Steina and Woody Vasulka

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The Vasulkas, 1981. Photo: Meridel Rubenstein.
Born January 20, 1937(1937-01-20) (Woody)
Brno, Czechoslovakia
Born January 30, 1940(1940-01-30) (Steina)
Reykjavík, Iceland
Died December 20, 2019(2019-12-20) (aged 82) (Woody)
Web UbuWeb, Artlist.cz (Woody), Artlist.cz (Steina), Wikipedia
Collections Langlois 39 (Steina), EAI 37, Langlois 26, LIMA 26 (Steina), MoMA 21 (Woody), ZKM 21 (Steina), ZKM 16 (Woody), Vašulka Kitchen, LIMA 15, EAI 18 (Steina), LUX 18, Langlois 12 (Woody), LIMA 11 (Woody), NG Iceland 10 (Steina, Woody), EAI 8 (Woody), VDB 8, SAAM 8 (Woody), Pompidou 7 (Woody), LUX 7 (Woody), Pompidou 5 (Steina), SAAM 5 (Steina), VDB 4 (Woody), SFMOMA 3 (Woody), Reykjavik Art Museum 2 (Steina), VDB 2 (Steina), Thoma Foundation 1+, Reina Sofia 1, NRW 1 (Woody), Stedelijk 1 (Woody), Current 1 (Steina), Berg (Steina & Woody), Berg (Steina), Berg (Woody)
The Vasulkas in their Buffalo studio, 1978. Photo: Kevin Noble (or Jane Hartman?[1]).
Steina in the Vasulkas studio, Buffalo, NY, c.1976.
The Vasulkas
Steina
Woody Vasulka, early 1960s.
Woody Vasulka, c.1965.

Pioneers of video art, having practiced in the genre since its early days in the late 1960s.

Woody Vasulka (born Bohuslav Vašulka, 1937, Brno, Czechoslovakia) studied metallurgy and mechanics at the School of Industrial Engineering in Brno (1952-1956) and in 1960 he settled in Prague to study television and film production at the Academy of Performing Arts, also writing poetry and producing short films.

Steina (born Steinunn Briem Bjarnadóttir, 1940, Reykjavík, Iceland) studied languages, and violin and music theory at the conservatory in Prague.

They met in the early 1960s, married in 1964, and 1965 emigrated to New York where Steina worked as a freelance musician, and Woody edited industrial films at Harvey Lloyd Productions. In 1966, at the request of architects Woods and Ramirez, Woody collaborated on developing films designed for a multi-screen environment to be shown in the American Pavilion at Expo 67 in Montreal. Contact with the cinema enabled Woody to experiment with electronic sound and the stroboscopic projection of moving images. Using a 16 mm Pathe camera, he captured images at 360º, projecting them onto different screens to create three-dimensional sound and light environments. He first came into contact with the electronic video work through the exhibition TV as a Creative Medium, which took place in New York in 1969. The same year he started to experiment with electronic media and produce a pioneering body of tapes, investigating the narrative, syntactical and metaphorical potential of electronic imaging. Using a sound synthesiser and video recorder, Steina began to work on the project Violin Power (1970-1978).

Encouraged by Eric Siegel, who collaborated on their first works, Woody and Steina formed a research group which culminated in the establishment of The Kitchen (Live Audience Test Laboratory) in New York in 1971. The Electronic Kitchen was a laboratory where artists could experiment with the technology of the moment and present their projects in public. By the end of the 1970s, The Kitchen had become an important reference point, though more for the promotion of video art than for technological experimentation.

Woody's numeral experiments began with his construction of the Digital Image Articulator, resulting in his 1973 and 1974 works created using sound and video synthesisers: Vocabulary, The Matter, C-Trend and Explanation. In 1975, he published "Didactic Video: Organizational Models of the Electronic Image", in collaboration with Scott Nygren in issue 3 of the magazine Afterimage, whilst in 1978 "Syntax of Binary Images" came out in issue 6 of the same publication.

In 1974 they moved to Buffalo with their Experimental TV Studio and started teaching at the Department of Media Study at the State University of New York at Buffalo. With the idea of dissociating the camera from the human point of view and treating it as an autonomous imaging instrument, Steina began to work on a series of installations and videos entitled Machine Vision. In 1976 she received a grant from the John Simon Guggenheim which enabled her to complete her the research.

In 1976, Woody received a grant from the National Endowment for the Arts to produce the series Recoded Images as part of the Video IX project, presented at the Museum of Modern Art of New York.

In 1980 they moved to Santa Fe, New Mexico and continued their work in video, media performance, and video installation. Steina used the Digital Image Articulator to record the images for her videos, exploring real landscapes: Selected Treecuts (1980), Search of the Castle (1981), Summer Salt (1982). In 1982, she was given grant by the National Endowment for the Arts and the Rockefeller Foundation to produce her latest version of Earthworks, entitled The West. Steina then worked with the singer and composer Joan La Barbara on the project Event in the Elsewhere, based on experimentation with voice and image.

Woody built different machines from waste material with the aim of creating an articulated control system for recording sound and image. His work Artifacts goes back to this period. He then began practical and theoretical research into what he called "The Epistemic Space". In this research, which spanned several years, he examined forms of interactivity between participant and machine through the voice, language and music. He used multi-channel projection systems, his work becoming ever more three-dimensional. Also, his literary and poetic interests led him to produce a series of single-channel videos (The Commission, 1983, and Art of Memory, 1987) which are considered his most emblematic works.

In 1989, Steina made The Elevator Girls, collaborating with the American Film Institute to produce The Other Asia. In 1990, she completed the installation Ptolemy. In the interactive performance Violin Power, Steina went back to early projects, using the a five-stringed Zeta Midi violin and manipulating her videodisks according to the sound of the musical instrument.

Woody's development of an expressive image-language began as a rigorous deconstruction of the materiality of the electronic signal, and has evolved to the application of imaging codes and digital manipulation to narrative strategies and a series of interactive installations in the 1990s, such as Theater of Hybrid Automata (1990) and The Brotherhood: A Series of Six Interactive Constructions (1990-1996).

Under a commission from Peter Weibel, the Vasulkas curated Eigenwelt der Apparate-Welt: Pioneers of Electronic Art for Ars Electronica, Linz in 1992. In 1993 Woody received a Soros Foundation fellowship to lecture and present work throughout Eastern Europe; and became a visiting professor at the Faculty of Art, Polytechnic Institute, Brno.

In 1995, Steina presented the performance Video Opera in Kwangju (South Korea). In 1996, she was appointed artistic co-director of the Netherlands Musical Research Center at the Studio for Electro-Instrumental Music (STEIM), living in Amsterdam until 1998. During her stay in Europe, she collaborated with Tom Demeyer in developing a system to process image numerically and in real time. At the invitation of Fred Forest, Steina gave the lecture "The Artist and His Tools" at the conference on New Ideas in Science and Art in Prague, whilst in 1997 she represented Iceland at the Venice Biennale, presenting the work Orka.

In 1998, Vasulkas won an award from the National Association of Media and Culture (NAMAC) of San Francisco for their work in the field of media art, later receiving honorary doctorates from San Francisco Art Institute.

Steina has taught at the Academy for Applied Arts, Vienna, the Institute for New Media at the Staedelschule, Frankfurt, and the College of Arts and Crafts, Reykjavik.

In 2014, the Vasulka Chamber, a center of electronic and digital art in Iceland, was established at the National Gallery of Iceland. The Vasulka Chamber is a collaboration with Steina and Woody Vasulka, and includes a part of the Vasulkas’ archive. Later in 2015 the Vasulka Kitchen, a center for new media art in in Brno, Woody’s hometown was founded, dedicated to preserving the legacy of the artist, who passed in December 2019.


Selection from documentaries about The Vasulkas, edited by Michal Kindernay and Lenka Dolanová, 2006. Source.

Works[edit]

The following list of works is based on a number of sources, but mainly Vasulka.org (S, WV, S+WV), Dolanová 2011 (WV, S, WV+S), Berg 2019a (WV), and Berg 2019b (S, S+WV). References are provided for conflictual information such as date and length. In addition, the list also includes a number of works included in early catalogues but omitted from recent videographies.

