Steina and Woody Vasulka

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), EAI 8 (Woody), VDB 8, SAAM 8 (Woody), Pompidou 7 (Woody), LUX 7 (Woody), Pompidou 5 (Steina), SAAM 5 (Steina), NG Iceland 4 (Steina, Woody), 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), 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, New York with its Experimental TV Studio. 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

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 Vasulka

Video

• Sketches, 1970, 1/2” Open Reel, b/w, sound, 24:14 min? c.27 min?
  • 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, 1970, 1/2” Open Reel, b/w & colour, c.45 min
  • Calligrams, Mar 1970, b/w, sound, 3:30 min
  • Tissues, Oct 1970, b/w, sound, 1:31 min
  • Decay #1, Oct 1970, colour, sound, 1:57 min
  • Decay #2, Oct 1970, colour, sound, 1:11 min
  • Discs, Mar 1971, b/w, sound, 5:24 min
  • Descends, 1970
  • Interface, 1970, performer: Charles Hayworth, audio: Gino Piserchio
• Sexmachine, Sep 1970, b/w, 6 min
• The Jackie Curtis' First Television Special, 1970, b/w, sound, 45 min
• Don Cherry, with Elaine Milosh, Oct 1970, 1/2” Open Reel, b/w, sound, 19:20 min
• Evolution, Nov 1970? 1971?, 1/2” Open Reel, b/w, sound, 16 min? 12:43 min?
• Shapes, Mar 1971, b/w, 13 min
• Black Sunrise, Mar 1971, b/w, sound, 21:08 min
• Keysnow, Oct 1971, 12 min
• Elements, Nov 1971, 12 min
• Participation 1969-1971, 1971, 1/2” Open Reel, b/w, sound, 62:30 min? 63 min?, 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, Apr 1972, 15 min
• Spaces II, Aug 1972, 1/2” Open Reel, b/w, sound, 7:50 min? 7:45 min?
• Home, Jan 1973, 1/2” Open Reel, colour, sound, 16:47 min? 16:45 min?
• Golden Voyage, Apr 1973, 1/2” Open Reel, colour, sound, 14:12 min? 14 min?
• Noisefields, Jan 1974, 3/4” U-matic, colour, sound, 12:05 min? 7:05 min?
• 1-2-3-4, Mar 1974, 3/4” U-matic, colour, sound, 7:46 min? 4:10 min?
• Solo for Three, Apr 1974, 3/4” U-matic, colour, sound, 4:15 min? 7:10 min?
• Heraldic View, May 1974, 3/4” U-matic, colour, sound, 4:21 min? 4:17 min?
• Soundgated Images, Summer-Autumn 1974, 3/4” U-matic, colour, sound, 9:22 min? 9:15 min?
• Telč, Aug 1974? 1973?, 1/2” Open Reel, colour, sound, 5:10 min
• Soundsize, Sep 1974, 3/4” U-matic, colour, sound, 4:40 min
• Update, Aug 1977/Apr 1978, 30 min
• In Search of the Castle, Feb 1981, 1/2” Open Reel, colour, sound, 9:29 min? 9:40 min?
• Progeny, with Bradford Smith, Feb 1981, 1/2” Open Reel, colour, sound, 18:28 min? 18 min?
• Pariah, with Tim Thompson, 1984, 1/2” Open Reel, colour, sound, 26:05 min
• The Pen, 1986
• In the Land of the Elevator Girls, 1989, SVHS, colour, sound, 4:00 min? 4:16 min?
• Events in the Elsewhere, with Joan La Barbara, 1989, 1/2” Open Reel, colour, sound, 15:40 min
• Doris, 1992? 1983?, 1/2” Open Reel, colour, sound, 16:35 min
• Techne and Eros, 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, 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, 1972, video environment, two channels, b/w, sound, 15 min cycle
• Matrix II, 1970-1972? 1974?, video installation, 12 monitors, colour, sound, 8:30 min, dimensions variable. Exhibition: ZKM (Karlsruhe, 2006-2007).
• Soundprints, Aug 1972/1992, two channels, b/w, sound, variable cycle
• The West #2, 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).

Woody Vasulka

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], 1961, 35mm, sound, 20 min
• Záchytná stanice [Withdrawal], 1962? 1963?, 35mm, sound, 7 min? 12 min?
• Odjezd branců [The Recruits], 1962, 35mm, sound, 6 min? 17 min?
• U pana Čapka [Visiting Mr. Capek], 1963? 1964?, 35mm, sound, 6 min? 15 min?
• Předměstí [The Outskirts], 1963? 1964?, 35mm, sound, 11 min? 17 min?

Realised in Iceland:

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

Realised in Algeria:

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

Realised in the United States:

• Studies for Scan Processor, 1975-1977, 16mm transferred to video
• The City, 1975, 16mm, stereo sketch, silent, 3 min
• Gorge, 1975, 16mm, stereo sketch, silent, 3 min
• Noiseplane, 1975, 16mm, silent, 3 min
• Grazing, 1975, 16mm, silent, 19 min
• No. 18 (Krysuvik), 1975, 16mm, silent, 11 min
• E-Object, 1976, 16mm, silent, 11 min
• No. 20, 1976, 16mm, silent, 3 min
• No. 21 (San Francisco streets), 1976, 16mm, silent, 3 min
• Soundshape, 1976, 16mm, sound, 5 min
• No. 23 (Seal Cove), 1976, 16mm, silent, 11 min
• Torso, 1976, 16mm, silent, 4 min
• No. 24 (Circular Noise), 1977, 16mm, silent, 5 min
• No. 26 (Rotating Panel), 1977, 16mm, silent, 5 min
• No. 27 (Frame Sizes), 1977, 16mm, silent, 5 min
• No. 28 (Face by Wave), 1977, 16mm, silent, 6 min
• No. 29 (Winding), 1977, 16mm, silent, 8 min

