An excerpt from EAI and no place press's forthcoming publication, The New Television: Video After Television.

The Carolee Schneemann Foundation and EAI are pleased to offer three programs of film and video available for free screening online from December 15, 2023–January 30, 2024.

Kenneth White’s essay addresses Schneemann’s 1967 performance, Snows, and the accompanying video piece, Viet-Flakes (1962-67) to examine Schneemann’s intricate engagement with the visual dynamics of war from the seat of American imperialism.

Celebrating the addition of Ilana Harris-Babou into distribution, EAI is pleased to feature this essay by Wendy Vogel on the role of aspirational culture in the artist’s work.

This exemplary episode of Jaime Davidovich’s The Live! Show demonstrates the artist’s singular approach to television revue, described by writer Ava Tews as “Dada cabaret, inspired in equal parts by Fluxus and Ernie Kovacs.”

Alongside our far-reaching oral history with videomaker Susan Milano, EAI presents a tape documenting the installation of her video environment Taxi (1978), a “nostalgic nod to the last generation of the Brooklyn cabbie.”

On the occasion of Electronic Arts Intermix (EAI)’s 50th anniversary, Frieze has invited the organization to program a series of videos from its collection of over 4,000 titles on monitors throughout the fair.

In this selection of five works by Phyllis Baldino, the artist experiments with the nature of capturing and viewing images in a variety of approaches, ranging from rephotographing screens to turning the camera on a pair of onlookers.

Alongside our May 4th collaboration with Triple Canopy, we present a program of works that explore rituals, symbols, and lore, featuring titles by Ilana Harris-Babou, Ulysses Jenkins, Philip Mallory Jones, and Anthony Ramos.

Barbara Hammer’s My Babushka: Searching for Ukrainian Identities (2001) is a personal video documentary that “centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine,” available to view through May 30th.

Raindance was an influential media collective founded in 1969. This “media primer” by member Michael Shamberg typifies the group’s vision for guerrilla television, democratized, grassroots media meant to challenge the medium’s commercial interests and structure.

In her response to Howard Wise’s early vision for video art, critic and Art in America editor Emily Watlington considers the dissemination of “truth” in contemporary moving-image art.

The Computer Arts Festival (1973-75) were an early forum showcasing innovations in new media. A selection of 17 film and videos screened in the festival’s three years supplement a pair of panels on the event’s history and resonance.

In the wake of Occupy Wall Street, artist Zoe Beloff staged a guerrilla reimagining of Bertolt Brecht’s 1949 play The Days of the Commune, drawing a connection between the late 19th century Paris Commune and contemporary modes of protest. EAI features her film, marking ten years after the dissolution of the Zuccotti Park encampment.

Lori Zippay, Director Emerita of EAI, considers Ant Farm’s Dirty Dishes (1971/2003), a freewheeling early Portapak document with the distinction of being the first video added to EAI’s collection.

Art historian and critic Alex Kitnick considers how Wise’s background in business inflected his utopian vision, reflecting a larger post-’60s moment in which the counterculture and the corporation were making strange bedfellows.

Published in 1973, At the Leading Edge of Art was a 14-page prospectus by Electronic Arts Intermix (EAI) founder Howard Wise (1903-1989), outlining the philosophical approach and mission of the organization.

Poet, artist, and curator Anaïs Duplan responds to two works by Lawrence Andrews, discussing the artist’s approach to constructing narrative from "dark noise," the relationship between legality and legibility, and the complexities of communication at large.

EAI and Maysles Documentary Center are pleased to co-present a three-week streaming program of the work of Philip Mallory Jones, launching with an online screening and conversation on May 20th.

Peggy Ahwesh’s She Puppet (2001) and Sondra Perry’s IT’S IN THE GAME ‘17 (2017) both take appropriated video game footage as a starting point. Curator Giampaolo Bionconi discusses both titles’ use of the medium, and their respective commentaries on virtuality, identity and theft.