Woody and Steina[edit]

Video
  • Sketches, 1970, 1/2” Open Reel, b/w, sound, 24:14 min?[1] c.27 min?[2]
    • Alfons, performer: Alfons Schilling. Charles’s Story, performer: Charles Hayworth. Gundance, performer: Daniel Nagrin. Let it be, performer: The Beatles. Red Roses, performer: Jackie Curtis. The Kiss, performer: Helen Wong. Thierry, performer: Thierry Benison.
  • Studies,[3] 1970, 1/2” Open Reel, b/w & colour, c.45 min
    • Calligrams, Mar 1970, b/w, sound, 3:30 min[4]
    • Tissues, Oct 1970, b/w, sound, 1:31 min[5]
    • Decay #1, Oct 1970, colour, sound, 1:57 min[6]
    • Decay #2, Oct 1970, colour, sound, 1:11 min[7]
    • Discs, Mar 1971, b/w, sound, 5:24 min[8]
    • Descends,[9] 1970
    • Interface,[10] 1970, performer: Charles Hayworth, audio: Gino Piserchio
  • Sexmachine,[11] Sep 1970, b/w, 6 min
  • The Jackie Curtis' First Television Special,[12] 1970, b/w, sound, 45 min
  • Don Cherry,[13] with Elaine Milosh, Oct 1970, 1/2” Open Reel, b/w, sound, 19:20 min
  • Evolution,[14] Nov 1970?[15] 1971?[16], 1/2” Open Reel, b/w, sound, 16 min?[17] 12:43 min?[18]
  • Shapes,[19] Mar 1971, b/w, 13 min
  • Black Sunrise,[20] Mar 1971, b/w, sound, 21:08 min
  • Keysnow,[21] Oct 1971, 12 min
  • Elements,[22] Nov 1971, 12 min
  • Participation 1969-1971, 1971, 1/2” Open Reel, b/w, sound, 62:30 min?[23] 63 min?[24], with Paul Ambrose, Ian Anderson, Billy Andrews, Garry Bartz, Tally Brown, Lary Chaplan, Don Cherry, Kevin Coe, Jackie Curtis, Candy Darling, Miles Davis, Jack DeJohnette, Eric Emerson, Estelle!, Christmas Eve, Michael Henderson, Jimi Hendrix, Stephen Holt, Keith Jarrett, Jay Johnson, Aunt Josie, Agosto Machado, Taylor Mead, Buddy Miles, Geri Miller, Mario Montez, Airto Moreira, Paul Morrissey, Ondine, Ritta Redd, Al Sayegh, Silva!, Ekathrina Sobechanskaya, Steve Stanwick, Steina, Artchie Strips, David Susskind, Tinkerbelle, Jethro Tull, Richard Weinstock, Holly Woodlawn
  • Spaces I,[25] Apr 1972, 15 min
  • Spaces II, Aug 1972, 1/2” Open Reel, b/w, sound, 7:50 min?[26] 7:45 min?[27]
  • Home, Jan 1973, 1/2” Open Reel, colour, sound, 16:47 min?[28] 16:45 min?[29]
  • Golden Voyage, Apr 1973, 1/2” Open Reel, colour, sound, 14:12 min?[30] 14 min?[31]
  • Noisefields,[32] Jan 1974, 3/4” U-matic, colour, sound, 12:05 min?[33] 7:05 min?[34]
  • 1-2-3-4, Mar 1974, 3/4” U-matic, colour, sound, 7:46 min?[35] 4:10 min?[36]
  • Solo for Three, Apr 1974, 3/4” U-matic, colour, sound, 4:15 min?[37] 7:10 min?[38]
  • Heraldic View, May 1974, 3/4” U-matic, colour, sound, 4:21 min?[39] 4:17 min?[40]
  • Soundgated Images, Summer-Autumn 1974, 3/4” U-matic, colour, sound, 9:22 min?[41] 9:15 min?[42]
  • Telč, Aug 1974?[43] 1973?[44], 1/2” Open Reel, colour, sound, 5:10 min[45]
  • Soundsize, Sep 1974, 3/4” U-matic, colour, sound, 4:40 min
  • Update,[46] Aug 1977/Apr 1978, 30 min
  • In Search of the Castle, Feb 1981, 1/2” Open Reel, colour, sound, 9:29 min?[47] 9:40 min?[48]
  • Progeny, with Bradford Smith, Feb 1981, 1/2” Open Reel, colour, sound, 18:28 min?[49] 18 min?[50]
  • Pariah,[51] with Tim Thompson, 1984, 1/2” Open Reel, colour, sound, 26:05 min
  • The Pen,[52] 1986
  • In the Land of the Elevator Girls,[53] 1989,[54] SVHS, colour, sound, 4:00 min?[55] 4:16 min?[56]
  • Events in the Elsewhere,[57] with Joan La Barbara, 1989, 1/2” Open Reel, colour, sound, 15:40 min
  • Doris,[58] 1992?[59] 1983?[60], 1/2” Open Reel, colour, sound, 16:35 min
  • Techne and Eros,[61] 1999, digital video, colour, sound, 14:35 min, with Mort Subotnick, Jim Crutchfield, Diane Armitage, Oliver Scott, David Dunn, Joan La Barbara, Simone Aaberg, Tom Demeyer, Bruce Hamilton, Russ Gritzo
Installations
  • Matrix I,[62] 1970-1972, video installation, 12 monitors, b/w, sound, 24:20 min, dimensions variable. Exhibitions: Everson Museum of Art (Syracuse, NY, 1976), Center for Contemporary Arts (Santa Fe, NM, 1995), SFMOMA (San Francisco, 1996), Guggenheim Museum SoHo (New York, 1996), ZKM (Karlsruhe, 2006-2007).
  • The West #1,[63] 1972, video environment, two channels, b/w, sound, 15 min cycle
  • Matrix II, 1970-1972?[64] 1974?[65], video installation, 12 monitors, colour, sound, 8:30 min, dimensions variable. Exhibition: ZKM (Karlsruhe, 2006-2007).
  • Soundprints,[66] Aug 1972/1992, two channels, b/w, sound, variable cycle
  • The West #2,[67] 1983, video environment, two channels, colour, sound, 30 min cycle. Exhibitions: University Art Museum (Albuquerque, NM, 1983), The Kitchen (New York, 1983), C.G.Rein Gallery (Santa Fe, NM, 1984), Centre Georges Pompidou (Paris, 1984), Cine-MBXA (Paris, 1984), Long Beach Museum of Art and Exhibit Hall (Long Beach, CA, 1985).
TV programs

Woody Vasulka[edit]

Films

Realised in Czechoslovakia:

  • Zdymadla [The Locks], 1960, 16mm, silent, 10 min, lost
  • Ve dvě odpoledne [Two P.M.], 1961, 35mm, sound, 16 min
  • Jazz Festival v Karlovych Varech [Jazz Festival in Carlsbad],[68] 1961, 35mm, sound, 20 min
  • Záchytná stanice [Withdrawal], 1962?[69] 1963?[70], 35mm, sound, 7 min?[71] 12 min?[72]
  • Odjezd branců [The Recruits], 1962, 35mm, sound, 6 min?[73] 17 min?[74]
  • U pana Čapka [Visiting Mr. Capek], 1963?[75] 1964?[76], 35mm, sound, 6 min?[77] 15 min?[78]
  • Předměstí [The Outskirts], 1963?[79] 1964?[80], 35mm, sound, 11 min?[81] 17 min?[82]

Realised in Iceland:

  • Velrybářská stanice [Whale Cutting Station], 1964, 35mm, sound, 10 min?[83] 12 min?[84]
  • Sezóna v Seydisfjordu [The Herring Season in Seydisfjordur], 1964, 35mm, sound, 12 min?[85] 20 min?[86]

Realised in Algeria:

  • Two films for Bureau Politique du Gouvernement algerien; not completed. Winter 1965.[87]

Realised in the United States:

