Aysha Quinn, a pioneer video artist and video/performance artist, continues to work with video and performance/commentary as well as pursue a mainstream acting career in NYC.

PLEASE SCROLL DOWN TO SEE VIDEO/PERFORMANCE DESCRIPTIONS, DOCUMENTATION, RESUME, ETC.

“Combining metaphysical and personal subject matters, Aysha Quinn examines one’s state of being in relation to survival and love.  In The Mutant, visual and audio racks both refer to disconnection – via global destruction and psychological alienation.  The Fight, Excerpts, The Meeting and Why Would I throw Eggs at You, Liz? All scrutinize trouble in the male/female relationship as a series of disagreements, miscommunications and opposing expectations which can be further complicated by technological breakdowns.  Spearhead and 5th Chamber Information explore ritual, attempting to translate ancient forms as well as romantic symbols into new media.”  ~Video Data Bank

Click here to read Peter Barton’s 2009 article about Aysha, “Does it matter that we are arriving at the summit of nothing?”


VIDEOGRAPHY:

Single Channel Works (as Director, Editor):

  Zihua – 2014, color, stereo, 3 mins.

  Give Up The Night (Tango) – 1993, color, stereo, 10 mins.

  Take Back America: Brown, ’92 – 1992, 26 mins. color, mono (PA Primary Tape)

  The Longhouse Tapes: Gustoweh (Hats Of The Iroquois) – Quinn/Sturgeon 1991, color, stereo, 13 mins.

  The Longhouse Tapes: Why The Bear Clan Know Medicine – Quinn/Sturgeon, 1990, color, stereo, 11 mins.

  Leaf Mask – 1989, color, stereo, 4 mins.

  The Prom – (Director and Co-Editor) 1987, color, mono, 26 mins.

  Nomads – (collaborative w/ J. Sturgeon), 1986, color, stereo, 26 mins.

  Primary Sequence – 1985, color, 6 mins.

  The Fight – (collaborative w/ J. Sturgeon), 1983, color 5 mins.

  The Mutant – 1983, color, mono, 4 mins.

  Excerpts – 1983, sepia & color, mono, 11 mins.

  The Meeting – 1982, color, mono, 5 mins.

  Atari Is The New Parent – (collaborative with Gary Lloyd and John Sturgeon) Interactive Satellite Video/Performance, Artist in Television Conference, U. of Iowa, 1982, color, mono, 6 mins.

  Spearhead – 1980, color stereo, 4 mins.

  5th Chamber Information – featuring Kaili Vernoff and John Aspiras, 1980, color, mono, 3 mins.

  Steel, Lucite & Brass – 1979, color, mono, 11 mins. (video interpretation of Tom Jenkins’ kinetic sculptures)

  The Lamentations Of Isis – 1978, color, mono, 28 mins.

  Shed Your Skin Or Die – 1977, b&w, mono, 13 mins.

  Why Would I Throw Eggs At You, Liz? – 1977, b&w, mono, 4 mins.


Video Art Installations & Performances:

Chariot Chamber – (collaborative w/ J. Sturgeon), 1985-87, Video Installation: 3 Channel, 7 monitor, color video & computer graphic animation, with sculptural environment (Visual Studies Workshop, Rochester, NY 1985 – Proctors, Too, Schenectady, NY 1987) – video doc coming soon…

  Fragments – (collaborative w/ J. Sturgeon), 1984-87, Video Performance, color, video, live and pre-recorded with interactive computer graphics (tour of venues over 3 years)

  Samech – 1983 Video Performance, Haunted Womanhouse, Long Beach Museum of Art

  No Earth/No Earth Station – (collaborative w/ J. Sturgeon) 1982-83, Video Performance; color video, live and pre-record, with live chroma key environment. (Los Angeles Museum of Art; Univ. of Iowa; and other venues)

Atari Is The New Parent – (collaborative with Gary Lloyd and J. Sturgeon), 1982, 3-way Live Interactive Satellite Performance, Artist in Television Conference, National Cablecast, Prod. by Univ. of Iowa

  The Lamentations Of Isis – 1978, Video Performance, live and pre-recorded, within neon & laser environment, Vanguard Gallery, L.A., CA and L.A. Institute of Contemporary Art, L.A., CA

  Shed Your Skin Or Die – (with Mary Jane), 1977, Video Performance within Installation, Venice, CA.


