www.emedialoft.org/artistspages/imagesbr/BR-CatRais10.19.06.pdf. Retrieved 5 December 2008. 
  49. ^ Wallis, Brian. "Red Gate Gallery, Residencies, Past Participants" retrieved Sept. 8, 2009
  50. ^ Hocking, Ralph. "Experimental Television Center 1971 - present" retrieved Sep. 8, 2009
  51. ^ Creston, Bill. [9], retrieved Sept. 8, 2009
  52. ^ www.emedialoft.org/artistspages/frameResume.htm
  53. ^ [10] retrieved Sept. 8, 2009
  54. ^ [11] Retrieved Sept. 8, 2009

[edit] External links

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