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stantly dealing with personal idioms and intuition. This seemed to hinder the understanding of perspective and the subtracted and internal spaces in my work. In the last two years a fundamental change in approach has occurred. From accepting the interior of a room as an internal space and activating it through large scale fabrication, I moved towards the formation of a more exact internal (negative) space and working within that limitation. Thus I began isolating my work as an experiment in design and composition rather than an expression of personal idiom and intuition. The latest piece, Teasers and Tensors, was approached in this way. It became a study in the economy of time and motion - a fundamental approach to problem solving in design. I did not want to dwell on the craft aspects of the piece, but to use the individual parts as props rather than formal elements. Because time and motion studies show that the use of fewer different kinds of materials produces a more efficient assembly, I decided to use wire lath as a dominant material. This was very practical in that lath is economical, structurally sound, permanent, light weight, can be fabricated into varied forms and is visually complex enough to hold my interest. [[image #12 - photograph]] [[image - painting]] The basic "executive decision" was to put two types of images or "props" which had dissimilar characteristics but were made of the same material into the same context. The chair seemed like a practical form, also being a traditional design problem in itself. The fish seemed to be the most challenging impractical design problem I could think of at the time. Several things have occurred to me since this piece was undertaken and completed: 1. I may never escape relying on personal idiom and intuition. There seems to be a mysterious (ambiguous) field between fish and the chair. 2. The piece escapes (visually) its given boundaries and tries to activate the internal (negative) space of the room. 3. The use of simple material was not "efficient" after all. In terms of fabricating and joining, the work was labor-intensive. Although the props were difficult and time consuming, my main concern was to make them look comfortable and unlabored. 4. The scale of the piece in relation to the architectural space is still ambiguous. 5. The scale of the piece in terms of human size is concrete and definite. 12. JAIME DAVIDOVICH Born in Buenos Aires, Argentina Lives in New York, NY Education/Grants/Awards School of Fine Arts, Buenos Aires, Argentina, B.F.A. 1954 University of Uruguay, M.A. 1961 School of Visual Arts, New York, 1963 CAPS for Video (New York State Council on the Arts) 1975, 1982 Video-Visual Arts Fellowship, National Endowment for the Arts 1978, 1984 Video 81 Award - San Francisco Video Festival Selected Exhibitions 1972 Five Artists, The New Gallery, Cleveland, Ohio Arte de Sistemas, Museo de Arte Moderno, Beunos Aires; Museo de Bellas Artes, Santiago, Chile Master Drawings and Works on Paper, The New Gallery, Cleveland, Ohio 1973 Works, Akron Art Institute, Akron, Ohio Whitney Annual, Whitney Museum of American Art, New York Railroad Bridge Project, The New Gallery, Cleveland, Ohio 1974 Museum of Modern Art, Antwerp, Belgium "Open Circuit" Video Show, Museum of Modern Art, New York Encounter on Video Tape, