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Bonnie Friel teaches media studies and television production at Temple University in Philadelphia.   Her video and performance work has been presented in the nEW Festival and the Philadelphia Live Arts Festival, and she is a frequent collaborator with the arts group Mano/Damno Projects.  From 2005 to 2006 she was the Education Coordinator for the Global Film Initiative, a nonprofit that supports filmmakers in the developing world.  Friel also works as a media consultant on a variety of projects, and is currently creating a video for the conference “Deliberative Democracy: The Internet and Civic Engagement.”

Blake Whitman is a Brooklyn based filmmaker and the Director of Community and Product at Vimeo. As chief evangelist for Vimeo and leader of Vimeo’s Community Development team, Blake works on building and scaling one of the web’s strongest and most engaged online video communities. As the editorial voice behind Vimeo’s featured videos, Blake is continually exposed to the world’s leading creative content posted by filmmakers from all over the world. This exposure has given Blake a rare look into new filmmaking trends and styles.

Ed Bowes attended Le Moyne College, returning to New York after two years to study film and film making at The New School. Bowes then became assistant to filmmaker and photographer Arnold Eagle, working closely on projects with artist and filmmaker Hans Richter, and photographers Cornel Capa, Gjon Mili and Philippe Halsman, among others. He followed this with work on feature films as assistant editor on “Paper Lion”, unit manager on “Alice’s Restaurant” and “A New Leaf”. This led to work with producer Hillard Elkins, developing and line producing projects, including Jacques Levi’s “Revolution for the Hell of It”, and Elkins version of “A Doll’s House”. Bowes considers the above his professional training.  In 1972 Bowes began making videos of his own, and in collaboration with other artists and poets, including Clark Coolidge and Bernadette Mayer. His first individual show was at the Holly Solomon Gallery in 1974.  In 1975-76 Bowes wrote, produced and directed Romance, the first feature length fictional narrative made in video. It premiered at the Kitchen.  Romance uses cinema craft and technique as it shadows and subverts the structure and content of conventional narrative fiction- for instance, by casting a woman as the principal male character. The film ends in a final, highly choreographed, 20 minute single take. In Romance one notes Bowes’ attention to complex and crafted visuals and to his use of language, which has as much legacy in poetics and non-fiction as it does in traditional drama.  As a result of the notice given to the cinematography in Romance, Bowes began his long career as a cinematographer for film and video makers including Catherine Bigelow, Lizzie Borden, Vito Acconci and Robert Longo, among many others.  In Better, Stronger, 1978-79, Bowes continued to explore the boundaries of fiction film/video and the expectations of the audience, in order to expand the possibilities for content. There is little plot to Better Stronger, no crisis identified and engaged. Instead there are a series of events that might happen over the course of several days. Scenes are repeated; characters played by multiple actors. Color becomes more than an artifact, it is non-representational content. Produced for The TV Lab at WNET, Better Stronger had the highest ratings of the year in its Sunday night, WNET timeslot.  In How to Fly, 1981-83 Bowes abandoned plot entirely finding other forms of structure. The supporting notion was that stories did not have to obsessively organize and explain data, and that TV’s hundreds of simultaneous, fragmented narratives- news, fiction, commercials, sports, etc., prepared audiences for this new type of structure, as they also more fully reflected (commercially and corruptly) our experience.  Bowes shot and edited Beyond the Sound of Music in 1985 for ORF in Vienna. It is a documentary about Austrian artists working in New York.  In 1986-87 he wrote Empire a feature film for Robert Longo, and Oh, No, Paula!, a six part experimental narrative for TV. In 1987, he produced and directed Desert News, based on a poem cycle by Ed Friedman.  In 1989-91 Bowes made Spitting Glass, a story about a young academic who is having a series of bad days.  Time jumps in Spitting Glass.  The film was commissioned by and played on Channel Four in England and on Public TV throughout the US.  From 1992-99, Bowes developed a video concentration in the renamed MFA Photography and Video department at the School of Visual Arts. He still directs that program. He also chairs the BFA Film and Video Thesis Committee at SVA. He spent much of each of the summers of 92-98 in the former Soviet Union and Yugoslavia, consulting and training at independent television stations for The Soros Foundation’s Open Society Fund and for Internews. He spent much of 1996 working in Bosnia.  In Picture Book 2001-03 Bowes intensified his process of rethinking the potential of fiction, by beginning to work with it as a means of presentation as well as representation. In this project he initiates the use of pictures, which are not necessarily sequenced as narrative, to carry and complement texts, and provide content. The texts were influenced in part by Pushkin, Whitman, James, Shakespeare’s sonnets, and non-fiction. The pictures themselves were often influenced by paintings from the quattrocento, the late 19th and mid 20th centuries – i.e. Lippi, Sargent, Newman.  In 2003, Bowes began a series of 15-20 minute video projects with Anne Waldman. There are five to date, including collaborations with Lisa Jarnot and Douglas Dunn.  Bowes’ Flip 2005-06, considers the consequences of events and the potential consequences of objects. It originated in a story Bowes knew about a mother and daughter. Flip continues to treat picture, text and story as equal carriers of content.  Against the Slope of Social Speech 2006-07, is a meditation on death and language, influenced by the letters of Sophie Hawthorne, by Bowes’ own experience of mortality, and by an exploration of the autos (autistic), monologue and social aspects of speech and cognition. It works, as Lucretius describes, in the areas “of what the mind, of what the soul is made, and what is so terrible that breaks on us asleep.”  “Entanglement” 2008-2009, is a direct consideration of cognition, desire, sensation, reflection and of the screen’s two-dimensional representation of bodies/objects in three-dimensional space. The texts were co-written by Anne Waldman, with additional poems- used as monologue, by William Carlos Williams, Robert Creeley and Eileen Myles.