OF INTEREST:

  Peter Zecher studio visit, videotape by Aysha Quinn

  NYFA Performance Art Documentary, featuring various 80’s works

Click here to read the article “Recycling Video: Sorting Through The Past – Raindance Foundation 20th Celebration at The Kitchen, NYC, Oct. 12 1991” by John Minkowsky, 1992

Click here to read the article “Utah Media Arts Assessed” by Michael Nash

Click here to read the article “Utah’s Video Pioneers” by Michael Nash, Canyon Times, 1983


SELECTED ART RESUME:

Grants & Awards:

Public Television Finishing Funds Grant (Leaf Mask) 1989

Public Television Finishing Funds Grant (The Prom) 1987

NEA Production Grant (Nomads) w/ J. Sturgeon 1986

NEA & AFI Media Arts Fellowship 1983

Winner, Utah Short Film and Video Festival 1983

Utah Arts Council Grant (Video) 1982

KUED TV Finishing Funds Grant 1980 (Spearhead)

KUED TV Finishing Funds Grant 1980 (5th Chamber Information)

Solo Exhibitions, Installations, Performances (selected):

State University of New York College at Purchase, (Retrospective), 1989

Chariot Chamber Too, 3-ch. Video/Installation, Proctors Too, Schenectady, NY 1988

Festival Fotoptica “Videobrasil’88” (retrospective), Museu da Imagern e do Som, Sao Paulo, Brazil, 1988

East End Arts Gallery, (2 person), Riverhead, Long Island, NY, 1988

“Electronic Arts Performance Series”, RPI, Troy, NY 4/87

L.A. Louver Gallery, (premiere NOMADS), Venice, CA 1/87

Fragments. a Video/Performance w/ computer graphics, UC Video, Minneapolis,
Minnesota & Univ. of Wisconsin, Madison, 10/86

Fragments, School of the Art Institute of Chicago, 1985

Chariot Chamber. 3-channel Video/Installation, coll. w/J. Sturgeon, Visual Studies Workshop, Rochester, NY 1985

Los Angeles Institute of Contemporary Art, (2 person) 1984

Anthology Film Archives, Evening of Performance and Tapes, Millennium Theater, NYC 10/84

Long Beach Museum of Art, Samech, “Haunted Womanhouse”, Video/Performance, 1983

Los Angeles County Museum of Art (Bing Theatre), NO EARTH/NO EARTH STATION, 1983

“Satellite Transmission and Video Performance”, School of the Art Institute of Chicago, 1983

NO EARTH/NO EARTH STATION, 2 Intermedia Arts Festival, University of Iowa, Iowa City, IA 1982

The School of the Art Institute of Chicago, Chicago, IL. (Visiting Artist/Lecturer), 1980

The Chicago Editing Center, Chicago, Illinois (Visiting Artist/Lecturer), 1980

The Lamentations of Isis. a Video/Performance in a neon & laser environment, Vanguard Gallery, 6/78

Los Angeles, CA, and L.A.I.C.A. (L.A. Institute of Contemporary Art) 5/78

Shed Your Skin or Die, Video/Performance/Installation, (collab. W/M.J. Kwan) Betty Marvin’s Space, Venice, CA 5/2 & 5/9/77

Group Exhibitions,  Screenings, Performance (selected):

“Axe Man Returns” (Gary Lloyd) Cal State Channel Islands, video tape and real time interactive LA-NYC via skype with Gary Lloyd 3/14

“Dialog With Pop” Spaceworks at The Tank,NYC (videos & video/computer paintings) 4/04

“A Raucous Evening of Max’s Kansas City Storytelling”, Max’s KC Foundation, in association with  Cross Path Culture 6/02

“Experiences in Love and Not Love” (Performance) La Mama La Galleria, NY, NY 2/93

“Good Stories Well Told” (Traveling Show) Independent Curators, New York, Curated by Robin White 1992; Burnaby Art Gallery Burnaby, BC; Fullerton Museum Center; University of Nebraska; Vancouver Art 1992.   Humboldt State, Arcadia, California; Santa Barbara Contemporary Arts Foruin; Univ. of Florida, Gainsville; Dalhousie An Gallery, Halifax N.S.; Davis Museum, Wellesley College, Wellesley, Mass.; London Regional Art and Historical Museum, London, Ont; Rotunda Gallery, Brooklyn; Stedman Gallery, Rutgers Univ. 1993

