Under a poster-headline proclaiming 'Television has been attacking us all of our lives, now we can fight it back' (the words of Korean/US video-pioneer Nam June-Paik), it, too, pursued an inclusive selection policy, bringing together tapes by many community and political groups, work by international artists such as Dan Graham, William Wegman and the Vasulkas, and installations and performances by rising British stars such as David Hall
, Susan Hiller and Tamara Krikorian.
, doyen of British video art, had established the programme in the early 1970's and his
legacy and ideas on video and film as artforms were still very influential.These ideas she
was later to combine with those of her
PhD supervisor Malcolm Le Grice, in a â€˜unified' theoretical framework evidenced in her
articles for Millenium Film Journal and Filmwaves
over the past few years.
From 1994 to 1995 she
studied on the postgraduate programme in Electronic Imaging at Duncan of Jordanstone College of Art
where I was one of her
tutors.After her Scottish sojourn she returned south and joined the University of Westminster in 1996, initially to take a Doctorate, but rose to Senior lecturer and Course Leader for Contemporary Media Practice, at the School of Media, Art and Design.
In 2003 we started discussing, and then seriously planning a research project that would investigate the ideas, aspirations, achievements of early British videoart, and select, conserve and preserve the best examples.This became REWIND| Artists' Video in the 70s & 80s, which she joined as its Research Fellow in early 2004.
Before leaving Westminster she
curated Experiments in Moving Image a survey of UK film and video works including installations and expanded cinema, staged rather appropriately at the Old Lumiere Cinema in central London, and again â€˜unifying' the apparent diverse practice(s) of British film and video artists/makers.
is also reputed to have coined the term â€˜time-based media' (a claim also made for John Latham).