Selected Exhibitions
2018:
Duet for Tap and Galoshes screened at the Cinematheque, Vancouver, B.C., Canada.
New Music America screened on NoFunRadio, Vancouver, B.C., Canada.
New Music America included in the archives of the University of Houston, Houston, Texas.
2017:
Sadie Curtis Navajo Weaver included in the State Archives of New Mexico.
2015:
Synthetic Sound, NK Project, Berlin, Androgina from Generic Video Art screened.
Private Parts screened at the ACLU, Providence, Rhode Island.
2014:
The Burchfield Penney Art Center, Buffalo, New York, Private Parts screened as part of "The Censorship Show".
Mindpirates, Berlin, Germany, Androgina from Generic Video Art screened.
The Glassel School of Art, Museum of Fine Arts, Houston, Texas, Eyeopeners screened.
2013:
Private Parts (1976) included in The Censorship Show, Termite TV, and screened at also included in the Project Censored Conference,
the Union for Democratic Communication (UDC), San Francisco, November 1-3.
Rhode Island School of Design Alumni Show, A Gallery, Santa Fe, New Mexico, Wave Packet, light/sculpture.
2011:
Artpark, Lewiston, New York 1974—1984, audio interview, history of Electron Movers at Artpark in 1978.
Rhode Island School of Design Alumni Show, Scripps Fine Art, Santa Fe, New Mexico, photograph Bird Cages.
The University of São Paulo, Brazil, 2011, John Cage excerpt from New Music America screened.
2009:
Gallery Z, Providence, Rhode Island, The Dying Swan and Private Parts screened.
New England Journal of Aesthetic Research, “Gallery Z’s History of Providence Video Art,” http://gregcookland.com/journal/page/81/
2005:
Museum of Fine Arts, Houston, special film screening and discussion, “Dance Salad”, filmed by Laurie McDonald.
2004:
25th anniversary screening, broadcast on KERA, Channel 13, Dallas, Texas, The World’s Largest: A Tape About Texas.
“The 70s Show”, various works included, Video In, Vancouver, Canada.
2003:
Photographs from the series Ten Realms: Learning, Rapture, Bodhisattva, 16” x 16” color photographs included in the Visual Arts Alliance,
Twentieth Juried Exhibition, juried by Lynn Herbert, the Contemporary Arts Museum, Houston, Texas.
Photograph from the series Ten Realms: Bodhisattva, 16” x 16” color photograph included in group show “Explorations”, the Jung Center, Houston, Texas.
Classical Indian music improvised to the screening of Shadow & Substance, Foundation for Modern Music, “Music for Today,” Houston, Texas.
2002:
Museum of Folk Art, New York City, Eyeopeners screened.
Microcinema International, “Independent Exposure: The Women’s Edition", Houston, Texas, The Dying Swan screened.
2001:
Intuit: The Center for Intuitive and Outsider Art, Chicago, Eyeopeners screened.
14th Annual Dallas Video Festival, Dallas, Texas, Eyeopeners screened.
2000:
Directors Guild of America, West, and Santa Monica College, Los Angeles, California. The Dying Swan screened.
“The Territory: Twenty-fifth”, Aurora Picture Show, A Dedication to Lee Choon-Sop screened.
The Glassell School of Art, Museum of Fine Arts, Houston, Texas, Eyeopeners screened.
1999:
DiverseWorks, Houston, Texas, Electron Movers retrospective.
Moms: Mothers Talking About Motherhood by Louis Alvarez and Andy Kolker, production credit, Houston location.
“Collective Consciousness: Video Collaborations from the ‘70s to the ‘90s, curated by Laurie McDonald and Andrea Grover, DiverseWorks, Houston, Texas.
1998:
“Communicating Human Rights Internationally,” University of Texas at Austin, Austin, Texas, A Dedication to Lee Choon-Sop screened.