Video

• Swan Lake, 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? 4:29 min?
• Explanation, Jul 1974, 3/4” U-matic, colour, sound, 11:45 min? 4:20 min?
• Reminiscence, Aug 1974, 1/2” Open Reel, colour, sound, 4:48 min? 4:52 min?
• C-Trend, Oct 1974, 3/4” U-matic, colour, sound, 9:03 min? 8:29 min?
• The Matter, Dec 1974, 3/4” U-matic, colour, sound, 3:56 min? 4:02 min?
• Electromagnetic Objects, 1975-2006, b/w, sound, 33:58 min
• Grazing (Ocean Sounds), 1974-1976, audio Brian O'Reilly 2006, b/w, sound, 8:18 min? 4:36 min?
• No. 25, 1976, 3/4” U-matic, b/w, sound, 5:30 min? 5:32 min?
• Artifacts, Oct 1980, 3/4” U-matic, b/w & colour, sound, 21:20 min? 22:52 min?
• 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? 39:16 min?
• 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? 36:37 min?
• Studies for Hybrid Automata, 1993, 3/4” U-matic, colour, sound, 8:44 min
• Woody Plays the Maiden, 1998, digital video, colour, sound, 6:07 min
• Sonifications, Variations on Studies for Scan Processor, 2006, digital video, colour, sound (by Brian O'Reilly), 33:45 min

Installations

• A Meeting/Greeting, [1967], unrealised plan for installation-performance
• 360 Degree Camera/Scanner, 1968
• Projected Strobe, 1968
• Hand-held Strobe Projector, 1968
• Light-Activated Screen, 1968
• Aimless People, 1968, film installation, 3 screens, 16mm, sound, 4 min
• Peril in Orbit, 1968, film installation, 3 screens, 16mm, sound, 4 min
• 360 degree space records, 1968, 16mm film, 3 screens, sound, 4 min
• Time/Energy Objects, 1975, 16mm, 3 screens, silent, 13 min
• Three Documentaries, 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, 2001, video, colour, sound, 10 min cycle. Exhibition: Moravska galerie Brno (2017).
• Shining Moment, 2004, video, colour, sound, projector stands, mirrors, 5 min cycle
• Digital Vocabulary, with Sliders_Lab (F. Curien, J.-M. Dallet, H. Jolly), 2014. [2]

Steina Vasulka

Video

• Distant Activities, May 1972, 1/2” Open Reel, colour, sound, 6 min? 4:48 min?
• From Cheektowaga to Tonawanda, Jun 1975, colour, sound, 36 min
• Signifying Nothing, Jun 1975, b/w, 15 min
• Land of Timoteus, Sep 1975/Mar 1976, 1/2” Open Reel, b/w, sound, 15 min? 6:46 min?
• Sound and Fury, Oct 1975, b/w, 15 min
• Switch! Monitor! Drift!, Nov 1976, 1/2” Open Reel, b&w, sound, 50 min
• Snowed Tapes, Feb 1977, b/w, 15 min
• Orbital Obsessions, 1975-1977, revised 1988, 3/4” U-matic, b/w, sound, 24:25 min? 24:13 min?
• Stasto, May 1977, 7 min
• Flux, Nov 1977, 3/4” U-matic, b/w, sound, 7:25 min? 8:12 min?
• Nam June Paik, with Esther Harriott, 1977? 1978?, 3/4” U-matic, colour, sound, 25:55 min
• Funtime at the Vasulkas, 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? 2:10 min?
• Selected Treecuts, Mar 1980, 3/4” U-matic, colour, sound, 8:11 min? 6:39 min?
• Cantaloup, with Jeffrey Schier and Woody Vasulka, May 1980, 3/4” U-matic, b/w & colour, sound, 27:54 min? 22:56 min?
• Urban Episodes, with Josef Krames and Woody Vasulka, Jun 1980, 3/4” U-matic, colour, sound, 8:50 min? 8:59 min?
• The Making of Urban Episodes, 1980, 3/4” U-matic, colour, sound, 2:20 min
• Summer Salt, Feb 1982, 3/4” U-matic, colour, sound, 18:48 min? 17:56 min?
• The Making of Somersault, 1982, 3/4” U-matic, colour, sound, 1:30 min
• Voice Windows, with Joan La Barbara, 1986? 1987?, 1/2” Open Reel, colour, sound, 8:10 min? 8:05 min?
• Lilith, with Doris Cross, 1987, 3/4” U-matic, colour, sound, 9:12 min
• Aria, 1987? 1994?, 3/4” U-matic, colour, sound, 3:13 min
• Ptolequad, 1990, 3/4” U-matic, colour, sound, 12:20 min
• Vocaquad, with Joan La Barbara, 1990, 3/4” U-matic, colour, sound, 11:35 min.
• Eigenwelt, 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? 1993?, Hi 8, colour, sound, 15:05 min
• Warp, 1994? 2000?, digital video, colour, sound, 4:30 min? 4:13 min?
• A So Desu Ka, 1993? 1994?, SVHS, color, sound, 9:33 min
• Pyroglyphs, with Tom Joyce, 1995, Hi 8, colour, sound, 27:20 min? 26:05 min?
• Orka, 1995? 1997?, Hi 8, colour, sound, 16 min? 15:11 min?
• MidiViolin, 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, with Trevor Wishart, 1999? 2000?, digital video, colour, sound, 11:06 min
• Lava and Moss, 2000, digital video, colour, sound, 15:09 min.
• Music in the Afternoon, with Tony Conrad, 2002, digital video, colour, sound, 4:15 min
• Twisted Water, 2004, Hi 8, colour, sound, 4:33 min
• Rome Performance, 2004, digital video, colour, sound, 14:40 min
• Pyrospheres, with Tom Joyce, 2005, Hi 8, colour, sound, 5:57 min
• Pergament, 2014, digital video, colour, sound, 12:31 min
• Emerald World Without Us, 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? 1976?, 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). [3]
• 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, 1990, video matrix, four-channel video, eight-channel audio, 10 min cycle. Exhibition: Ars Electronica (Linz, 1990).
• Vocalizations, with Joan La Barbara, 1990, projected video environment, four-channel video, eight-channel audio, 15 min cycle
• Tokyo Four, 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, 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 (Brno, 1996), National Gallery Trade Fair Palace (Prague, 1997), SITE (Santa Fe, NM, 2008).
• Pyroglyphs, 1995, 15 or 18 monitors in a circle, 1 video, 2 audio sources, colour, sound, 27:20 min cycle, OR: with Tom Joyce, three-channel video, three-channel audio, 20 min cycle. 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
• Nuna, 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

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.

• Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda L. Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, 63 pp, PDF. Texts by Steina, Woody Vasulka, Linda Cathcart. Exh. held 21 Oct-26 Nov 1978. Photo documentation.

• Steina et Woody Vasulka: Vidéastes: 1969-1984: 15 années d'images électroniques, analogiques et numeriques, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, 69 pp, PDF. Texts by Guy Fihman/Claudine Eizykman, Steina/Woody Vasulka, Robert A. Haller/Steina, Ken Ausubel/Woody Vasulka, Lucinda Furlong. Exh. held 15 Jun-15 Jul 1984. Press book (18 pp). (French)

• 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.

• David Dunn (ed.), Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, Santa Fe: The Vasulkas, 1992, 240 pp, PDF, HTML. Published on the occasion of an exhibition curated by Woody Vasulka and Steina Vasulka, held on 22 Jun-5 Jul 1992, Oberösterreichisches Landmuseum, Linz, as part of the Ars Electronica festival.

• Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, 128 pp, PDF. Texts by Marco Maria Gazzano, Marita Sturken, Gene Youngblood, Peter Weibel, Mona Sarkis, Achille Bonito Oliva, Steina Vasulka, Woody Vasulka. Exh. held at Palazzo delle Esposizioni, Rome, 15 Dec 1994-11 Jan 1995. (Italian)/(English)

• Steina Vasulka: Four Video Installations, Santa Fe, NM: Center for Contemporary Arts, 1995, [2] pp. Exh. brochure. Text by Gene Youngblood. Exh. held 20 Jan-24 Feb 1995. Exh. review: Clemmer (THE).

• Woody & Steina Vasulka: A Retrospective, Rome, 1996. Exh. held 17-22 Dec 1995.

• Steina and Woody Vasulka: Machine Media, ed. Marita Sturken, San Francisco: San Francisco Museum of Modern Art (SFMOMA), 1996, 80 pp, PDF. Texts by Robert R. Riley, Marita Sturken, Maureen Turim and Scott Nygren, Woody Vasulka. Exh. held 2 Feb-31 Mar 1996. Exh. reviews: Valerie Soe (Camerawork), Jolene Thym (Cue), MaLin Wilson (Albuquerque J).

• Tónlist á fjölskjám: video innsetningar Steinu Vasulka, Reykjavík: Kjarvalsstaðir: Listasafn Reykjavíkur, 1996, 26 pp. Text by Gene Youngblood. Exh. held at Kjarvalsstaðir, Listasafn Reykjavíkur, Mar-May 1996. (Icelandic)/(English)

• 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)

• Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, 120 pp, PDF. Text by Woody Vasulka, Hisanori Gogota, Aline Brandauer, Daniel Masler, David Sears Mather, Dennis L. Dollens, Erkki Huhtamo/Woody Vasulka, Roy Durfee, Sumner Carnahan, Woody Vasulka/Ronald Christ, Russ Gritzo. Exh. held 17 Jul-30 Aug 1998. Exhibition. Press release. (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. [4] [5]

• Woody Vasulka, Peter Weibel (eds.), Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990, Karlsruhe: ZKM, and MIT Press, 2008, 837 pp. Exh. held 16 Dec 2006-25 Mar 2007. Exhibition. Exhibition. Chronology. TOC. Publisher. Publisher. Reviews: Zics (Leonardo), Yu (Afterimage), Browne (J Am Cult). Exh. review: Minkowsky (Film Quarterly).

• 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.

• Steina: Involving People Into This Magic, Buffalo, NY: Burchfield Penney Art Center at Buffalo State College, 2011, 36 pp.

• Vasulka-stofa / Vasulka Chamber, eds. Kristín Scheving and Birta Guðjónsdóttir, Reykjavík: Listasafn Íslands, Vasulka-Stofa, 2014, 47 pp. [6] (Icelandic)/(English)

• Bohuslav Woody Vašulka. Mystery of Memory / Mystérium paměti, Brno, 2016. Exh. held 15 Sep-6 Nov 2016. Exh. brochure. Exhibition. Press release. Exh. review: Míčová (Artalk.cz). (English)/(Czech)

• Art of Memory - Muistin taito. Steina & Woody Vasulka. Teoksia vuosilta 1969-2000, Pori: Pori Art Museum, 2018. Exh. brochure for a retrospective curated by Kristín Scheving, held 23 Mar-2 Sep 2018. Exhibition, [7]. Press release. (Finnish)/(English)

Essays, writings, statements

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

• Woody Vasulka, Steina, "Welcome to the Kitchen", [15 Jun 1971], [1] p, manuscript.

• Woody Vasulka, [Technocentric Determinism], n.d., rev. Jun 1993.
  • "Technocentrický determinismus", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 199-203. [8] (Czech)

• 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, Scott Nygren, "Didactic Video: Organizational Models of the Electronic Image", Afterimage 3:4, Oct 1975, pp 9-13; 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 400-410.

• 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, "Kitchen Story", [Aug 1976].

• The Vasulkas, "The Kitchen" [1977], Videoscope 2:2, 1978, pp 45-47. Transcript.

• Steina, Woody Vasulka, Jeffrey Schier, [The Vasulka Imaging System], Buffalo, NY, [7 Mar 1978], manuscript.

• Steina, "Machine Vision", in Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, pp 9-13.

• Woody Vasulka, "Descriptions", in Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, pp 15-19.

• Steina, Woody Vasulka, "Raw Tapes", in Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, pp 35-40.

