| Chapter Introduction: | Introduction |
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be shown as part of sculpture exhibitions, within cafes, underground meetings, parties, and at various other social gatherings.27 In addition, video companies were created, and large funding organisations, such as the Rockefeller Foundation, began to take an interest in funding artists’ exploration of video art. Also occurring in New York would be the New Cinema Festival 1, which had explored the use of mixed media production. Held at the Cinematheque, it had included videotapes by Paik and Moorman.28 By 1966, Vostell was producing works that would appear and be a part of the “happenings” at Kunstverein, Cologne, Germany.29 During the same year, at the New York Film Festival at the Lincoln Center, a multi-channel installation with photographs by Davidson and music by Riley was presented in the foyer.30 Other events would include Nine Evenings: Theatre and Engineering at New York 69th Regiment, organised by Kluver and EAT.31 The event had contained mixed media performance events with collaborations by ten creative artists, including Johns, Cage, Warhol, and Rauschenberg.32
From around 1967, video festivals would begin to be staged internationally on a regular basis. An early event of video art presented in a gallery setting took place in 1967, when Paik had presented his Electronic Blues in Lights in Orbit at the Howard Wise Gallery. This installation, in the spirit of Fluxus, had strongly encouraged viewer participation and interaction. During the same year in Varese, Italy, Giaccari presented his videotapes at Studio 971.33 Additionally, Tambellini had organised screenings within “environment actions” employing video.34 Other exhibitions containing video art during 1967 had included work by Nauman at the Los Angeles County Museum and Light/Motion/Space at the Walker Art Center, Minneapolis, which had included works by Paik and others.35 Moreover, Nauman's Corridor, a major sculptural work, would be installed at the Nicholas Wilder Gallery in Los Angeles.36 By 1967, it was clear that video art was establishing itself visibly in America, and international developments would soon mirror the interest. 36
By 1967 and 1968, it was clear that video art occupied a privileged position in contemporary art.