Eleventh Annual Dallas Video Festival, Dallas, Texas, Shadow & Substance screened.
“Local Spin: Independent Houston Filmmakers”, Museum of Fine Arts, Houston, Texas, Uncle Umbrella and Shadow & Substance screened.
Contemporary Art Center, Fort Worth, Texas, The Wonderful Stone installation.
1995:
Pacific Film Archive, University Art Museum, Berkeley, California, Dreamtime included in a program called “The Age of Innocence”.
1994:
Cinéma libre, Montreal, Canada, The Death of the Lotus screened.
The Menil Collection, Houston, Texas, John Cage excerpt from New Music America included in “Rolywholyover: A Circus for museum by John Cage”.
“Les Absenses de la photographie” (The Absence of Photograpy), Montréal, Canada, The Death of the Lotus screened.
1993:
Museum of Fine Arts, Houston, Texas, miscellaneous work screened, including The Death of the Lotus, The Sweetwater Rattlesnake Roundup, and dance video.
The Media Center at the Visual Studies Workshop, Rochester, New York, Dreamtime screened.
outside/IN, a video installation at the Alexandria Museum of Art, Alexandria, Louisiana.
1992:
ISCAF Film/Video Festival, Warsaw, Poland, The Dying Swan, Prime Time screened.
Neighborhood Film Project, Philadelphia, Pennsylvania, lecture and miscellaneous work screened.
1991:
New York Expo of Short Film/Video, Brooklyn, New York, The Death of the Lotus screened and award winner.
Sinking Creek Film Celebration, Nashville, Tennessee, The Death of the Lotus screened and award winner.
18th Annual Northwest Film and Video Festival, Oregon Art Institute, Portland, Oregon, The Death of the Lotus, screened and award winner.
Pacific Film Archive, San Francisco, California, Dreamtime screened.
1990:
Museum of Modern Art, New York City, Dreamtime included in group show “Dream”.
The Kitchen, New York City, Dreamtime screened.
1989:
3rd Annual Dallas Video Festival, Dallas, Texas, Dreamtime screened.
Art Museum of South Texas, Corpus Christi, Texas, miscellaneous work screened.
1988:
2nd Annual Dallas Video Festival, Dallas, Texas, The World's Largest and Dreamtime screened.
Birmingham Museum of Art, Birmingham, Alabama, miscellaneous work screened.
1987:
Infermental, Vancouver, Canada, with various other international destinations, A Dedication to Lee Choon-Sop screened.
Museum of Modern Art, New York City, Bill Viola’s Passage, production assistant, video of Alaine Ball’s fourth birthday party.
1986:
Metropolitan Museum of Art, New York City, Three Worlds screened.
The Smithsonian Institute, Washington, D.C., Three Worlds screened.
Festival du Cinema, Montreal, Canada, Filling the Boxes of Joseph Cornell screened.
Image of Independent Film and Video, NO-TV #4, Visual Studies Workshop, Rochester, New York, A Dedication to Lee Choon-Sop and Generic Video Art.
1985:
The School of the Art Institute of Chicago, Chicago, Illinois, lecture and miscellaneous work screened.
Nova Scotia College of Art and Design, Nova Scotia, Canada, The World's Largest screened.
Video Free America, San Francisco, California, Duet for Tap and Galoshes screened.
World-Wide Video Festival, Amsterdam, The Netherlands, Filling the Boxes of Joseph Cornell screened.
1984:
New Orleans Video Access Center (NOVAC), New Orleans, Louisiana, workshop and miscellaneous work screened.
San Antonio Museum of Art, San Antonio, Texas, Surveillance installation.
1983:
The Museum of Modern Art, New York City, included in “Video Art: A History”, miscellaneous work produced with Electron Movers.
World-Wide Video Festival, Amsterdam, The Netherlands, A Dedication to Lee Choon-Sop screened.
Anthology Film Archives, New York City, miscellaneous work screened.
