A few views of water and trees from my month long stay in Phoenecia, NY. This video utilizes an editing technique (a sort of continuous slow horizontal slide) that I conceptualized for more than a year. After several failed attempts I finally figured out how to make it work.
Live audio visual improvisation on 06/10/2016 at Modern Makers in Cincinnati, OH.
Ofir Klemperer (electronics), Eddy Kwon (violin), Zach Larabee (percussion), Sayak Shome (images), Charles Woodman (images), Matt Coors (wall treatment), Andy Knolle (projector massage), Harry Sanchez (projector massage), Dan Leonard (live camera), Melissa Godoy (documentation)
""Pulse Generator Pastry" is my first collaboration with my mother, the ceramic artist Betty Woodman. Betty created the shapes which contain the patterns in the video, based on the forms she uses in her work. I used those shapes as stencils into which both the positive and negative spaces were filled with textures, created using a piece of electronic test equipment called a pulse generator. The video was show in the storefont window at Salon 94 Gallery, during Betty’s show there in spring 2016. on Somehow the rapper ASAP Ferg ended up shooting part of his video for "Let It Bang" standing in front of the work.
Live cinema audio/visual improvisation. Brief excerpts from four 2015 performances - San Francisco Cinematheque 4/15, Headlands Center for the Arts 5/15, Spazio Contemporanea, Brescia, Italy 6/15, Micro Mini Cinema, Cincinnati 8/15
Live audio visual improvisation on 09/3/2015 at Micro Mini Cinema in Cincinnati.
Zach Larrabee (percussion), Dave McDonnell (saxophone and electronics), Loraine Wible (images), Charles Woodman (images)
Live audio visual improvisation with Phi 4 on 06/11/2015 at Spazio Contemporanea, Brescia, Italy.
Charles Woodman (images), Maurizio Rinaldi (Electro-acoustic sound act), Fabrizio Saiu (Percussion act)
Live Audio Visual Improvisation on 11/03/10 at Herron School of Art, Indianapolis, IN. Eddy Kwon (violin), Lief Fairfield (violin), Margaret Schedel (midi cello), Valierie Opielski (guitar), Charles Woodman (images)
Demo of five screen installation. I was fascinated by the photos on gravestones in the Cemetery at San Minato in Florence, Italy. I began to think about the way in which a single image came to represent the entire lived experience of the person. Cinema as a whole also seems to be about representations of actions. I wondered about trying to film an experience directly lived as opposed to being represented. "I Morti" presents four streams of diary footage, images of daily life and travel. Collected over a 4 or 5 year period, these function as a counterpoint to the images of the dead on the fifth screen.
When considering the future of archives, it is essential to consider the role of archivists. Archives have suffered from a multi-decade cycle of poverty that stunts their ability to provide adequate care for records and services for users. The role of archival interventions carried out by archivists is often overlooked and invisible to users and the general public. Well-managed and useful archives require archivists to oversee their care. Archivists play a critical role in responding to concerns about digital cultural heritage loss, but their marginalization from the public sphere remains a significant challenge.
As the Public Library of Cincinnati and Hamilton County expanded at the beginning of the twentieth century, the library’s trustees turned to Andrew Carnegie to build new branch libraries. The construction of Cincinnati’s Carnegie branches extended access to dedicated library facilities outside of the downtown basin, because the branches were primarily built in the emerging hilltop neighborhoods. The library trustees were largely responsible for location decisions. Community associations saw the construction of a neighborhood branch as a desirable status symbol, and regularly attempted to influence the trustees’ decisions in their favor.
Discussion of the likely impacts of climate change on archives is significantly deficient in the archival profession. Archives hold rare and unique materials that are irreplaceable and institutional adaptation to climate change is critical to the survival of these resources. The earliest effects of climate change are likely to be increased weather events that threaten the physical safety of holdings. Hurricanes, floods, and fires pose particular risks to archives due to potential damage to buildings as well as from limitations of local infrastructure to rapidly respond to disasters. Disaster preparedness for archives needs to include planning responses to a wide variety of situations that threaten holdings. As societies begin to adapt to climate change, archivists should consider how values of sustainability and resiliency might inform archival practice.
