{"id":642,"date":"2019-03-02T17:08:17","date_gmt":"2019-03-02T22:08:17","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=642"},"modified":"2019-03-02T17:08:17","modified_gmt":"2019-03-02T22:08:17","slug":"colloton","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-4-2015-2016\/colloton\/","title":{"rendered":"Re-Constructions: Preserving the Video Installations of Buky Schwartz"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Eddy Colloton<br><em>The Electronic Media Review, Volume Four: 2015-2016<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Abstract<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Buky Schwartz (1932-2009) was an Israeli-American concep\u00adtual\nartist whose work focused on the nature of perspective and perception. Schwartz\nworked in many different art forms, but he is best known for his single-channel\nvideo works, and video instal\u00adlations. Trained as a sculptor in Tel Aviv,\nSchwartz studied at St. Martin\u2019s School of Art during the 1960s, and moved to\nNew York in the late 1970s, where he began experimenting with video in his SoHo\nstudio. His work was quickly noticed by John Hanhardt, a curator at the Whitney\nMuseum of American Art, who included Schwartz\u2019s <em>Yellow Triangle<\/em> (1979) in the Whitney\u2019s <em>Re-Visions<\/em> exhibition in 1979. Schwartz\u2019s video installations often\ninvolve a distorted, unrecognizable pattern in real space, which, from the\nprivileged perspective of a video camera, forms a coherent image fed to a\nmonitor in the gallery in real-time. Concerned with the psychological process\nof perceiving three-dimensional space, the artist\u2019s video installations are\noften large, made up of a variety of materials, and must be installed to be\nappropriately experienced. As the nature of such a work is accumulated through\nmultiple components, iterations, and concepts, rather than any one partic\u00adular\nobject or thesis statement, the dizzying array of variables and treatments can\neasily become overwhelming. What are the limits of Schwartz\u2019s installations?\nHow rigid an interpretation is restric\u00adtive? How flexible can a work be before\nit loses its identity? By accumulating relevant and significant forms of\ndocumenta\u00adtion, while examining the artist\u2019s oeuvre and creative process, I\nhope to answer some of these questions. Correspondence between the artist and\ncurators, photo documentation of instal\u00adlations, sketches and models created as\nstudies, interviews with the artist and interviews with his collaborators were\nall reviewed and compiled to develop a comprehensive understanding of\nSchwartz\u2019s installations. Using this information, garnered from the artist\u2019s\npersonal archive, the records from multiple museums, and published sources, I\nwill outline prescriptive preservation policies for video installations, which\nhave not been exhibited in decades.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Eddy Colloton <br>MA student <br>Moving Image Archiving and Preservation <br>New York University<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Eddy CollotonThe Electronic Media Review, Volume Four: 2015-2016 Abstract Buky Schwartz (1932-2009) was an Israeli-American concep\u00adtual artist whose work focused on the nature of perspective and perception. Schwartz worked in many different art forms, but he is best known for his single-channel video works, and video instal\u00adlations. Trained as a sculptor in Tel Aviv, Schwartz &hellip; <a href=\"https:\/\/resources.culturalheritage.org\/emg-review\/volume-4-2015-2016\/colloton\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Re-Constructions: Preserving the Video Installations of Buky Schwartz&#8221;<\/span><\/a><\/p>\n","protected":false},"author":40,"featured_media":0,"parent":616,"menu_order":14,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"class_list":["post-642","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/642","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=642"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/642\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/616"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=642"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}