American Film Institute, Washington, D.C., Duet for Tap and Galoshes screened.
First National Bank, Austin, Texas, The Texas Sculpture Symposium, Surveillance installation.
1982:
U.S. Film and Video Festival, Park City, Utah, The Sweetwater Rattlesnake Roundup screened and finalist in the documentary category.
10th Annual Athens Video Festival, Athens, Ohio, Generic Video Art screened.
1981:
Tokyo Video Festival, Tokyo, Japan, Deus Ex Machina (with Ed Tannenbaum) screened.
8th Annual Global Village Documentary Festival, New York City, The Sweetwater Rattlesnake Roundup screened.
The Bank, Amsterdam, The Netherlands, miscellaneous work screened.
Media Study/Buffalo, Buffalo, New York, Technical Feets live performance with Ed Tannenbaum.
Fort Worth Art Museum, Fort Worth, Texas, lecture and screening of works.
1980:
6th Annual Ithaca Video Festival, Ithaca, New York and various venues, Water, Wind, and the Record of the Rocks screened.
8th Annual Athens Video Festival, Athens, Ohio, Water, Wind, and the Record of the Rocks screened.
1979:
Video Roma, Rome, Italy, 10 year retrospective, miscellaneous work screened.
Walnut St. Theater, Philadelphia, Pennsylvania, miscellaneous work screened.
The World's Largest: A Tape About Texas broadcast on KUHT-TV Houston, Texas PBS.
The Dying Swan broadcast in Worcester, Massachusetts.
1978:
4th Annual Global Village Documentary Festival, New York City, Twenty-Eight Years of Cadillacs screened.
4th Annual Ithaca Video Festival, Ithaca, New York and various venues, Deux Pieds screened.
1977:
Art Park, Lewiston, New York, Sylvanscapes environmental light sculptures and installations with Electron Movers.
3rd Annual Ithaca Video Festival, Ithaca, New York and various venues, The Dying Swan screened.
Harvard University, Cambridge, Massachusetts, miscellaneous work screened.
Worcester Art Musuem, Worcester, Massachusetts, lecture and work screened.
The Rhode Island School of Design and the University of Massachusetts, video installation Prime Time.
Deux Pieds broadcast on Toronto, Canada, television.
1976:
The Video Maze, Currier Gallery of Art, Manchester, New Hampshire.
Hallwalls, Buffalo, New York, miscellaneous work screened.
Women's Inner Art Center, New York City, miscellaneous work screened.
Massachusetts College of Art, Boston, work screened.
Image Workshop, Rochester, New York, work screened.
Women's Video Festival, New York and San Francisco.
1975:
Gallery of Modern Art, Rome, Italy, miscellaneous work screened.
Third International Open Encounter on Video, Palazzo dei diamanti, Ferrara, Italy, The Dying Swan.
Pierre de Chardin Gallery, Paris, miscellaneous work screened.
Centro de Arte y Comunicacion, Buenos Aires, Argentina, miscellaneous work screened.
The 12th Annual Avant Garde Festival of New York, 1975. Gateway National Recreation Area/Floyd Bennett Field, Brooklyn (September 27th), installation.
Everson Museum of Art, Syracuse, New York, The Video Maze installation with Electron Movers.
1974:
The 11th Annual Avant Garde Festival of New York, Shea Stadium, Queens, (November 16th), installation with Electron Movers.
Work included in "Women Doing Video", School of the Art Institute of Chicago and the Chicago Tribune.
Work included in the "Women's Video Show", Everson Museum of Art, Syracuse, New York.
Work included in the "Women's Video Tape Festival," London, England.
Photographs of video work included in the French and Italian Archives.
1973:
The 10th Annual Avant Garde Festival of New York, Grand Central Station, New York City (December 9th), installation with Electron Movers.
The Kitchen, New York City, Body Images screening.
Work included in The Women's Video Tape and Film Festival, Toronto, Canada.