This first 16mm film made after graduate school, and also my last. Coyote Tracks culminates my interest in Semiotics and the exploration of cinema as a linguistic system. Each shot represents a single “pictograph” in a sentence describing a narrative journey. Shot in New Mexico and featuring a cast of old friends.
Companion/sequal to "Lota’ Burger" produced a few days later, and under the same circumstances. This tape uses a similar methodology, this time with a moving camera, shot from a car, and a more complex series of overlapping wipes. Produced at Eve Muir Studios.
An early experiment with time based correction and the ability to mix two tapes together, as well as one of the few projects in which I worked with an online editor who operated the controls at my direction. This tape features two versions of the same image (shot in Santa Fe) slightly staggered in time and then wiped over each other. Edited at Eve Muir studio by Trevor Long. I was paying for the studio time to edit a project for LANL and was able to squeeze extra time in to edit two videos, this one and San Mateo Drive.
My first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space. Subsequently, each of the 2x2 grids of images composing the two sides (L&V) was transferred to a single tape. These are represented here as LX4 and Vx4.
Produced almost entirely at Experimental Television Center (ETC), the video uses a simple animation of a rotating rectangle (produced in Deluxe Paint on the Amiga Computer) as a stencil into which are keyed various versions of a processed live image of the river outside the window at ETC. This was my second attempt at a multi channel piece. The four programs have been shown in grid’s of twelve and sixteen monitors. While relatively simple in structure and shown only three times, this remains a personal favorite.
A mostly formal exercise in composition and image processing, using footage of water. Probably the first in a ongoing series of works dealing with landscape, investigating the idea of video as a contemplative viewing experience akin to painting. Filmed in California and Mexico, and developed over the course of two visits to Experimental Television Center. Final editing at PPG onto 1” open reel tape.
My first multi channel work for synchronized video streams. The piece starts in Cape Cod and moves gradually across the North American continent, ending at the Pacific Ocean. There is no attempt to cover all this of ground in any complete way - the work is an assembly of the places I traveled to and landscapes I admired during the four-year period in which I collected the material. All the scenes were shot with a single camera, then staggered in editing to create the appearance of a continuous shot. During filming I would pan, pause, and then move again, resulting in a series of staggered movements in which the different screens appear to drift in and out of synchronization.
A meditation/celebration of the Spaghetti Western and the pornography of violence. An homage to Sergio Leone and Ennio Morricone. Copies of scenes from the original films, rented on VHS, were edited into a compilation reel. That material was processed at ETC, where Scott Davenport also added the text layer. Several versions of that were edited at PPG in an additive process, A+B=1 C+D=2, then 1+2= X, to create a ‘’final” hour-long version. The shorter “ sit down version was then created from that material.
Three part work created for my exhibition at Shirley Jones Gallery in Yellow Springs, Ohio. Features dance treatments from Experimental Television Center, as well as footage from my backyard on Riddle Rd in Cincinnati. The piece was projected onto the store front windows of the gallery.
These images were created to accompany the music track by Odd Nosdam, with whom I had done a few live shows that year in San Francisco and one a few years earlier at VOLK in Cincinnati. I admire the distorted and gritty feel of the track and developed an image treatment which worked well with that texture.
The images for "Heaven" were produced at the Experimental TV Center. Nicholas Economos and I shared part of the residency and he helped me develop this complex patch using both the Jones Frame Buffer and Jones Keyer with a slow oscillator varying the amount of “trails” we see at any one time.
Table of Elements was specifically conceived and designed for use in a health care environment. The ideal situation for this work is in a hospital waiting room, "Table of Elements" attempts to shift the viewer’s experience away from the typical mode of watching a moving image and towards a way of observation more akin to the way in which we view a painting. I’m interested in creating a tension between the static and the dynamic. Initially the work may at times appear unchanging, although never static, and the piece, which at first may seem like it can be absorbed in a single glance, gradually reveals new dimensions of itself over time, or through repeated encounters. The work is exhibited as a diptych, with two synchronized video loops displayed on two adjacent monitors.
Edited excerpts of the performance documentation from 2/25/2012. Curator and long time viDEO sAVant supporter Steve Liggeitt, of Living Arts of Tulsa, paired the sAVant crew with a group of choreographer/dancers for this improvisational extravaganza.