  • Studies for Scan Processor,[88] 1975-1977, 16mm transferred to video
  • The City,[89] 1975, 16mm, stereo sketch, silent, 3 min
  • Gorge,[90] 1975, 16mm, stereo sketch, silent, 3 min
  • Noiseplane,[91] 1975, 16mm, silent, 3 min
  • Grazing,[92] 1975, 16mm, silent, 19 min
  • No. 18 (Krysuvik),[93] 1975, 16mm, silent, 11 min
  • E-Object,[94] 1976, 16mm, silent, 11 min
  • No. 20,[95] 1976, 16mm, silent, 3 min
  • No. 21 (San Francisco streets),[96] 1976, 16mm, silent, 3 min
  • Soundshape,[97] 1976, 16mm, sound, 5 min
  • No. 23 (Seal Cove),[98] 1976, 16mm, silent, 11 min
  • Torso,[99] 1976, 16mm, silent, 4 min
  • No. 24 (Circular Noise),[100] 1977, 16mm, silent, 5 min
  • No. 26 (Rotating Panel),[101] 1977, 16mm, silent, 5 min
  • No. 27 (Frame Sizes),[102] 1977, 16mm, silent, 5 min
  • No. 28 (Face by Wave),[103] 1977, 16mm, silent, 6 min
  • No. 29 (Winding),[104] 1977, 16mm, silent, 8 min
Video
  • Swan Lake,[105] with Ekathrina Sobechanskaya, 1971, 1/2” Open Reel, b/w, sound, 7:25 min
  • Vocabulary, Apr 1973, 3/4” U-matic, colour, sound, 4:17 min?[106] 4:29 min?[107]
  • Explanation, Jul 1974, 3/4” U-matic, colour, sound, 11:45 min?[108] 4:20 min?[109]
  • Reminiscence, Aug 1974, 1/2” Open Reel, colour, sound, 4:48 min?[110] 4:52 min?[111]
  • C-Trend, Oct 1974, 3/4” U-matic, colour, sound, 9:03 min?[112] 8:29 min?[113]
  • The Matter, Dec 1974, 3/4” U-matic, colour, sound, 3:56 min?[114] 4:02 min?[115]
  • Electromagnetic Objects,[116] 1975-2006, b/w, sound, 33:58 min
  • Grazing (Ocean Sounds), 1974-1976, audio Brian O'Reilly 2006, b/w, sound, 8:18 min?[117] 4:36 min?[118]
  • No. 25, 1976, 3/4” U-matic, b/w, sound, 5:30 min?[119] 5:32 min?[120]
  • Artifacts, Oct 1980, 3/4” U-matic, b/w & colour, sound, 21:20 min?[121] 22:52 min?[122]
  • The Commission, with Ernest Gusella, Robert Ashley, Cosimo Corsano, Ben Harris, Andrea Harris, David Ossman, Bradford Smith, Peter Kirby, 1983, 3/4” U-matic, colour, sound, 44:55 min?[123] 39:16 min?[124]
  • Art of Memory, with Daniel Nagrin, Klein, Doris Cross, Rutt/Etra, Jeffrey Schier, Bradford Smith, Penelope Place, David Aubrey and Steina, 1987, 3/4” U-matic, colour, sound, 36:34 min?[125] 36:37 min?[126]
  • Studies for Hybrid Automata,[127] 1993, 3/4” U-matic, colour, sound, 8:44 min
  • Woody Plays the Maiden,[128] 1998, digital video, colour, sound, 6:07 min
  • Sonifications, Variations on Studies for Scan Processor,[129] 2006, digital video, colour, sound (by Brian O'Reilly), 33:45 min
Installations
  • A Meeting/Greeting,[130] [1967], unrealised plan for installation-performance
  • 360 Degree Camera/Scanner,[131] 1968
  • Projected Strobe,[132] 1968
  • Hand-held Strobe Projector,[133] 1968
  • Light-Activated Screen,[134] 1968
  • Aimless People,[135] 1968, film installation, 3 screens, 16mm, sound, 4 min
  • Peril in Orbit,[136] 1968, film installation, 3 screens, 16mm, sound, 4 min
  • 360 degree space records,[137] 1968, 16mm film, 3 screens, sound, 4 min
  • Time/Energy Objects,[138] 1975, 16mm, 3 screens, silent, 13 min
  • Three Documentaries,[139] year unknown, film installation, 3 screens
  • The Brotherhood, 1990-1998, six computer-driven opto-electro-mechanical constructions. Exhibitions: Moravian Gallery Governor's Palace (Table 3, Brno, 1994), LACE (Table 3, Los Angeles, 1994), Federal Exhibition Hall (Tables 2 and 3, Bonn, 1994), SFMOMA (Tables 1-3, San Francisco, 1996), NTT ICC (Tables 1-6, Tokyo, 1998), Czech Centre London (2006), ZKM (Tables 2 and 5, Karlsruhe, 2006-2007).
    • Table 1: Translocations, 1996, interactive computer-driven opto/electro/mechanical construction, dimensions variable, with Russ Gritzo and Bruce Hamilton
    • Table 2: Theater of Hybrid Automata, 1990, internally interactive video/computer/sound construction, dimensions variable, with Don Buchla and Russ Gritzo
    • Table 3: Friendly Fire, 1994, interactive computer-driven opto/electro/mechanical construction, dimensions variable, with Russ Gritzo, Bruce Hamilton and Tom Joyce
    • Table 4: Stealth, 1998, interactive computer-driven opto/electro/mechanical construction, dimensions variable, with Aaron Davidson and Thomas Ashcraft
    • Table 5: Scribe, 1998, interactive computer-driven opto/electro/mechanical construction, dimensions variable, with Russ Gritzo, Bruce Hamilton and Roderick Peyketewa
    • Table 6: The Maiden, 1998, interactive computer-driven opto/electro/mechanical construction, dimension variable, with Steina, Russ Gritzo, Bruce Hamilton, Susan Hamilton, Jamie Hamilton, Roderick Peyketewa, Van Baer, Tom Demeyer and Rutt/Etra
  • Light Revisited – Noisefields,[140] 2001, video, colour, sound, 10 min cycle. Exhibitions: Muzeum města Brna / Špilberk (2016), Moravska galerie Brno / Pražákův palác (2017), GHMP / Dům U Kamenného zvonu (2019).
  • Shining Moment,[141] 2004, video, colour, sound, projector stands, mirrors, 5 min cycle
  • Digital Vocabulary, with Sliders_Lab (F. Curien, J.-M. Dallet, H. Jolly), 2014. [11]

Steina[edit]