2018:
Duet for Tap and Galoshes screened at the Cinematheque, Vancouver, B.C., Canada.
New Music America screened on NoFunRadio, Vancouver, B.C., Canada.
New Music America included in the archives of the University of Houston, Houston, Texas.
2017:
Sadie Curtis Navajo Weaver included in the State Archives of New Mexico.
2015:
Synthetic Sound, NK Project, Berlin, Androgina from Generic Video Art screened.
Private Parts screened at the ACLU, Providence, Rhode Island.
2014:
The Burchfield Penney Art Center, Buffalo, New York, Private Parts screened as part of "The Censorship Show".
Mindpirates, Berlin, Germany, Androgina from Generic Video Art screened.
The Glassel School of Art, Museum of Fine Arts, Houston, Texas, Eyeopeners screened.
2013:
Private Parts (1976) included in The Censorship Show, Termite TV, and screened at also included in the Project Censored Conference,
the Union for Democratic Communication (UDC), San Francisco, November 1-3.
Rhode Island School of Design Alumni Show, A Gallery, Santa Fe, New Mexico, Wave Packet, light/sculpture.
2011:
Artpark, Lewiston, New York 1974—1984, audio interview, history of Electron Movers at Artpark in 1978.
Rhode Island School of Design Alumni Show, Scripps Fine Art, Santa Fe, New Mexico, photograph Bird Cages.
The University of São Paulo, Brazil, 2011, John Cage excerpt from New Music America screened.
2009:
Gallery Z, Providence, Rhode Island, The Dying Swan and Private Parts screened.
New England Journal of Aesthetic Research, “Gallery Z’s History of Providence Video Art,” http://gregcookland.com/journal/page/81/
2005:
Museum of Fine Arts, Houston, special film screening and discussion, “Dance Salad”, filmed by Laurie McDonald.
2004:
25th anniversary screening, broadcast on KERA, Channel 13, Dallas, Texas, The World’s Largest: A Tape About Texas.
“The 70s Show”, various works included, Video In, Vancouver, Canada.
2003:
Photographs from the series Ten Realms: Learning, Rapture, Bodhisattva, 16” x 16” color photographs included in the Visual Arts Alliance,
Twentieth Juried Exhibition, juried by Lynn Herbert, the Contemporary Arts Museum, Houston, Texas.
Photograph from the series Ten Realms: Bodhisattva, 16” x 16” color photograph included in group show “Explorations”, the Jung Center, Houston, Texas.
Classical Indian music improvised to the screening of Shadow & Substance, Foundation for Modern Music, “Music for Today,” Houston, Texas.
2002:
Museum of Folk Art, New York City, Eyeopeners screened.
Microcinema International, “Independent Exposure: The Women’s Edition", Houston, Texas, The Dying Swan screened.
2001:
Intuit: The Center for Intuitive and Outsider Art, Chicago, Eyeopeners screened.
14th Annual Dallas Video Festival, Dallas, Texas, Eyeopeners screened.
2000:
Directors Guild of America, West, and Santa Monica College, Los Angeles, California. The Dying Swan screened.
“The Territory: Twenty-fifth”, Aurora Picture Show, A Dedication to Lee Choon-Sop screened.
The Glassell School of Art, Museum of Fine Arts, Houston, Texas, Eyeopeners screened.
1999:
DiverseWorks, Houston, Texas, Electron Movers retrospective.
Moms: Mothers Talking About Motherhood by Louis Alvarez and Andy Kolker, production credit, Houston location.
“Collective Consciousness: Video Collaborations from the ‘70s to the ‘90s, curated by Laurie McDonald and Andrea Grover, DiverseWorks, Houston, Texas.
1998:
“Communicating Human Rights Internationally,” University of Texas at Austin, Austin, Texas, A Dedication to Lee Choon-Sop screened.
Eleventh Annual Dallas Video Festival, Dallas, Texas, Shadow & Substance screened.