• 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.

• Woody Vasulka, "A Syntax of Binary Images: Studies", in ars electronica 86. im Rahmen des Internationalen Brucknerfestes Linz, Linz: Ars Electronica, 1986. [9]
  • "Eine Syntax binärer Bilder", in Computerkulturtage Linz. ORF-Videonale. 1986 im Rahmen der Ars Electronica, 20. - 27. Juni 1986, Linz: Ars Electronica, 1986, pp 63-68. [10] [11] (German)

• 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)

• Steina, "Notes on Switch! Monitor! Drift!", Field of Vision 13, Spring 1985, pp 12-14.

• 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, "The Theatre of Hybrid Automata. Lecture and Performance", Ars Electronica '90. Digital Dreams - Virtual Worlds. Part 2, Linz: Ars Electronica, 1990, pp 265-267. [12]
  • "Das Theater hybrider Automaten. Vortrag und Performance", in Ars Electronica '90. Digitale Träume, virtuelle Welten, Linz: Ars Electronica, 1990, pp 265-267, HTML.

• 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. [13]
  • "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, "Curatorial Statement" [Apr 1992], in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 11-13. Catalogue text.

• Jeffrey Schier, Woody Vasulka, "George Brown: Video Sequencer (a.k.a. Field Flip/Flop Switcher, with digital control), 1972; Multikeyer (Analog with digital control), 1973", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 130-131.

• Daniel J. Sandin, Jeffrey Schier, Woody Vasulka, "Dan Sandin: IP (Analog Image Processor), 1972", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 132-135.

• Bill Etra, Steve Rutt, Jeffrey Schier, Woody Vasulka, "Bill Etra & Steve Rutt: Rutt/Etra Scan Processor (Analog), 1973", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 136-139.

• Donald E. MacArthur, Jeffrey Schier, Woody Vasulka, "Don McArthur: SAID (Spatial and Intensity Digitizer), 1976", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 142-143.

• Jeffrey Schier, Woody Vasulka, "Don McArthur & Jeff Schier: Digital Image Processor, 1976", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 144-146.

• Skip Sweeney, Woody Vasulka, "Video Feedback with Audio Input Modulation and CVI Data Camera", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 148-149.

• Woody Vasulka, "Sony CV Portapak, Industrial, 1969", in Eigenwelt der Apparate-Welt. Pioniere der Elektronischen Kunst / Pioneers of Electronic Art, ed. David Dunn, Santa Fe, NM: The Vasulkas, 1992, pp 150-151.

• Woody Vasulka, Steina Vasulka, "Pioneers of Electronic Arts", in Ars Electronica '92. Endo Nano. The World from Within, Linz: Ars Electronica, 1992, pp 81-100, HTML. [14]
  • "Die Eigenwelt der Apparate-Welt Pioniere der elektronischen Kunst", Ars Electronica '92. Endo Nano. Die Welt von Innen, Linz: Ars Electronica, 1992, pp 81-100. [15] (German)

• Woody Vasulka, "Toward a Non-Centric Narrative Space" [Dec 1992], in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 106-108.
  • "Verso uno Spazio Narrativo non Centrico", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 102-105. (Italian)
  • "K necentrickému narativnímu prostoru", in Lenka Dolanová, Woody Vasulka: dialog s démony nástrojů, Prague: FAMU, 2009, pp 131-133. [16] (Czech)

• Steina, Woody Vasulka, "The Noncentric Report on Space. Der computergenerierte variable Standpunkt", in Der entfesselte Blick, ed. Gerhard Johann Lischka, Bern: Benteli, 1993, pp 344-351. [17] [18] (German)

• Woody Vasulka, "Brotherhood – Table III", in Ars Electronica 1994. Intelligent Environment. Part 2, Linz: Ars Electronica, 1994, pp 87-90, HTML. [19]
  • "Brotherhood - Table III. Eine Serie interaktiver Konstruktionen", in Ars Electronica 1994. Intelligente Ambiente. Band 2, Linz: Ars Electronica, 1994, pp 87-90. [20] (German)

• Steina Vasulka, "Reflections" [Mar 1995], in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 98-101; repr. as "My Love Affair with Art: Video and Installation Work", Leonardo 28:1, 1995, pp 15-18, transcript; repr. in Women, Art, and Technology, ed. Judy Malloy, MIT Press, 2003; 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 472-481.
  • "Pensieri", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 93-97. (Italian)
  • "Einige autobiographische Bemerkungen", in Siemens Medienkunstpreis, Karlsruhe: ZKM Center for Art and Media, 1995, pp 66-71. (German)

• Woody Vasulka, "Theater of Hybrid Automata", in Siemens Medienkunstpreis, Karlsruhe: ZKM Center for Art and Media, 1995, pp 72-75. (German)
  • "Divadlo hybridních automatů", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 205-208. [21] (Czech)

• 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. [22] [23]

• Woody Vasulka, Ronald Christ, "Maiden Voyage", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 92-95. (Japanese)/(English)

• 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, "Time/Energy Object and its Building Element, the Waveform" in Machine Times, eds. Arjen Mulder and Joke Brouwer, Rotterdam: V2_, 2000.

• 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.

• Woody Vasulka, "Didactic Video (1975)", PAJ: A Journal of Performance and Art 71, May 2002, pp 10-11. [24]

• 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. [25] (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. [26] (Czech),(English)

• Lenka Dolanová, Woody Vasulka, "Woody Vasulka: Dialogue With the (Demons in the) Tool", in The Emergence of Video Processing Tools, vol. 1: Television Becoming Unglued, eds. Kathy High, Sherry Miller-Hocking, and Mona Jimenez, Intellect, 2014, pp 273-307.

Interviews, conversations

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

• John Reilly, "A Conversation with Woody and John Reilly", The East Village Other 5:48, New York, 27 Oct 1970, p 10.