Video
  • Distant Activities,[142] May 1972, 1/2” Open Reel, colour, sound, 6 min?[143] 4:48 min?[144]
  • From Cheektowaga to Tonawanda,[145] Jun 1975, colour, sound, 36 min
  • Signifying Nothing,[146] Jun 1975, b/w, 15 min
  • Land of Timoteus, Sep 1975/Mar 1976[147], 1/2” Open Reel, b/w, sound, 15 min?[148] 6:46 min?[149]
  • Sound and Fury,[150] Oct 1975, b/w, 15 min
  • Switch! Monitor! Drift!,[151] Nov 1976, 1/2” Open Reel, b&w, sound, 50 min
  • Snowed Tapes,[152] Feb 1977, b/w, 15 min
  • Orbital Obsessions, 1975-1977, revised 1988, 3/4” U-matic, b/w, sound, 24:25 min?[153] 24:13 min?[154]
  • Stasto,[155] May 1977, 7 min
  • Flux, Nov 1977, 3/4” U-matic, b/w, sound, 7:25 min?[156] 8:12 min?[157]
  • Nam June Paik,[158] with Esther Harriott, 1977?[159] 1978?[160], 3/4” U-matic, colour, sound, 25:55 min
  • Funtime at the Vasulkas,[161] with Tom Busch, Hollis Frampton, Jeffrey Schier, and Paul Sharits, 1978/2006, 3/4” U-matic, colour, sound, 7:30 min
  • Violin Power, 1970-1978, 1/2” Open Reel, b/w, sound, 10:04 min
  • Bad, Dec 1979, 3/4” U-matic, colour, sound, 2:14 min?[162] 2:10 min?[163]
  • Selected Treecuts, Mar 1980[164], 3/4” U-matic, colour, sound, 8:11 min?[165] 6:39 min?[166]
  • Cantaloup, with Jeffrey Schier and Woody Vasulka, May 1980, 3/4” U-matic, b/w & colour, sound, 27:54 min?[167] 22:56 min?[168]
  • Urban Episodes, with Josef Krames and Woody Vasulka, Jun 1980, 3/4” U-matic, colour, sound, 8:50 min?[169] 8:59 min?[170]
  • The Making of Urban Episodes,[171] 1980, 3/4” U-matic, colour, sound, 2:20 min
  • Summer Salt, Feb 1982, 3/4” U-matic, colour, sound, 18:48 min?[172] 17:56 min?[173]
  • The Making of Somersault,[174] 1982, 3/4” U-matic, colour, sound, 1:30 min
  • Voice Windows,[175] with Joan La Barbara, 1986?[176] 1987?[177], 1/2” Open Reel, colour, sound, 8:10 min?[178] 8:05 min?[179]
  • Lilith, with Doris Cross, 1987, 3/4” U-matic, colour, sound, 9:12 min
  • Aria,[180] 1987?[181] 1994?[182], 3/4” U-matic, colour, sound, 3:13 min
  • Ptolequad,[183] 1990, 3/4” U-matic, colour, sound, 12:20 min
  • Vocaquad,[184] with Joan La Barbara, 1990, 3/4” U-matic, colour, sound, 11:35 min.
  • Eigenwelt,[185] with Peter Weibel, Lee Harrison, Stephen Beck, Lori Zippay, Glen Southworth, Bill Etra, Ralph Hocking, Sherry Miller Hocking, Eric Siegel, David Dunn, David Muller, MaLin Wilson, Melody Sumner Carnahan and Michael Sumner, 1992?[186] 1993?[187], Hi 8, colour, sound, 15:05 min
  • Warp, 1994?[188] 2000?[189], digital video, colour, sound, 4:30 min?[190] 4:13 min?[191]
  • A So Desu Ka,[192] 1993?[193] 1994?[194], SVHS, color, sound, 9:33 min
  • Pyroglyphs, with Tom Joyce, 1995, Hi 8, colour, sound, 27:20 min?[195] 26:05 min?[196]
  • Orka, 1995?[197] 1997?[198], Hi 8, colour, sound, 16 min?[199] 15:11 min?[200]
  • MidiViolin,[201] with Michael Saup, Tim Thompson, Saburo Teshigawara, Joan La Barbara, Michel Waisvisz, Leatitia Sonami, Cas de Marez, Trevor Wishart and Francis M. Uitti, 1999, 3/4” U-matic, colour, sound, 10:50 min
  • Trevor,[202] with Trevor Wishart, 1999?[203] 2000?[204], digital video, colour, sound, 11:06 min
  • Lava and Moss,[205] 2000, digital video, colour, sound, 15:09 min.
  • Music in the Afternoon,[206] with Tony Conrad, 2002, digital video, colour, sound, 4:15 min
  • Twisted Water,[207] 2004, Hi 8, colour, sound, 4:33 min
  • Rome Performance,[208] 2004, digital video, colour, sound, 14:40 min
  • Pyrospheres,[209] with Tom Joyce, 2005, Hi 8, colour, sound, 5:57 min
  • Pergament,[210] 2014, digital video, colour, sound, 12:31 min
  • Emerald World Without Us,[211] 2015, colour, sound, 25:59 min
Installations
  • Machine Vision, 1978, electro-opto-mechanical environment, with instrumentation by Josef Krames, Woody Vasulka, and Bruce Hamilton. Exhibitions: Albright-Knox Art Gallery (Buffalo, NY, 1978), Armory Museum (Santa Fe, 1980), Palazzo delle Esposizioni (Rome, 1994-95), Lyon Biennale (Lyon, 1995-96), The Brno House of Arts (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997).
  • Allvision, 1976-1983?[212] 1976?[213], electro-opto-mechanical environment, with instrumentation by Woody Vasulka. Exhibitions: Hallwalls (Buffalo, NY, 1976), The Kitchen (New York, 1978), Folkwang Museum (Essen, 1979), Carnegie Institute Museum of Art (Pittsburgh, 1982), Hudson River Museum (Yonkers, NY, 1983), Center for Contemporary Arts (Santa Fe, NM, 1995), SFMOMA (San Francisco, 1996), The Brno House of Arts (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), Czech Centre London (2006), ZKM (Karlsruhe, 2006-2007), SITE (Santa Fe, NM, 2008). [12]
  • The West, 1983, video matrix, two-channel video, four-channel sound (by Woody Vasulka), 30 min cycle. Exhibitions: Montevideo Gallery (Amsterdam, 1985), Palazzo delle Esposizioni (Rome, 1994-95), SFMOMA (San Francisco, 1996), The Brno House of Arts (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), SITE (Santa Fe, NM, 2008).
  • Geomania, 1987, video matrix, two-channel video, four-channel sound, 15 min cycle. Exhibitions: Vassar College Art Gallery (Poughkeepsie, NY, 1988), Rene Coelho Gallery (Amsterdam, 1990), St. Luke Hospital (Amsterdam, 1994).
  • Ptolemy,[214] 1990, video matrix, four-channel video, eight-channel audio, 10 min cycle. Exhibition: Ars Electronica (Linz, 1990).
  • Vocalizations,[215] with Joan La Barbara, 1990, projected video environment, four-channel video, eight-channel audio, 15 min cycle
  • Tokyo Four,[216] 1991, four-channel video, four-channel audio, 23 min cycle. Exhibitions: Museum of Contemporary Art (Helsinki, 1992), Hallwalls (Buffalo, NY, 1993), Atlantic Center for the Arts (Smyrna Beach, FL, 1993), Palazzo delle Esposizioni (Rome, 1994-95), The Brno House of Arts (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), SITE (Santa Fe, NM, 2008).
  • Violin Power: The Performance,[217] 1991-present, interactive performance. Steina.
  • Borealis, 1993, projected video environment, two-channel video, four-channel sound, 10 min cycle. Exhibitions: LACE (Los Angeles, 1994), Rene Coelho Gallery (Amsterdam, 1994), Palazzo delle Esposizioni (Rome, 1994-95), Center for Contemporary Arts (Santa Fe, NM, 1995), SFMOMA (San Francisco, 1996), Guggenheim Museum SoHo (New York, 1996), The Brno House of Arts (Hi-tech/Art, Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), Stedelijk Museum (The Second, Amsterdam, 1997, video), Museo Universitario del Chopo (The Second, Mexico City, 1998), Taipei Fine Arts Museum (The Second, Tapei, 1998), Inter Communication Center (ICC) (The Second, Tokyo, 1998), Ludwig Museum (The Second, Budapest, 1999), National Gallery Prague (The Second, Prague, 2000), SITE (Santa Fe, NM, 2008), The Brno House of Arts (Sums & Differences, Brno, 2023), National Gallery of Iceland (Borealis, Reykjavík, 2024).
  • Pyroglyphs, 1995, 15 or 18 monitors in a circle, 1 video, 2 audio sources, colour, sound, 27:20 min cycle[218], OR: with Tom Joyce, three-channel video, three-channel audio, 20 min cycle[219]. Exhibitions: Arizona State University Computer Commons Gallery (Tempe, AZ, 1994), Rene Coelho Gallery (Amsterdam, 1994), Palazzo delle Esposizioni (Rome, 1994-95), Center for Contemporary Arts (Santa Fe, NM, 1995), The Brno House of Arts (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), SITE (Santa Fe, NM, 2008).
  • Orka, 1997, projected video environment, three-channel video, three-channel audio, 15 min cycle. Exhibition: House of Arts (Ústí nad Labem, 2016).
  • Nuna,[220] 1998, three-channel video, three-channel audio, 10 min cycle
  • Cascades, with Sissú Pálsdóttir, 2000, projected video environment, six-channel video, six-channel audio, 16 min cycle
  • Mynd, 2000, projected video environment, six-channel video, six-channel audio, 18 min cycle. Exhibitions: ZKM (Karlsruhe, 2006-2007), SITE (Santa Fe, NM, 2008).
  • Lava and Moss, 2000, projected video environment, three-channel video, three-channel audio, 14 min cycle. Exhibition: Entrance Gallery Prague (2016).
  • ... Of the North, 2001, projected video environment, three-channel video, three-channel audio, variable length
  • Bent Scans, 2002, live interactive environment

Exhibition catalogues, brochures[edit]

Scans of the catalogues published between 1978-1998 are sourced from Vasulka.org. Individual catalogue essays and interviews are listed in separate sections below.