“Local Spin: Independent Houston Filmmakers”, Museum of Fine Arts, Houston, Texas, Uncle Umbrella and Shadow & Substance screened.
Contemporary Art Center, Fort Worth, Texas, The Wonderful Stone installation.
1995:
Pacific Film Archive, University Art Museum, Berkeley, California, Dreamtime included in a program called “The Age of Innocence”.
1994:
Cinéma libre, Montreal, Canada, The Death of the Lotus screened.
The Menil Collection, Houston, Texas, John Cage excerpt from New Music America included in “Rolywholyover: A Circus for museum by John Cage”.
“Les Absenses de la photographie” (The Absence of Photograpy), Montréal, Canada, The Death of the Lotus screened.
1993:
Museum of Fine Arts, Houston, Texas, miscellaneous work screened, including The Death of the Lotus, The Sweetwater Rattlesnake Roundup, and dance video.
The Media Center at the Visual Studies Workshop, Rochester, New York, Dreamtime screened.
outside/IN, a video installation at the Alexandria Museum of Art, Alexandria, Louisiana.
1992:
ISCAF Film/Video Festival, Warsaw, Poland, The Dying Swan, Prime Time screened.
Neighborhood Film Project, Philadelphia, Pennsylvania, lecture and miscellaneous work screened.
1991:
New York Expo of Short Film/Video, Brooklyn, New York, The Death of the Lotus screened and award winner.
Sinking Creek Film Celebration, Nashville, Tennessee, The Death of the Lotus screened and award winner.
18th Annual Northwest Film and Video Festival, Oregon Art Institute, Portland, Oregon, The Death of the Lotus, screened and award winner.
Pacific Film Archive, San Francisco, California, Dreamtime screened.
1990:
Museum of Modern Art, New York City, Dreamtime included in group show “Dream”.
The Kitchen, New York City, Dreamtime screened.
1989:
3rd Annual Dallas Video Festival, Dallas, Texas, Dreamtime screened.
Art Museum of South Texas, Corpus Christi, Texas, miscellaneous work screened.
1988:
2nd Annual Dallas Video Festival, Dallas, Texas, The World's Largest and Dreamtime screened.
Birmingham Museum of Art, Birmingham, Alabama, miscellaneous work screened.
1987:
Infermental, Vancouver, Canada, with various other international destinations, A Dedication to Lee Choon-Sop screened.
Museum of Modern Art, New York City, Bill Viola’s Passage, production assistant, video of Alaine Ball’s fourth birthday party.
1986:
Metropolitan Museum of Art, New York City, Three Worlds screened.
The Smithsonian Institute, Washington, D.C., Three Worlds screened.
Festival du Cinema, Montreal, Canada, Filling the Boxes of Joseph Cornell screened.
Image of Independent Film and Video, NO-TV #4, Visual Studies Workshop, Rochester, New York, A Dedication to Lee Choon-Sop and Generic Video Art.
1985:
The School of the Art Institute of Chicago, Chicago, Illinois, lecture and miscellaneous work screened.
Nova Scotia College of Art and Design, Nova Scotia, Canada, The World's Largest screened.
Video Free America, San Francisco, California, Duet for Tap and Galoshes screened.
World-Wide Video Festival, Amsterdam, The Netherlands, Filling the Boxes of Joseph Cornell screened.
1984:
New Orleans Video Access Center (NOVAC), New Orleans, Louisiana, workshop and miscellaneous work screened.
San Antonio Museum of Art, San Antonio, Texas, Surveillance installation.
1983:
The Museum of Modern Art, New York City, included in “Video Art: A History”, miscellaneous work produced with Electron Movers.
World-Wide Video Festival, Amsterdam, The Netherlands, A Dedication to Lee Choon-Sop screened.
Anthology Film Archives, New York City, miscellaneous work screened.