• Jud Yalkut, "Open Circuits: The New Video Abstractionists: The Kitchen: An Image and Sound Laboratory: A Rap with Woody and Steina Vasulka, Shridhar Bapat and Dimitri Devyatkin", [1 Apr 1973], PDF. Audio interview for WBAI radio, with transcript. [27] [28] [29] [30]

• Stewart Kranz, "Interview: Woody Vasulka", in Science and Technology in the Arts, New York: Van Nostrand Reinhold, 1974, pp 281-282.

• Woody Vasulka, "Interviews with Jon", [24 Jul 1977], 36 pp; cont., [24 Jul 1977], 27 pp; cont., [12 Dec 1977], 31 pp, transcripts.

• Woody Vasulka, "Beck Interview", n.d., 36 pp, transcript.

• Woody Vasulka, "Interview with Bill Etra", [1977], 28 pp, transcript.

• Woody Vasulka, Jon Burris, Robert Polidori, Steina Vasulka, Jan Sutcliffe, "Conversation", [16 Oct 1977], 30 pp, transcript.

• "Conversation with Woody Vasulka and Phil Morton", [20 Nov 1977], 33 pp, transcript. [31]

• "Conversation with Woody and Steina, Burris and Robert Polidori", [21 Dec 1977], 72 pp, transcript.

• Woody Vasulka, Bill Hearn Interview, [1977-1978], [35] pp, transcript.

• George Chaikin, Kenneth Kahn, Marvin Minsky, Stephen Smoliar, Woody Vasulka, "Artificial Intelligence in the Arts", [23 Oct 1977], [59] pp, transcript. Panel discussion.

• "Robert Polidori, Woody, Steina, Jon", [12 Feb 1978], 26 pp, transcript.

• Woody Vasulka, "Skip Sweeney Interview", San Francisco, [2 Jul 1978], 22 pp, transcript. "Excerpts from an Interview of Skip Sweeney".

• Linda Cathcart, "Steina Vasulka" [Aug 1978], in Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, pp 21-27. Biography with interview excerpts. Transcript.

• Linda Cathcart, "Woody Vasulka" [Aug 1978], in Vasulka, Steina: Machine Vision, Woody: Description, ed. Linda Cathcart, Buffalo, NY: Albright-Knox Art Gallery, 1978, pp 28-34. Biography with interview excerpts. 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.
  • "Syntax binárních obrazů", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 159-178. (Czech)

• 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.
  • "Entretien avec Steina", trans. Dominique Willoughby, in Steina et Woody Vasulka: Vidéastes: 1969-1984, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, pp 23-25. (French)

• 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.

• Ken Ausubel, "An Instrument of Infinite Complexity", Santa Fe Reporter, Santa Fe, NM, 9 Mar 1983, pp 19-20; exp. as "Woody Vasulka: Experimenting With Visual Alternatives", News & Review, 11 May 1983, pp 8-9, PDF. Transcript.
  • "Entretien avec Woody", trans. Pierre Girard, Patrick de Haas, and Dominique Willoughby, in Steina et Woody Vasulka: Vidéastes: 1969-1984, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, pp 27-32. (French)

• Woody Vasulka, "Vizuelna alternativa", Omladinske Novine, Belgrade, 16 Oct 1983. (Serbian)

• 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.

• Marita Sturken, JoAnn Hanley, "Interview with Steina and Woody Vasulka", [24 Jul 1987], 57 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 Vasulka], Don Buchla Interview, [Dec 1991], transcript.

• Woody Vasulka, "Eric Siegel Interview", [21 Jan 1992], transcript.

• David Dunn, Woody Vasulka, "Interview with Steve Beck", [22 Jan 1992], transcript.

• David Dunn, Woody Vasulka, "Harrison Interview", [2 Mar 1992], transcript.

• Woody Vasulka, Steina, Ann, James Tenney Interview, n.d., [8] pp, transcript.

• Woody Vasulka, Dan Sandin Interview, n.d., 28 pp, transcript. [32]. Excerpt.

• Gregg Weiss, Melody Sumner, "Articulate Tinkerers: Steina and Woody Vasulka", Crosswinds, Nov 1992, pp 20-22. Transcript (Steina), Transcript (Woody).

• 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. [33]

• Melody Sumner, Steina Vasulka, "Installations & Matrixes" [Dec 1992], FIKFI – Nordic Art Review 3, 1993. Manuscript.

• Ladislav Vencálek, "Potřebujeme umění, abychom neuvízli v pasti současného digitálního světa: Rozhovor s Woodym Vasulkou", Svobodné slovo 87:132, 1995. (Czech)

• Chris Hill, "Steina Interview", [May 1995], [17] pp, transcript.

• 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?.

• Melody Sumner-Carnahan, "Woody Vasulka Speaking about Video, Film, and New Czech Art", Santa Fe, NM, [29 Aug 1995], 10 pp, transcript.

• David Sears Matters, "Vasulka Interview", [29 Jul 1996], [14] pp, transcript.

• Erkki Huhtamo, "An Interview with Woody Vasulka at his Santa Fe, N.M. Studio, 2 March 1998", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 30-33, 44-45, 56-59, 68-69, 78, 81, 96-99. (Japanese)/(English)
  • "Rozhovor s Woodym Vasulkou. Druhého března 1998, v jeho ateliéru v Santa Fe v Novém Mexiku", trans. Jakub Kučera, Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 179-187. (Czech)

• Chris Meigh-Andrews, "Woody & Steina Vasulka, Santa Fe, NM, [5 Sep 2000], transcript.

