Peter Campus, Andy Mann, Ira Schneider, and Tom Marioni

Everson Museum of Art

As a conference, “Video and the Art Museum” at the Everson Museum was unexceptional. The same antagonisms continue to divide the early experimenters (the video underground) from the latecomers who found museum and media recognition; the distribution of creative work remains problematic; and the panel of critics met with a hostility born of fundamental mistrust and a perception of critics and curators as units in a political and economic system that represses the video artist. Perhaps I was overly optimistic to expect this conference to quiet my misgivings about video art. Conferences are to get business done and teach access to tools. They are not generally sources of critical or generative thought about their own basic premises.

The museum, however, mounted several video installations in conjunction with the conference of which Peter Campus’ Closed Circuit, a series of seven works taking

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