Vasulka, Steina: Machine Vision, Woody: Description, Albright-Knox, 1978, PDF.
Steina et Woody Vasulka: Vidéastes: 1969-1984, Ciné-MBXA/Cinédoc, 1984, PDF.
Eigenwelt der Apparate-Welt / Pioneers of Electronic Art, AEC, 1992, PDF, Log.
Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, Rome, 1995, PDF.
Steina and Woody Vasulka: Machine Media, SFMOMA, 1996, PDF.
Woody Vasulka: The Brotherhood, NTT ICC, 1998, PDF.
  • Steina Vasulka: Tokyo Four, Woody Vasulka: Art of the Memory; Interaktiivisen taiteen näyttely / Exhibition of the Interactive Art, Helsinki: Nykytaiteen Museo, and Espoo: Galleria Otso, 1992, 14+27 pp. Exh. held 3-26 Apr 1992 (Helsinki) and 4-26 Apr 1992 (Espoo). (Finnish)/(English)
  • Steina & Woody Vasulka, Denver: Denver Art Museum, 1992, [4] pp, PDF. Exh. brochure. Text by Gene Youngblood. Exh. held 25 Jan-22 Mar 1992.
  • Woody & Steina Vasulka: A Retrospective, Rome, 1996. Exh. held 17-22 Dec 1995.
  • Steina Vasulka: instalace, trans. Eva Uhlířová, Prague: Národní galerie, 1997, 14 pp. Texts by Steina Vasulka, Robert R. Riley, Marita Sturken. Exh. held 24 Jan-23 Feb 1997. Exhibition. (Czech)
  • Steina & Woody Vasulka: Video Works, eds. Minoru Hatanaka, Keiko Koizumi, and Masaki Sekiguchi, Tokyo: NTT InterCommunication Center, 1998, 55 pp, PDF. Text by Yoshitomo Morioko. Exh. held 17 Jul-30 Aug 1998. Exhibition. (Japanese)/(English)
  • Vasulka Lab 1969-2005: Live Archive, ed. Yasmeen Baig-Clifford, Birmingham: Vivid, 2006, 116 pp. Features the Vasulkas in conversation with Don Foresta, essays by Chris Meigh-Andrews and Yasmeen Baig-Clifford. Exh. held 2-18 Mar & 13 Apr-6 May 2006. Press release. [13] [14]
  • Steina: 1970-2000, ed. Katia Zavistovski, forew. Laura Steward Heon, intro. Liza Statton, Santa Fe, NM: SITE, 2008, 128 pp. Texts by Steve Dietz, Liza Statton, Gene Youngblood/Steina. Exh. held 17 Feb-11 May 2008. TOC. Exhibition. Press release.
  • Vasulka-stofa / Vasulka Chamber, eds. Kristín Scheving and Birta Guðjónsdóttir, Reykjavík: Listasafn Íslands, Vasulka-Stofa, 2014, 47 pp. [15] (Icelandic)/(English)
  • Steina: Playback, Cambridge, MA: MIT Press, and Buffalo, NY: Buffalo AKG Art Museum, forthcoming 2025. Essays by Ina Blom, Joey Heinen, and Gloria Sutton; interview with the artist; roundtable conversation with scholars and curators; plate section by Zach Ngin. Exh. curated by Natalie Bell and Helga Christoffersen; MIT List Visual Arts Center, Cambridge, MA, 26 Oct 2024-12 Jan 2025; Buffalo AKG Art Museum, Buffalo, NY, 14 Mar–30 Jun 2025. Brochure. [17]

Essays, writings, statements[edit]

The following bibliography has been derived from exhibition catalogues and the Vasulka.org archives.

  • Woody Vasulka, [Talk in Chicago], n.d., manuscript.
  • Woody Vasulka, Steina, "Early", n.d., [1] p, manuscript.
  • Woody Vasulka, "Transformation" [1974], in Kunst und Video. Internationale Entwicklungen und Kuenstler, eds. Bettina Gruber and Maria Vedder, Cologne: Dumont, 1983, pp 202-203. (German)
  • Woody Vasulka, "Time/Energy Structure of the Electronic Image", Afterimage 3:4, Oct 1975.
  • Woody Vasulka, "Five Lectures" [1976], in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008, pp 411-419. Series of five lectures given at Media Study, Buffalo, 1976.
  • Steina, Woody Vasulka, Jeffrey Schier, [The Vasulka Imaging System], Buffalo, NY, [7 Mar 1978], manuscript.
  • Woody Vasulka, Jeffrey Schier, Tom Moxton, [The Articulator Manual] [c.1979], manuscript. Technical manual for Digital Image Articulator.
  • Steina, Woody Vasulka, "15 années d'images électroniques", trans. Pierre Girard and Dominique Willoughby, in Steina et Woody Vasulka: Vidéastes: 1969-1984, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, pp 11-22. Compilation of extracts from earlier texts. (French)
  • Woody Vasulka, "Artist Page", Vantage Point, Sep/Oct 1984, p 35.
  • Steina, Woody Vasulka, "Objects (1984)", Communications 48: "Vidéo", eds. Raymond Bellour and Anne-Marie Duguet, Paris, 1988, pp 261-263, PDF. Trans. of excerpts. (French)
  • Woody Vasulka, "The New Epistemic Space" [1989], in Illuminating Video: An Essential Guide to Video Art, eds. Doug Hall and Sally Jo Fifer, New York: Aperture, 1990, pp 464-470, OL.
  • Woody Vasulka, David Dunn, "Digital Space: A Research Proposal", Ars Electronica '90. Digital Dreams - Virtual Worlds. Part 2, Linz: Ars Electronica, 1990, pp 268-275; repr., Scan+ 3, Nov 1990, pp 5-8. [23]
    • "Digitaler Raum: Ein Forschungsvorschlag", in Ars Electronica '90. Digitale Träume, virtuelle Welten. Band 2, Linz: Ars Electronica, 1990, pp 268-275. (German)
    • "Lo Spazio virtuale", Comunicazioni sociali 14:2-3, Milan: Vita e pensiero, 1992, pp 201-202. (Italian)
  • Woody Vasulka, "Theater of Hybrid Automata", in Siemens Medienkunstpreis, Karlsruhe: ZKM Center for Art and Media, 1995, pp 72-75. (German)
  • Woody Vasulka, "Notes on Exhibitions: From Printed Matter to Non-centric Space", in Steina and Woody Vasulka. Machine Media, ed. Marita Sturken, San Francisco: San Francisco Museum of Modern Art (SFMOMA), 1996, pp 65-72.
  • Woody Vasulka, "Custodian of the Process" [1996], in Rosanna Albertini, Technological Rituals: Stories from the Annenberg Dialogues, Los Angeles: University of Southern California, Annenberg Center for Communication, 1999. [32] [33]
  • Woody Vasulka, "A Lecture delivered at NTT InterCommunication Center, Tokyo, September 13, 1998" [1998], in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008, pp 392-399.
  • Woody Vasulka, [Articulations in Binary Code: Recollections (A Plenary Lecture by Woody Vasulka delivered on 4 April 2002 at the New Collaborations/Electronic Intersections Conference, Alfred University, New York State)] [2002], manuscript.
  • Steina Vasulka, "On Improvisation", Contemporary Music Review 25:5-6, Oct 2006, pp 405-406.
  • Woody Vasulka, "The Commission", Illuminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 209-216, PDF. [35] (Czech)
  • Woody Bohuslav Vašulka, doctor honoris causa, Prague: Akademie múzických umění v Praze, 2011, 26 pp. Laudatio by Tomáš Ruller, honorary lecture by Woody Vasulka (written Oct 2011, given 16 Nov 2011), essay by Arnold Dreyblatt. [36] (Czech),(English)
  • Woody Vasulka, Čeleben – básně a prózy z mládí, ed. Miloš Vojtěchovský, Brno: Centrum umění nových médií - Vašulka Kitchen Brno, 2022. Publisher. (Czech)

Interviews, conversations[edit]

The following bibliography has been derived from exhibition catalogues and the Vasulka.org archives. Video interviews are listed separately.