• Miloš Vojtěchovský, "Rozhovor s Woody Bohuslavem Vašulkou", Part 2, Rádio Jelení, 2003, 40+43 min. Audio. (Czech)

• "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)

• Petr Vrána, Woody Vasulka, "John Lennon a Andy Warhol si v jeho 'kuchyni' podávali dveře", Film a doba, 2012, pp 31-35. [34] (Czech)

• Vilém Faltýnek, "Dr. Woody Vasulka", Memory of Nations, Oct 2015. (English),(Czech)

Literature

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

Monographs

• Lenka Dolanová, Dialog s démony nástrojů. Steina a Woody Vasulkovi, Prague: Nakladatelství Akademie múzických umění, and Jihlava: Mezinárodní festival dokumentárních filmů Jihlava, 2011, 208 pp. Chapters: Co to tam vařili? (pp 67-70),Image Processing: Wave, the Signal Is Coming (pp 81-93), Audiovizuální syntéza (pp 95-110), Buffalo: 1973-1979 (pp 111-130), Santa Fe: prostředí pro kontemplaci (pp 147-176), Biblio- filmo- videografie (výběr) (pp 193-208). Publisher. Based on PhD dissertation (2009). (Czech)

Essays, book chapters, reviews

• 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.

• Hollis Melton, "Who's Who in Film Making Video: The Vasulkas", Sight Line, New York, Jan/Feb 1973, pp 16-18.

• Jud Yalkut, "Woody and Steina Vasulka: The Vocabulary of Electronic Image", [1973], manuscript.

• Amy Greenfield, "Three Video Artists: Al Robbins, Wendy Clarke, and Steina Vasulka", Field of Vision 5, Winter 1978/1979, pp 18-26. Exh. review. [35]

• John Minkowsky, "Some Notes on Vasulka Video - 1973-1974", in The Moving Image Statewide: 13 Tapes by 8 Videomakers (program notes), New York: SUNY, 1978.
  • "Několik poznámek k videu Vasulkových v letech 1973-1974", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 31-39. [36] (Czech)

• Ludwig Wintzenburg, "Räume im Spiegel-Bild. Steina and Woody Vasulka zeigen Video-Entwicklungen", NRZ, Essen, 9 Nov 1979. Exh. review. (German)

• Jean-Paul Fargier, "Buffalo ou la Video a l'Heure des Vasulkas", Cahiers du Cinema, Paris, Mar 1980, p 15. (French)

• Peter Kobel, "Artists' Studio Achieves Look Of Science Lab", Albuquerque Journal, Santa Fe, NM, 15 Mar 1981.

• MaLin Wilson, Jackie Melega, "Woody and Steina Vasulka: From Feedback to Paganini", ArtLines, Taos, NM, May 1981, pp 8-10.

• Robert Haller, "Camera Eye: The Vasulkas", American Film, Washington, DC, Dec 1981, pp 27-30. Transcript.

• Frank Dietrich, Zsuzsa Molnar, "Steina's Visual Artifacts", Scan 5:1, Chicago, Jan-Feb 1982.

• Mary Pat Flaherty, "Allvision A Kinetic Sculpture with Circular Viewpoint", Pittsburgh Press, 23 Dec 1982.

• Jean-Paul Fargier, "Vasulka Video", Liberation, Paris, 24 Feb 1982. (French)

• Olivier Salvatori, "Extremistes technologiques", Liberation, Paris, 25 Feb 1982. (French)

• Marta Perez Yarra, "Woody Vasulka: un radical de la imagen, La Voz, San Sebastian, 21 Sep 1983, p 23. (Spanish)

• Lucinda Furlong, "Notes Towards a History of Image-processed Video: Steina and Woody Vasulka", Afterimage, Dec 1983, pp 12-17, HTML; repr. in Mémoires vives: From Nam June Paik to Sliders_Lab, ed. Jean-Marie Dallet, Tielt: Lannoo, 2019, pp 56-73.
  • "Du signal video au traitement d'images digitales", trans. Isabelle Delord and Dominique Willoughby, in Steina et Woody Vasulka: Vidéastes: 1969-1984, 2nd ed., rev. & corr., ed. Dominique Willoughby, Paris: Ciné-MBXA/Cinédoc, 1984, pp 33-47. (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)

• Marita Sturken, "TV as a Creative Medium: Howard Wise and Video Art", Afterimage 11:10, May 1984, pp 5-9, HTML.

• 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)

• Charles Hagen, "Breaking the Box: The Electronic Operas of Robert Ashley and Woody Vasulka", Artforum 23:7, Mar 1985, pp 54-59.

• Robert Haller, "Steina and Ptolemy", Field of Vision 13, Spring 1985, p 15.

• Amy Greenfield, "Steina’s Somersault", Field of Vision 13, Spring 1985, pp 15-16. [37]

• Lucinda Furlong, "Tracking Video Art: ‘Image Processing’ as a Genre", Art Journal 45, Fall 1985, pp 233-237.

• Jean-Paul Fargier, "Steina et Woody Vasulka: Zéro un", Où va la vidéo?, ed. Jean-Paul Fargier, Paris: Cahiers du cinéma/Editions de l'Etoile, 1986, pp 76-82. (French)

• Frank Dietrich, "The Computer: A Tool for Thought-Experiments", Leonardo 19:2, 1986, pp 159-169.

• Roy Durfee, "Vid.e.o (vid'e-o-), n.", Route Sixty Six, Albuquerque, NM, Jul/Aug 1987, p 33.

• John Conomos, "The Art of Memory", Photofile 6:4, Paddington, AU, Summer 1988/1989, pp 3-5.

• 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. [38]

• Roy Durfee, "Les risques nécessaires", in 3e Semaine International de Video, Geneva: St. Gervais Geneve, 1989, pp 39-43. (French)
  • "Necessary Risk: The Vasulka Retrospective", Scan 3, Nov 1990, pp 17-21.

• 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.

• Gene Youngblood, "Video by Steina and Woody Vasulka", in Steina & Woody Vasulka, Denver: Denver Art Museum, 1992.

• Ben Portis, "The Vasulkas and The Kitchen", EAI History Project, Jan 1992.

• 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. [39] (German)

• Wolfgang Preikschat, "Die Vasulkas", in Technology, ed. Leigh Landy, Amsterdam: Rodopi, 1992, pp 67-78. [40] (German)

• Radek Pilař, "Steina a Woody Vasulka – objevitelé nových světů", Videorevue 2:2, 1993. (Czech)

• Gene Youngblood, "Steina Vasulka: The Electronic Sublime", in Steina Vasulka: Four Video Installations, Santa Fe, NM: Center for Contemporary Arts, 1995.