“A Fete of Women”, New York State Museum, Albany, NY, 1989 Gallery, Vancouver, BC; Long Beach Museum of Art; San Diego Museum of Art; Taft Museum of Art – Cincinnati 1992

“Native American Video & Cultural Festival”, Downtown Community Television Center, NYC, ’91

Institute of Contemporary Art, “Histories: Video Art”, Boston, Mass., 1988

“Three Rivers Arts Festival”, Carnegie Institute Museum of Art, Pittsburgh, PA, 1988

“Women in the Directors Chair”, 7th Annual Womer~s Film & Video Festival, Center for New TV& Facets Multimedia, Chicago, Il, 1988

“Too Hot To Handle (Some Like It Hot)” Washington Project for the Arts, Wash. D.C., 1987

“Lively Arts” Fresno Arts Center & Museum, Fresno, CA 1987

“New Technologies of Art” Univ. of Utah, Salt Lake City, 1985

“Video Biennale Wien” Museum Moderner Kunst, Vienna, Austria, 1985

“U.S. Film and Video Festival” Park City, UT, (Video Art), 1984

“Video; A Retrospective, LBMA, 1974-1984, Part 11” Long Beach Museum of Art, 1984

Boston Film & Video Foundation, Boston, Massachusetts 1984

“At Home” Long Beach Museum of Art (curated by Kathy Huffman), 1983

California College of Arts and Crafts Oakland, CA 1982

“Videotapes uit Los Angeles, California”, De Appel, Amsterdam, Holland 1979

Intermedia Art Center, Bayville, Long Island, NY 1979

Exploratorium, San Francisco, CA 1978

The Kitchen, New York, NY 1978″Airwaves and Stars”, Exploratorium Gallery, California State University at LA, 1978

Cablecasts/Broadcasts:

WNET (PBS) Take Back America ’92. June, 1992 – NYC.

Planetary Issues Network, Manhattan Cable – regular contributor 92/’93

WQED (PBS) Take Back America ’92, April, 1992, Pittsburgh, PA

WMHT (PBS), Leaf Mask 1990

“Image Union”, WTTW – PBS, Chicago, Illinois 1988 & 1989

“TV MIX”, Live Interview & tape viewing, Channel 11, Sao Paolo, Brazil, 1988;

WMHT (PBS), The Prom 1987 “Our Town TV”

PBS, WMHT interview & NOMADS 5/87

NOMADS Troy Newchannels 3/31/87

“Night Light TV”, Manhattan Cable, (selected tapes of A. Quinn) 1986

“Artist in Television Conference”, Interactive Satellite Video/Performance (collaborative with Gary Lloyd and I. Sturgeon), Iowa City-Los Angeles, Univ. of Iowa, Iowa City 1982

Theta Cable, Channel 3, Los Angeles, California 1979 & 1977

Cablecast, Long Beach Museum of Art, Los Angeles, Long Beach and Santa Barbara, CA 1977

Selected References:

THE ART DOCKUMENTS: AXMAN RETURNS; SUIT SHREDDED.  Carl Davis 3/21/14

FEMINISM & DOCUMENTARY, D. Waldman & J. Walker, pgs. 97, 98, 109

MADE IN BRASIL, Arlindo Machado, pgs. 221, 428

INTERMEDIA, Hans Breder, p. 278

PERFORMANCE ANTHOLOGY, Carl Loeffler, Darlene Tong, pgs. 500, 506, 510

POSTMODERN CURRENTS. Art and Artists in the Age of Electronic Media. Margot Lovejoy’89, p.241

HIGH PERFORMANCE. #37 5187, “Video Poetics: A Contemporary Survey”, Michael Nash, pp.66-73

AFTERIMAGE. V. 13, #410/85, “1 Say I Am: Feminist Perf. Video the 70’s” Chris Straayer, pp.8-12

HIGH PERFORMANCE. V.9 #1 ’86, “Chariot Chamber” (Quinn/Sturgeon) by Robert C. Morgan, p.93