  • Stewart Kranz, "Interview: Woody Vasulka", in Science and Technology in the Arts, New York: Van Nostrand Reinhold, 1974, pp 281-282.
  • Woody Vasulka, Jon Burris, Robert Polidori, Steina Vasulka, Jan Sutcliffe, "Conversation", [16 Oct 1977], 30 pp, transcript.
  • Charles Hagen, "A Syntax of Binary Images: An Interview with Woody Vasulka", Afterimage 6:1-2, Summer 1978, pp 20-31; repr. in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008, pp 420-441; repr. in Mémoires vives: From Nam June Paik to Sliders_Lab, ed. Jean-Marie Dallet, Tielt: Lannoo, 2019, pp 148-171.
  • Robert A. Haller, "Interview with Steina" [28 Oct 1980] (program notes for the series Video Art Review), New York: Anthology Film Archives, and Electronic Arts Intermix, Mar 1981; repr. in Video Texts, New York: Anthology Film Archives, 1983, pp 14-15; repr. in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008.
  • Gene Youngblood, "Interview with the Vasulkas" [c.1981], in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008, pp 442-455. Manuscript.
  • Steina, Woody Vasulka, [Studios], Santa Fe, NM, [10 May 1984], manuscript.
  • MaLin Wilson, "Interview with Steina", in Scapes of Paradoxy: The Southwest and Iceland (exh. brochure), Albuquerque, NM: Jonson Gallery, University of New Mexico, 1986.
  • Steina, Peter Weibel, Woody Vasulka, Gene Youngblood, "Santa Fe Talks", [12 Jul 1987], 73 pp, transcript.
  • "Special Discussion: Woody & Steina Vasulka plus Nobuhiro Kawanaka", in Experimental Film/Video: Tokyo, Tokyo: Image Forum Festival, 1988, p 16.
  • Michael Goldberg, "A Place in History for Video Art: A Discussion with Steina and Woody Vasulka", Video Com Magazine 45, Mar 1988, pp 174-175. (Japanese)
  • Woody and Steina Vasulka, Don Foresta, Christiane Carlut, "A Conversation", Paris, [5 Dec 1992]; printed as "A Conversation between Steina and Woody Vasulka, Don Foresta and Christiane Carlut", in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, Karlsruhe: ZKM, and MIT Press, 2008, pp 498-507. [44]
  • Ladislav Vencálek, "Potřebujeme umění, abychom neuvízli v pasti současného digitálního světa: Rozhovor s Woodym Vasulkou", Svobodné slovo 87:132, 1995. (Czech)
  • Chris Hill, "Interview with Woody Vasulka", The Squealer, Summer 1995; repr. in Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel, MIT Press, 2008. Transcript?.
  • "Virtuální houbaření Steiny a Woodyho Vasulkových", Film a doba 52:4, Prague: Orbis, 2006. (Czech)
  • "Orbits of Fortune with Steina and Gene Youngblood", in Steina: 1970-2000, Santa Fe, NM: SITE, 2008, pp 21-48.
  • Martin Blažíček, "Sitney - Vasulka: Obraz videa je tak nepříjemně čistý", Cinepur 61, Prague, Jan 2009. (Czech)
  • Vilém Faltýnek, "Dr. Woody Vasulka", Memory of Nations, Oct 2015. Oral history interview, audio and summary in Czech, English summary. Full audio available upon free registration. (Czech),(English)

Collaborations[edit]

Literature[edit]

The following bibliography has been derived from exhibition catalogues, Dolanová 2011 and the Vasulka.org archives.

Monographs[edit]

Essays, book chapters, reviews[edit]

  • David L. Shirey, "Video Art Turns to Abstract Imagery", New York Times, 4 Jul 1972, p 6. Review of the Video Festival, organised by the Vasulkas, which was held at The Kitchen in July 1972.
  • Jud Yalkut, "Woody and Steina Vasulka: The Vocabulary of Electronic Image", [1973], manuscript.
  • Jean-Paul Fargier, "Buffalo ou la Video a l'Heure des Vasulkas", Cahiers du Cinema, Paris, Mar 1980, p 15. (French)
  • Jean-Paul Fargier, "Vasulka Video", Liberation, Paris, 24 Feb 1982. (French)
  • Olivier Salvatori, "Extremistes technologiques", Liberation, Paris, 25 Feb 1982. (French)
  • Guy Fihman, Claudine Eizykman, "Trames Entrecroisees. Remarques sur la culture artistique des technologies de l'image electronique dans l'oeuvre de Steina et Woody Vasulka", in Steina et Woody Vasulka: Vidéastes: 1969-1984, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, pp 7-10. (French)
  • Bernard Degroote, "Vasulka: The Commission. Pour un formalisme expressioniste", Vidéodoc 69, Brussels, Apr 1984, pp 14-19. (French)
  • Pierre Bongiovanni, Jean Marie Duhard, Jean-Paul Fargier, "Hommage a Steina et Woody Vasulka", in 2e Manifestation Internationale de Video, Montbeliard: Manifestation Internationale de Video, 1984, pp 244-251. (French)
  • Gene Youngblood, "Cinema and the Code", Computer Art in Context: SIGGRAPH 89 (exh.cat., supplement to Leonardo), eds. Marc Resch and Pamela Grant-Ryan, Pergamon Press, 1989, pp 27-30; repr. in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, 48-58; repr. in Future Cinema: The Cinematographic Imagery after Film, eds. Jeffrey Shaw and Peter Weibel, MIT Press, 2003, pp 156-161. Manuscript.
    • "Il cinema e l’immagine numerica", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 45-59. (Italian)
  • Raymond Bellour, "Les images du monde", in 3e Semaine International de Video, Geneva: St. Gervais Geneve, 1989, pp 44-56. (French)
    • "The Images of the World", in Resolutions: Contemporary Video Practices, eds. Michael Renov and Erika Suderburg, University of Minnesota Press, 1995. [50]
  • Peter Callas, "In the Land of Elevator Girls", in Traversals: Instructions to the Double, Long Beach, CA: Long Reach Museum of Art, 1990, p 13. Catalogue text.
  • Liz Rymland, "Three Tapes by Steina", in Illuminating Video: An Essential Guide to Video Art, eds. Doug Hall and Sally Jo Fifer, New York: Aperture, 1990, pp 471-475, OL.
  • Robert Ashley, "Beginning of a Movement", in The Kitchen Turns Twenty: A Retrospective Anthology, ed. Lee Morrisey, New York: The Kitchen, 1992, pp 99-100.
  • Wolfgang Preikschat, "The Vasulkas: Vom Video-Feedback zur hybriden Interaktion", Kunstforum International 117, 1992, pp 184-193. [51] (German)
  • Wolfgang Preikschat, "Die Vasulkas", in Technology, ed. Leigh Landy, Amsterdam: Rodopi, 1992, pp 67-78. [52] (German)
  • Radek Pilař, "Steina a Woody Vasulka – objevitelé nových světů", Videorevue 2:2, 1993. (Czech)
  • Marita Sturken, "Steina and Woody Vasulka: In Dialogue with the Machine", in Steina and Woody Vasulka. Machine Media, ed. Marita Sturken, San Francisco: San Francisco Museum of Modern Art (SFMOMA), 1996, pp 35-48.
  • Matthew Drutt, "Borealis, 1993", in Mediascape, New York: Guggenheim Museum, and Karlsruhe: ZKM, 1996, pp 50, 54. [56]
  • Mona Sarkis, "The Vasulkas Non-Centric but Holistic Space", in Woody & Steina Vasulka: A Retrospective, Rome, 1996, pp 87-90.
  • Mona Sarkis, "Woody & Steina Vasulka", in Sarkis, Blick, Stimme und (k)ein Körper. Der Einsatz elektronischer Medien im Theater und in interaktiven Installationen, Stuttgart: M&P, 1997, pp 201-222. [59] [60] (German)
  • Miloš Vojtěchovský, "Woody Vasulka a utopie autonomního díla", [2002]. (Czech)
    • "Woody Vasulka: The Utopia of an Autonomous World and Autonomous Work", in Lanterna magika: nouvelles technologies dans l’art tchèque du XXe siècle / New Technologies in Czech Art of the 20th Century, eds. Camille Morineau and Vít Havránek, Prague: KANT, and Paris: Espace Electra, 2002. (English)
    • "Woody Vasulka: l'utopie d'un monde autonome et d'un travail autonome", in Lanterna magika: nouvelles technologies dans l’art tchèque du XXe siècle / New Technologies in Czech Art of the 20th Century, eds. Camille Morineau and Vít Havránek, Prague: KANT, and Paris: Espace Electra, 2002. (French)
  • Dennis Dollens, "Woody Vasulka", in Dollens, De lo digital a lo analógico, Barcelona: Gili, 2002. (Spanish)
  • Robert Haller, "Steina and Woody Vasulka", in Future Cinema: The Cinematographic Imagery after Film, eds. Jeffrey Shaw and Peter Weibel, MIT Press, 2003.
  • Chris Meigh-Andrews, "Vasulka Tapes", in Vasulka Lab 1969-2005: Live Archive, ed. Yasmeen Baig-Clifford, Birmingham: Vivid, 2006. [65]
  • Chris Meigh-Andrews, "The Vasulkas: Dialoguing with Tools", in Meigh-Andrews, A History of Video Art, Berg, 2006; 2nd ed., Bloomsbury, 2014, pp 148-155.
  • Steve Dietz, "Steina: A Machine in the Garden", in Steina: 1970-2000, Santa Fe, NM: SITE, 2008, pp 13-20.
  • Yvonne Spielmann, "Conceptual Synchronicity: Intermedial Encounters between Film, Video and Computer", in Expanded Cinema: Art, Performance, Film, eds. A. L. Rees, Duncan White, Steven Ball and David Curtis, London: Tate Publishing, 2011, pp 194-201; exp. version, Aniki 2(1): "Cinema Expandido", ed. Susana Viegas, Feb 2015, pp 8-20.
  • Arnold Dreyblatt, "The Vasulkas", in Woody Bohuslav Vašulka, doctor honoris causa, Prague: Akademie múzických umění v Praze, 2011, pp 23-26.
    • "The Vasulkas", in Woody Bohuslav Vašulka, doctor honoris causa, Prague: Akademie múzických umění v Praze, 2011, pp 15-21. (Czech)
  • Yvonne Spielmann, "Medienkunst als Intervention: Steina Vasulka, Gina Czarnecki und Seiko Mikami", in Ada Lovelace. Die Pionierin der Computertechnik und ihre Nachfolgerinnen, ed. Sybille Krämer, Fink, 2015, pp 195-211. [69] (German)
  • Maciej Wójcicki, "W stronę autonomii obrazu elektronicznego: twórczość wideo Woody'ego i Steiny Vasulków w latach 1974-1980", in Trajektorie obrazów. Strategie wizualne w sztuce, eds. Ryszard Kluszczyński and Dagmara Rode, Łódź, 2015. (Polish)
  • Halldór Björn Runólfsson, "The Kitchen: An Offspring of Steina and Woody Vasulka", in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975, eds. Tania Ørum and Jesper Olsson, Rodopi, 2016, pp 88-95. [70]
  • Halldór Runólfson, "Reflections on the Brotherhood", in Mémoires vives: From Nam June Paik to Sliders_Lab, ed. Jean-Marie Dallet, Tielt: Lannoo, 2019, pp 74-85. [71]
  • Anne Sedes, Marc Billon, "Generative Alu Forms No. 1: A Musician’s Approach to the Vasulkas’ Legacy", in Mémoires vives: From Nam June Paik to Sliders_Lab, ed. Jean-Marie Dallet, Tielt: Lannoo, 2019, pp 172-206.
  • Andrzej Pitrus-Kuguar, "Brzmienie wideo", Kino 57:8, Warsaw, Aug 2022, pp 46-49. [72] (Polish)
  • Larisa Dryansky, "Decoding the Electronic Image: Woody Vasulka Between Analog and Digital", Afterimage 50:4, 2023, pp 23-28. DOI.