• Peter Weibel, "Steina und Woody Vasulka: Meister des Codes", in Siemens Medienkunstpreis, Karlsruhe: ZKM Center for Art and Media, 1995, pp 76ff. [41] (German)
  • "Masters of the Code", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 62-71.
  • "Maestri del Codice", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 60-71. (Italian)
  • "Vládci kódů", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 41-47. (Czech)

• Marita Sturken, "Exploring the Phenomenology of the Electronic Image", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 26-43.
  • "Esplorando la fenomenologia dell'immagine elettronica", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 24-43. (Italian)

• Mona Sarkis, "Perspective and the Media: A Conversation in Europe", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 74-85.
  • "La prospettiva e i media: una conversazione in Europa", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 72-85. (Italian)

• Achille Bonito Oliva, "Strategie dell’Arte surgelare un Tempo Migliore (dedicato ai Vasulka)", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 86-92. (Italian)
  • "Strategies of Art freeze the good Times of the Past (dedicated to the Vasulkas)", in Steina e Woody Vasulka: Video, Media e Nuove Immagini nell’Arte Contemporanea, ed. Marco Maria Gazzano, Rome: Fahrenheit 451, 1995, pp 88-92.

• 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.

• Maureen Turim, Scott Nygren, "Reading the Tools, Writing the Image", in Steina and Woody Vasulka. Machine Media, ed. Marita Sturken, San Francisco: San Francisco Museum of Modern Art (SFMOMA), 1996, pp 49-64. Manuscript.
  • "Číst nástroje, psát obraz", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 49-70. (Czech)

• Jolene Thym, "Of Media and Men: Woody and Steina Vasulka Use Video Art and War Technology to Explore the Environment", Cue, Feb 1996. Exh. review.

• Gene Youngblood, "Multiscreen Music: The Video Installations of Steina Vasulka", in Tónlist á fjölskjám: video innsetningar Steinu Vasulka, Reykjavík: Kjarvalsstaðir: Listasafn Reykjavíkur, 1996, pp 15-21. Manuscript (c.1991).
  • "Tónlist á fjölskjám: videoinnsetningar Steinu Vasulka", in Tónlist á fjölskjám: video innsetningar Steinu Vasulka, Reykjavík: Kjarvalsstaðir: Listasafn Reykjavíkur, 1996, pp 7-13. (Icelandic)

• MaLin Wilson, "Video Exhibit Shows Artists' Paths Diverging", Albuquerque Journal, 31 Oct 1996. Exh. review.

• Laura McGough, "Women Artists Are Exploring and Redefining Technology's Role in Society and in Art, Sculpture, Jul/Aug 1996, pp 18-23.

• Matthew Drutt, "Borealis, 1993", in Mediascape, New York: Guggenheim Museum, and Karlsruhe: ZKM, 1996, pp 50, 54. [42]

• Ursula Frohne, "Borealis, 1993", in Mediascape, New York: Guggenheim Museum, and Karlsruhe: ZKM, 1996, p 54. [43] [44]

• Mona Sarkis, "The Vasulkas Non-Centric but Holistic Space", in Woody & Steina Vasulka: A Retrospective, Rome, 1996, pp 87-90.

• Jacqueline Oskamp, "Zelfs in vuilnis vind je bruikbare chips", Volkskrant, 4 Dec 1996. (Dutch)

• 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. [45] [46] (German)

• Aline Brandauer, "Contrapuntal Art", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 10-13. (Japanese)/(English)

• David Masler, "Turning the Tables", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 14-17. (Japanese)/(English)

• David Sears Mather, "The Compositional Networks of Woody Vasulka", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 18ff. (Japanese)/(English)

• Dennis L. Dollens, "Vasulka Machines", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 26ff. (Japanese)/(English)

• Roy Durfee, "Intermedia", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 34ff. (Japanese)/(English)

• Russ Gritzo, "The Evolution of the Soul of the Machine: Thoughts on the Software of the Vasulka Systems", in Woody Vasulka: The Brotherhood: A Series of Six Interactive Media Constructions, ed. Ronald Christ, Tokyo: NTT InterCommunication Center, 1998, pp 112-115. (Japanese)/(English)

• Ruth Lopez, "Art That's Alive With the Meanings of Military Junk", New York Times, 26 Jul 1998.

• Gene Youngblood, "A Meditation on the Vasulka Archive", Daniel Langlois Foundation, 2000.
  • "Une méditation sur les archives Vasulka", Daniel Langlois Foundation, 2000. (French)

• Per Platou, "Vasulka - Audio-visuelle fikseringer", Kulturnett.no, 21 Jun 2001. (Norwegian)

• Miloš Vojtěchovský, "Woody Vasulka a utopie autonomního díla", 2002. (Czech)

• 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.

• Yvonne Spielmann, "Video and Computer: The Aesthetics of Steina and Woody Vasulka", Daniel Langlois Foundation, 2004, PDF.
  • "La vidéo et l'ordinateur. L'esthétique de Steina et Woody Vasulka", Daniel Langlois Foundation, 2004. (French)
  • "Video a počítač. Estetika Steiny a Woodyho Vasulkových", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 71-86. Partial trans. (Czech)

• Iluminace 18(2): "Woody Vasulka and the Czech Art Tradition of Electronic Image", ed. Lenka Dolanová, Prague: NFA, 2006. With DVD Virtuální houbaření / Virtual Mushrooming. Editorial. [47] [48]. Review: Havránková (A2). (Czech)

• Gerald O'Grady, [Woody Vasulka's Spherical Knowledge. From Pinhole Camera to Pinball Machine], n.d.
  • "Sférické poznání Woodyho Vasulky. Od dírkové kamery k otvorům v pinballu", trans. Ivan Vomáčka, Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 9-30. (Czech)

• Vít Janeček, "A my jsme byli modernisti. Moravské a české počátky Woodyho Vasulky", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 87-102. (Czech)

• Lenka Dolanová, "Co to tam vařili? Kuchaři, jejich Kitchen a chuť čerstvého videa", Iluminace 18:2, ed. Lenka Dolanová, Prague: NFA, 2006, pp 103-131. (Czech)

• Jean Gagnon, "'A demo tape on how to play the violin'", Art Journal 65(3): "Forty Years of Video Art", ed. Yvonne Spielmann, Fall 2006, pp 70-81.