Bowes is the recipient of a 2010 Guggenheim Fellowship. He has received grants and fellowships from The Jerome Foundation, NEA, NYFA, NYSCA, and The Rockefeller Foundation. He received SVA’s  Distinguished Artist and Teacher award in 2007.
Ross Rudesch Harley (AKA stereopresence) is an artist, writer, and educator in the field of new media and popular culture.  His work crosses the bounds of media art practice, cinema, music, design, and architecture. Ross is Professor and Head of the School of Media Arts, College of Fine Arts at the University of New South Wales, Sydney.  He first started working with video in the late 1970s, making music video for seminal Brisbane/Sydney power-pop bands The Riptides and his own bands The Myth, Phollowers, and Catchcry. His experimental work One Block from Heaven, won First Prize Narrative Drama in Australian Video Festival, 1987.  During the 80s he made a series of found-footage videos and installations that were exhibited in festivals, galleries and exhibitions including as Australian Perspecta, Montbeliard Video Festival, and the Roslyn9 Oxley Gallery. In the 90s work began to focus on the intersection of technology and nature, as seen in the Digital Garden and Motion Landscapes series of works (exhibited at Ars Electronica and MoMA Video Viewpoints series).  In 86 he curated the seminal Know Your Product for the Institute of Modern Art, Brisbane.  Urszula Szulakowska Experimental Art in Queensland 1975–95 claimed that Know Your Product was “probably the most important exhibition mounted by the IMA”.  From 1986-91 he was managing editor then editor of Art + Text.  Art + Text was at the forefront of the postmodern debate, and had considerable impact upon the contemporary art scene in Australia.  In 1992 he was the director of the influential International Symposium on Electronic Art ISEA. According to Darren Tofts‘ Interzone, TISEA was “ a singular, defining event in the history of media arts in Australia”.  Together with Peter Callas and Alessio Cavallaro, he produced and toured An Eccentric Orbit: Electronic Media Art in Australia. This was a large survey exhibition of Australian media art from the 1970s to 1990s commissioned by the American Federation of Arts and the Australian Film Commission 1994-96.  He has written regular columns for: Rolling Stone, Cinema Papers, The Sydney Morning Herald, and The Australian.  And has edited anthologies on the electronic media art practice and theory, including New Media Technologies (1993) and Artists in Cyberculture (1993). Two special issues of the British journal Convergence, Before and After Cinema (1999) Parallel Histories in the Intermedia Age (2000),  brought together articles on the relationship between early cinema and contemporary media.
He is also well-known for directing the audio/vision for the Cardoso Flea Circus videos and live performances with Colombian-born artist Maria Fernanda Cardoso, and has been presented at the Pompidou Centre Paris, San Francisco’s Exploratorium, Museum of Contemporary Art Sydney, and the Sydney Opera House. The video-tent installation has been acquired by the Tate London as part of its permanent collection. In 2003 a double DVD anthology of works from 1988-2002 entitled RRH Videoworks was published by Mediacompress in association with the Museum of Contemporary Art, Sydney.  2000-05 he collaborated (with Gillian Fuller) on the Aviopolis multimedia project (book, website, CD-ROM, DVD) about airports. The book was published by Black Dog Publications, London, 2004.  Current research projects include: “Video Art Online: from Ubu to Imperial Slacks” a critical history of video art in Sydney together with video artist John Gillies; “My Own Private Airspace”, a multichannel video of personal airflights and itineraries (with Leo Martyn animator and Lawrence English sound); and “The Incredible VHS Video Remix Machine“, the working title of a collaborative project with Elvis Richardson based on archives of VHS tapes and VJ presentation tools.

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