Theses[edit]

  • Halldór Björn Runólfsson, Les limites de l'art et l'oeuvre de Steina Vasulka, Paris: Université Paris 1 Panthéon-Sorbonne, 2006, 169 pp. PhD dissertation. (French)

Documentary films, video interviews, documentation[edit]

  • Steina & Woody Vasulka, eds. Lenka Dolanová and Michal Kindernay, 2006, 41 min. Contains fragments from Connor's, Rubin's and Kirby's documentaries. [81]
  • Steina and Woody Vasulka, dir. Terry Flaxton, 2010, 54 min. An interview; part of Flaxton's A Verbatim History of the Aesthetics and Technologies of Digital Cinematography. Director.
  • Steina & Woody, dir. Joan Grossman and Chris Shaw, in progress. Trailer. Director.

References[edit]

  1. ↑ Dolanová 2011
  2. ↑ Berg 2019b
  3. ↑ Listed as a group in Vasulka.org and Berg 2019b. Listed as separate videos in Dolanová 2011.
  4. ↑ Dolanová 2011
  5. ↑ Dolanová 2011
  6. ↑ Dolanová 2011
  7. ↑ Dolanová 2011
  8. ↑ Dolanová 2011
  9. ↑ Unlisted in Dolanová 2011.
  10. ↑ Unlisted in Dolanová 2011.
  11. ↑ Listed in Cathcart 1978:42, Willoughby 1984:49. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  12. ↑ Listed in Dolanová 2011. Unlisted in Vasulka.org, Berg 2019b.
  13. ↑ Listed in Vasulka.org and Berg 2019b. Unlisted in Dolanová 2011.
  14. ↑ Berg 2019a attributes the work to Woody, Dolanová 2011 to both Woody and Steina. Unlisted in Vasulka.org and Berg 2019b.
  15. ↑ Dolanová 2011
  16. ↑ Berg 2019a
  17. ↑ Dolanová 2011
  18. ↑ Berg 2019a
  19. ↑ Listed in Cathcart 1978:43, Willoughby 1984:50, Dolanová 2009. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  20. ↑ Listed in Cathcart 1978:43, Dolanová 2011. Unlisted in Vasulka.org, Berg 2019b.
  21. ↑ Listed in Cathcart 1978:44, Willoughby 1984:50. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  22. ↑ Listed in Cathcart 1978:44, Willoughby 1984:50, Dolanová 2009. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  23. ↑ Dolanová 2011
  24. ↑ Berg 2019b
  25. ↑ Listed in Cathcart 1978:44, Willoughby 1984:50, Dolanová 2009. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  26. ↑ Dolanová 2011
  27. ↑ Berg 2019b
  28. ↑ Dolanová 2011
  29. ↑ Berg 2019b
  30. ↑ Dolanová 2011
  31. ↑ Berg 2019b
  32. ↑ Berg 2019a attributes the work to Woody; Vasulka.org, Dolanová 2011, Berg 2019b to both Woody and Steina.
  33. ↑ Dolanová 2011
  34. ↑ Berg 2019a, Berg 2019b
  35. ↑ Dolanová 2011
  36. ↑ Berg 2019b
  37. ↑ Dolanová 2011
  38. ↑ Berg 2019b
  39. ↑ Dolanová 2011
  40. ↑ Berg 2019b
  41. ↑ Dolanová 2011
  42. ↑ Berg 2019b
  43. ↑ Vasulka.org, Calthart 1978:47, Willoughby 1984:52, Dolanová 2011
  44. ↑ Berg 2019b
  45. ↑ Dolanová 2011, Berg 2019b
  46. ↑ Listed in Calthart 1978:47, Willoughby 1984:52. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  47. ↑ Dolanová 2011
  48. ↑ Berg 2019b
  49. ↑ Dolanová 2011
  50. ↑ Berg 2019b
  51. ↑ Listed in Vasulka.org, Berg 2019b. Unlisted in Dolanová 2011.
  52. ↑ Listed under "Other video work" in Vasulka.org. Unlisted in Dolanová 2011, Berg 2019b.
  53. ↑ Berg 2019b attributes the work to Steina, while Vasulka.org and Berg 2019a attributes it to both Steina and Woody. Unlisted in Dolanová 2011.
  54. ↑ Berg 2019a erroneously dates it to 1984
  55. ↑ Berg 2019a
  56. ↑ Berg 2019b
  57. ↑ Listed under "Other video work" in Vasulka.org. Listed in Berg 2019b. Unlisted in Dolanová 2011.
  58. ↑ Listed as Doris Cross under "Other video work" in Vasulka.org. Listed in Berg 2019b. Unlisted in Dolanová 2011.
  59. ↑ Berg 2019b
  60. ↑ Vasulka.org
  61. ↑ Listed in Berg 2019b. Unlisted in Vasulka.org, Dolanová 2011.
  62. ↑ Listed in Berg 2019a, Berg 2019b. Unlisted in Dolanová 2011.
  63. ↑ Listed in Berg 2019a, Berg 2019b. Unlisted in Dolanová 2011.
  64. ↑ Dolanová 2011
  65. ↑ Berg 2019a, Berg 2019b
  66. ↑ Listed in Berg 2019a, Berg 2019b. In Cathcart 1978:45, Dolanová 2011 listed as a single-channel video.
  67. ↑ Listed in Berg 2019a, Berg 2019b. Unlisted in Dolanová 2011.
  68. ↑ Listed in Willoughby 1984:56, Berg 2019a. Unlisted in Dolanová 2011.
  69. ↑ Calthart 1978:50, Willoughby 1984:56, Berg 2019a
  70. ↑ Dolanová 2011
  71. ↑ Dolanová 2011
  72. ↑ Berg 2019a
  73. ↑ Dolanová 2011
  74. ↑ Berg 2019a
  75. ↑ Calthart 1978:50, Willoughby 1984:56, Berg 2019a
  76. ↑ Dolanová 2011
  77. ↑ Dolanová 2011
  78. ↑ Berg 2019a
  79. ↑ Berg 2019a
  80. ↑ Dolanová 2011
  81. ↑ Dolanová 2011
  82. ↑ Berg 2019a
  83. ↑ Dolanová 2011
  84. ↑ Berg 2019a
  85. ↑ Dolanová 2011
  86. ↑ Berg 2019a
  87. ↑ Calthart 1978:50, Willoughby 1984:56
  88. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  89. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  90. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  91. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  92. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  93. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  94. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  95. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  96. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  97. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  98. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  99. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  100. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  101. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  102. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  103. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  104. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  105. ↑ Listed in Vasulka.org and Berg 2019a. Unlisted in Dolanová 2011.