• Chris Meigh-Andrews, "Vasulka Tapes", in Vasulka Lab 1969-2005: Live Archive, ed. Yasmeen Baig-Clifford, Birmingham: Vivid, 2006. [49]

• 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.

• David Stout, "Analog Video / Digital Antecedent: The Pioneering Work of Woody Vasulka and Steina", 2007.

• 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.

• Susanne Jaschko, "The Temporal and Spatial Design of Video and Film-based Installation Art in the 60s and 70s: Their Inherent Perception Processes and Effects on the Perceivers’’ Actions", in The Mobile Audience: Media Art and Mobile Technologies, ed. Martin Rieser, Rodopi, 2011, pp 39-54. [50] [51]

• 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)

• Yann Beauvais, "Steina et Woody Vasulka: le son de l’image", 2014. (French)

• Joey Heinen, Archiving "The Brotherhood": Proposing a Technical Genealogy for Time-Based Works, New York University, 2014, 91 pp. Master's thesis.

• Peter Sachs Collopy, "Video Synthesizers: From Analog Computing to Digital Art", IEEE Annals of the History of Computing 36, Oct-Dec 2014, pp 74-86. [52]

• 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. [53] (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)

• Joey Heinen, "Archiving The Brotherhood: Proposing a Technical Genealogy for Time-Based Works", The Electronic Media Review 4, 2015-2016.

• 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. [54]

• Jean-Marie Dallet, "Le traitement de l’archive Vasulka par le SLIDERS_lab: entre conservation et activation‪. Entretien avec Frédéric Curien et Don Foresta", Dans Marges 25, Paris: Presses universitaires de Vincennes, 2017, pp 146-160. (French)
  • "The Processing of The Vasulkas Archive by the SLIDERS_lab: between Conservation and Activation. Interview with Frédéric Curien and Don Foresta", in Mémoires vives: From Nam June Paik to Sliders_Lab, ed. Jean-Marie Dallet, Tielt: Lannoo, 2019, pp 86-95.

• Jana Horáková, et al, Vašulka Kitchen Brno: Centrum umění nových médií, Brno: Vašulka Kitchen Brno, 2018, 27 pp. Brochure. (Czech)
  • Vašulka Kitchen Brno: Center for New Media Art, Brno: Vašulka Kitchen Brno, 2018, 27 pp. Brochure.

• Kari Yli-Annalan, "Analogisen kauden muisto", 2018. Published on the occasion of an exhibition. (Finnish)

• 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. [55]

• 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.

• Miloš Vojtěchovský, "The Kitchen jako fermentační kotel elektronického umění", Artalk.cz, 12 Mar 2021; reposted, Vasulkakitchen.org, May 2021. (Czech)

Theses

• 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)

• Lenka Dolanová, Woody Vasulka: dialog s démony nástrojů, Prague: FAMU, 2009, 206 pp. PhD dissertation; turned into a book (2011). [56] (Czech)

• Erin Honeycutt, Deep Time/s: A media archaeological survey of Steina and Woody Vasulkas’ expansion of aesthetic notions of the electronic image, 1969-1978, University of Iceland, 2016, 82 pp. Master's thesis. (English)

Documentary films, video interviews

• Cable Arts Presents: Russ Connor in Conversation with The Vasulkas [Jun 1977], 1978, 22 min. Transcript. [57]
• Steina, 1978, 29 min. From Vasulka Video. Excerpt.
• About Video and the Arts, dir. Rene Coelho, MonteVideo, Oct 1985, 27 min
• 42 Miles from Big Brother, dir. Peter Rubin, 1987, 35 min
• Steina and Woody Vasulka, dir. Aaron S. Davidson, 1996-1998. Series of video interviews.
• Binary Lives, dir. Peter Kirby, 1997, 43 min
• Steina/Woody Vasulka Kino AERO, 2004, 68 min. Interview on the occasion of their video retrospective at Aero Cinema, Prague.
• Steina & Woody Vasulka, eds. Lenka Dolanová and Michal Kindernay, 2006, 41 min. Contains fragments from Connor's, Rubin's and Kirby's documentaries. [58]
• Woody Vasulka: MindFrames v ZKM, 2007. Woody's guide tour through the exhibition MindFrames: Media Study at Buffalo 1973-1990 at ZKM, Karlsruhe.
• 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.
• The Vasulka Effect, dir. Hrafnhildur Gunnarsdóttir, 2019, 87 min. Film website & trailer. Review: Gruntorád (Cinepur, CZ).
• Steina & Woody, dir. Joan Grossman and Chris Shaw, in progress. Trailer. Director.

Video documentation

• The Vasulkas, Fundamentalistický večírek, 2006. Event held at Roxy/NoD, Prague.

See also

Czech_Republic#Video_art

Links

• Artists' website, includes extensive documentation. Archive listings.

• Archived version of artists' website with restored videos

• Vasulka Chamber Reykjavík: Center for Electronic and Digital Art in Iceland, National Gallery of Iceland, Reykjavík

• Vašulka Kitchen Brno: Center for New Media Art, Brno, Czech Republic, est 2018. Vasulkas' profile. Catalogue. Grand opening.

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

• Vasulka Video, EAI resource

• Obituaries for Woody Vasulka: Richard Sandomir (NY Times), Michael Schell (Sequenza 21), Artforum, Vašulka Kitchen Brno, Lenka Dolanová and Miloš Vojtěchovský (Artalk, CZ).