American Film Institute, Washington, D.C., Duet for Tap and Galoshes screened.
First National Bank, Austin, Texas, The Texas Sculpture Symposium, Surveillance installation.
1982:
U.S. Film and Video Festival, Park City, Utah, The Sweetwater Rattlesnake Roundup screened and finalist in the documentary category.
10th Annual Athens Video Festival, Athens, Ohio, Generic Video Art screened.
1981:
Tokyo Video Festival, Tokyo, Japan, Deus Ex Machina (with Ed Tannenbaum) screened.
8th Annual Global Village Documentary Festival, New York City, The Sweetwater Rattlesnake Roundup screened.
The Bank, Amsterdam, The Netherlands, miscellaneous work screened.
Media Study/Buffalo, Buffalo, New York, Technical Feets live performance with Ed Tannenbaum.
Fort Worth Art Museum, Fort Worth, Texas, lecture and screening of works.
1980:
6th Annual Ithaca Video Festival, Ithaca, New York and various venues, Water, Wind, and the Record of the Rocks screened.
8th Annual Athens Video Festival, Athens, Ohio, Water, Wind, and the Record of the Rocks screened.
1979:
Video Roma, Rome, Italy, 10 year retrospective, miscellaneous work screened.
Walnut St. Theater, Philadelphia, Pennsylvania, miscellaneous work screened.
The World's Largest: A Tape About Texas broadcast on KUHT-TV Houston, Texas PBS.
The Dying Swan broadcast in Worcester, Massachusetts.
1978:
4th Annual Global Village Documentary Festival, New York City, Twenty-Eight Years of Cadillacs screened.
4th Annual Ithaca Video Festival, Ithaca, New York and various venues, Deux Pieds screened.
1977:
Art Park, Lewiston, New York, Sylvanscapes environmental light sculptures and installations with Electron Movers.
3rd Annual Ithaca Video Festival, Ithaca, New York and various venues, The Dying Swan screened.
Harvard University, Cambridge, Massachusetts, miscellaneous work screened.
Worcester Art Musuem, Worcester, Massachusetts, lecture and work screened.
The Rhode Island School of Design and the University of Massachusetts, video installation Prime Time.
Deux Pieds broadcast on Toronto, Canada, television.
1976:
The Video Maze, Currier Gallery of Art, Manchester, New Hampshire.
Hallwalls, Buffalo, New York, miscellaneous work screened.
Women's Inner Art Center, New York City, miscellaneous work screened.
Massachusetts College of Art, Boston, work screened.
Image Workshop, Rochester, New York, work screened.
Women's Video Festival, New York and San Francisco.
1975:
Gallery of Modern Art, Rome, Italy, miscellaneous work screened.
Third International Open Encounter on Video, Palazzo dei diamanti, Ferrara, Italy, The Dying Swan.
Pierre de Chardin Gallery, Paris, miscellaneous work screened.
Centro de Arte y Comunicacion, Buenos Aires, Argentina, miscellaneous work screened.
The 12th Annual Avant Garde Festival of New York, 1975. Gateway National Recreation Area/Floyd Bennett Field, Brooklyn (September 27th), installation.
Everson Museum of Art, Syracuse, New York, The Video Maze installation with Electron Movers.
1974:
The 11th Annual Avant Garde Festival of New York, Shea Stadium, Queens, (November 16th), installation with Electron Movers.
Work included in "Women Doing Video", School of the Art Institute of Chicago and the Chicago Tribune.
Work included in the "Women's Video Show", Everson Museum of Art, Syracuse, New York.
Work included in the "Women's Video Tape Festival," London, England.
Photographs of video work included in the French and Italian Archives.
1973:
The 10th Annual Avant Garde Festival of New York, Grand Central Station, New York City (December 9th), installation with Electron Movers.
The Kitchen, New York City, Body Images screening.
Work included in The Women's Video Tape and Film Festival, Toronto, Canada.