  106. ↑ Dolanová 2011
  107. ↑ Berg 2019a
  108. ↑ Dolanová 2011
  109. ↑ Berg 2019a
  110. ↑ Dolanová 2011
  111. ↑ Berg 2019a
  112. ↑ Dolanová 2011
  113. ↑ Berg 2019a
  114. ↑ Dolanová 2011
  115. ↑ Berg 2019a
  116. ↑ Unlisted in Dolanová 2011
  117. ↑ Dolanová 2011
  118. ↑ Berg 2019a
  119. ↑ Dolanová 2011
  120. ↑ Berg 2019a
  121. ↑ Dolanová 2011
  122. ↑ Berg 2019a
  123. ↑ Dolanová 2011
  124. ↑ Berg 2019a
  125. ↑ Dolanová 2011
  126. ↑ Berg 2019a
  127. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  128. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  129. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  130. ↑ Listed in Calthart 1978:52, Willoughby 1984:57, Dolanová 2009. Unlisted in Dolanová 2011, Berg 2019a.
  131. ↑ Listed in Calthart 1978:52, Willoughby 1984:57. Unlisted in Dolanová 2011, Berg 2019a.
  132. ↑ Listed in Calthart 1978:52, Willoughby 1984:57. Unlisted in Dolanová 2011, Berg 2019a.
  133. ↑ Listed in Calthart 1978:52, Willoughby 1984:58. Unlisted in Dolanová 2011, Berg 2019a.
  134. ↑ Listed in Calthart 1978:52, Willoughby 1984:58. Unlisted in Dolanová 2011, Berg 2019a.
  135. ↑ Listed as a film in Willoughby 1984:56, Berg 2019a.
  136. ↑ Listed as a film in Willoughby 1984:56, Berg 2019a.
  137. ↑ Listed as a film in Willoughby 1984:56, Berg 2019a. Unlisted in Dolanová 2011.
  138. ↑ Listed as a film in Willoughby 1984:56, Berg 2019a. Unlisted in Dolanová 2011.
  139. ↑ Listed in Dolanová 2011. Unlisted in Berg 2019a.
  140. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  141. ↑ Listed in Berg 2019a. Unlisted in Dolanová 2011.
  142. ↑ Calthart 1978:44 and Dolanová 2011 attributes the work to Woody and Steina, however Vasulka.org and Berg 2019b lists it as Steina's work.
  143. ↑ Dolanová 2011
  144. ↑ Berg 2019b
  145. ↑ Listed in Dolanová 2011. Unlisted in Berg 2019b.
  146. ↑ Listed in Calthart 1978:48, Willoughby 1984:53. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  147. ↑ Willoughby 1984:53
  148. ↑ Dolanová 2011
  149. ↑ Berg 2019b
  150. ↑ Listed in Calthart 1978:48, Willoughby 1984:53. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  151. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  152. ↑ Listed in Calthart 1978:48, Willoughby 1984:53. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  153. ↑ Dolanová 2011
  154. ↑ Berg 2019b
  155. ↑ Listed in Willoughby 1984:53. Unlisted in Vasulka.org, Dolanová 2011, Berg 2019b.
  156. ↑ Dolanová 2011
  157. ↑ Berg 2019b
  158. ↑ Attributed to Steina in Berg 2019b. Listed as "Other video work" and attributed to both Steina and Woody in Vasulka.org. Unlisted in Dolanová 2011.
  159. ↑ Berg 2019b
  160. ↑ Vasulka.org
  161. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  162. ↑ Dolanová 2011
  163. ↑ Berg 2019b
  164. ↑ Vasulka.org dates it to 1977.
  165. ↑ Dolanová 2011
  166. ↑ Berg 2019b
  167. ↑ Dolanová 2011
  168. ↑ Berg 2019b
  169. ↑ Dolanová 2011
  170. ↑ Berg 2019b
  171. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  172. ↑ Dolanová 2011
  173. ↑ Berg 2019b
  174. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011. Vasulka.org refers to it as Summer Salt Making.
  175. ↑ Dolanová 2011 and Vasulka.org attributes the work to Steina, Berg 2019b to both Woody and Steina.
  176. ↑ Vasulka.org, Dolanová 2011
  177. ↑ Berg 2019b
  178. ↑ Dolanová 2011
  179. ↑ Berg 2019b
  180. ↑ Listed in Vasulka.org, Berg 2019b. Unlisted in Dolanová 2011.
  181. ↑ Berg 2019b
  182. ↑ Vasulka.org
  183. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  184. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  185. ↑ Listed under "Other video work" in Vasulka.org. Listed in Berg 2019b. Unlisted in Dolanová 2011.
  186. ↑ Berg 2019b
  187. ↑ Vasulka.org
  188. ↑ Berg 2019b
  189. ↑ Vasulka.org, Dolanová 2011
  190. ↑ Dolanová 2011
  191. ↑ Berg 2019b
  192. ↑ Listed in Vasulka.org, Berg 2019b. Unlisted in Dolanová 2011.
  193. ↑ Vasulka.org
  194. ↑ Berg 2019b
  195. ↑ Dolanová 2011
  196. ↑ Berg 2019b
  197. ↑ Dolanová 2011
  198. ↑ Vasulka.org, Berg 2019b
  199. ↑ Dolanová 2011
  200. ↑ Berg 2019b
  201. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  202. ↑ Listed in Vasulka.org, Berg 2019b. Unlisted in Dolanová 2011.
  203. ↑ Vasulka.org
  204. ↑ Berg 2019b
  205. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  206. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  207. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  208. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  209. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  210. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  211. ↑ Listed in Berg 2019b. Unlisted in Dolanová 2011.
  212. ↑ Dolanová 2011
  213. ↑ Berg 2019b
  214. ↑ Unlisted in Dolanová 2011.
  215. ↑ Unlisted in Dolanová 2011.
  216. ↑ Unlisted in Dolanová 2011.
  217. ↑ Unlisted in Dolanová 2011.
  218. ↑ Dolanová 2011
  219. ↑ Berg 2019b
  220. ↑ Unlisted in Dolanová 2011.

See also[edit]

Links[edit]

  • Vasulka Archive, Daniel Langlois Foundation, Cinémathèque québécoise, Montréal
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