DIE INTERNATIONALE VIDEO BIENNALE. Wien, Austria, April 1985, p.30

VIDEO: A RETROSPECTIVE L.B.M.A.. edited by Kira Perov, pgs. 46, 47, 78, 84, & 95.1984

HIGH PERFORMANCE. Feb. 1984, “Infinite Transition”, by Michael Nash

ART WEEK 10/83, V. 14 #32, p. 16 “Perf. Art and Technological Consciousness”, by Jackie Apple

L.A.I.C.A., “The Artist and Television”, #35, Winter, 1983

ART COM. Jan. 19 83, “U.S. Film and Video Festival”

L.B.M.A.VIDEO “Television Art”, Jan.-Feb. 1983, Vol 3, # 1, by Lewis Mc Adams, pp. 1-2

ART COM. “Performancist”, Issue # 19, Fall 1982, By Carl Loeffler, pp.20-22

JOURNAL, (L.A.I.C.A.), Feb.-Mar, 1980

ARTWEEK. Vol. 10, #25, July 1979

Teaching & Visiting Artist Experience:

Adjunct Faculty, Visual Arts, S.U.N.Y.-Purchase ’91-92

Adjunct Faculty, Arts Dept., Rensselaer Polytechnic Inst, Troy, NY 1987-91

Communications & Cultural Specialist, Hospitality House Therapeutic Community, 1988-89

“Women’s Empowerment Through Video” (workshop), A Fete of Women, New York State Museum, 1989

Artist-in-the-Schools Residence (NYSCA) 1989

Visiting Artist/Lecturer, Museo Nacional de Artes, Plasticas y Visuales, Montevideo, Uruguay, 1988

Visiting Artist Lecturer, Museo Nacional de Bellas Artes, Buenos Aires, Argentina, 1988

Visiting Artist, California Institute of the Arts, Valencia, CA, 1/87

N.Y.F.A. ‘Artist in Residence’, Scotia, NY, 1986-87; Plainedge, L.I., NY, 1985-86

Visiting Artist, School of the Art Institute of Chicago, Video Department, Fall 1985, SAIC, Performance Department, Winter 1983

Visiting Artist, Brown University, Providence, Rhode Island, 1984

Visiting Artist, University of Iowa, Iowa City, IA 1983

Visiting Artist/Lecturer, Colloquium, University of Iowa, Iowa City, IA 1982

Curator, On Line-Off Line, Utah Media Center, 1982

McCarty Agency, Instructor, “Video Acting Workshop”, 1981

Related Experience:

Video Consultant: Rape of the West Village 2013

Panelist: Dialog with Pop, Spaceworks at The Tank, NYC, 5/04

Fine Arts Coordinator and Video Editor for Seconding The First, Town Hall, NYC produced by The Creative Coalition,11/98

Acting Director, Video/Multi-Media Area, Department of Arts, Rensselaer (RPI) 1990

Panelist: Raindance Foundation 20th Anniversary (Video Pioneer Panel) The Kitchen, NYC

Actress: SAG/AFTRA, stage, motion pictures, television

Technical & Communications Coordinator, U.S. Film & Video Festival, 1983, Park City, Utah

Asst. to the Producer, “Project UFO”, Mark VII, Ltd., Los Angeles, CA

Communication Coordinator, Century City Laser Arts Project, Los Angeles, CA

Co-founder and Cultural Liaison, Venice Theatre of Performing Arts, Venice, CA

Active in Native American issues since 1979: Utah, Arizona and New York

Produced, directed, edited The Longhouse Tapes in conjunction with the Six Nations Iroquois Museum, Onchiota, NY

Collections:

Netherlands Media Art Institute (De Appel)

Smithsonian

Museo Nacional de Bellas Artes, Buenos Aires, Argentina

The Lincoln Center, Buenos Aires, Argentina

Anthology Film Archives, New York, NY

Institute of Contemporary Art, Boston, Massachusetts

Los Angeles County Museum of Art, L.A., CA

Getty Museum (from Long Beach Museum of Art, Long Beach, CA)

Utah Media Center, Salt Lake City, UT

Sun Valley Arts Institute, Ketchum, Idaho

Rensselaer Polytechnic Institute Arts Dept., Troy, NY