Death Threat

"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. In these concise performances, he employs video's inherent properties as a metaphorical vehicle for articulating transformations of internal and external selves, illusion and reality."

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.

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.

Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a stark, windswept landscape. The 16mm film — silent, black and white, jerky and sped-up — evokes early cinema, while its content locates it in the spare minimalism of the late 1960s.

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. Double Vision inventories strategies for comparing simultaneous images of a loft space produced by two video cameras whose signals are fed through a mixer, thus producing an electronic version of what in film would be called a "double exposure."

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.

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. Campus wraps Saran Wrap around his face. Two halves of Dowling's face come together through superimposition as she turns her head around. Campus' face disappears into a cloud of smoke.

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. The videographs (the artist’s name for this medium) differ in style: leeward is heavily abstracted, while locks eddy has a nearly hyperrealistic degree of definition. In each, campus reveals minute shifts in light and color that would be impossible to register with the naked eye. The result is an exhibition inviting one to meditate on the sublime beauty of the natural landscape, while also noting the gap between what we perceive, what the camera records, and what the artist calls attention to in the video.

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.

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. The videographs (the artist’s name for this medium) differ in style: leeward is heavily abstracted, while locks eddy has a nearly hyperrealistic degree of definition. In each, campus reveals minute shifts in light and color that would be impossible to register with the naked eye. The result is an exhibition inviting one to meditate on the sublime beauty of the natural landscape, while also noting the gap between what we perceive, what the camera records, and what the artist calls attention to in the video.