Peter Campus Trailers
R-G-B TrailerSet of Co-incidence TrailerCasual Relations Trailer
Born in 1937, Peter Campus studied experimental psychology at Ohio State College and film at the City College of New York. His early tapes explore the anatomy of the video signal in relation to human psychology and perception. "The video camera makes possible an exterior point of view simultaneous with one's own. This advance over the film camera is due to the vidicon tube, similar to the retina of the eye, continually transposing light (photon) energy into electrical energy... It is easy to utilize video to clarify perceptual situations because it separates the eye-surrogate from the eye-brain experience we are all too familiar with." Campus was one of a group of artists in the mid-70s who produced work in the experimental TV labs at WGBH in Boston and WNET in New York. In addition to numerous single-channel works, he has investigated the characteristics of "live" video through closed-circuit video installations and elaborate sculptural works whose structural components included video cameras, projectors, and monitors.
Most Popular Peter Campus Trailers
Total trailers found: 14
01 January 1974
Writes Campus, "I made this tape shortly after my father's death. His death permeates the tape, both in the quality of my performance and in the content.
01 January 1971
Dynamic Field Series is made up of three elements and four distinct spaces that turn within a closed loop: the artist's body, his electronic double, the ghost of this double and beyond that, the ghost of the viewer.
01 January 1971
Campus investigates the metaphoric overlap between properties of the video camera and processes of human perception, an area of great interest to many early videomakers.
01 January 2000
In 2000 [Campus] went through several months of radiation treatment after being diagnosed with cancer.
01 January 1973
"The tape is one of the seminal works in video. In three short exercises, Campus uses basic techniques of video technology and his own image to create succinct, almost philosophical metaphors for the psychology of the self.
01 January 1976
A jumble of mirrored tiles is slowly placed on a table-top, the random heap reflecting a fragmentary portrait of the face of the person performing the act, one that is continually in flux.
08 March 2019
shinnecock bay presents two views of the eponymous body of water on the coast of Long Island. Shot five years apart and on opposite sides of the inlet, the two works—leeward and locks eddy —chart the artist’s continued engagement with the sea, and the increasingly sophisticated video technologies he uses to capture it.
01 January 1976
Here, Peter Campus explores video, not as a demonstration of special effects, but as a way of placing his own body in the presence of an immediate double.
01 January 1974
Writes Campus, "My most dryly stated tape, free of insinuation, [R-G-B] is simply the exploration by a performer of the color system in which he is trapped, much like a prisoner pacing off his cell.
08 March 2019
shinnecock bay presents two views of the eponymous body of water on the coast of Long Island. Shot five years apart and on opposite sides of the inlet, the two works—leeward and locks eddy —chart the artist’s continued engagement with the sea, and the increasingly sophisticated video technologies he uses to capture it.
01 January 1976
In "East Ended Tape" Peter Campus and Susan Dowling are the subjects of a series of video portraits. The shadow of Dowling's hand passes over her face slowly, obscuring her features.
01 January 1997
Video work by Peter Campus
01 January 1968
Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a stark, windswept landscape.
13 November 1973
In Rappaport’s dazzling and bizarre feature-length debut, he focuses on states of imaginative possession and dispossession, demonstrating how impossible it is to separate fantasies, dreams, and realities.
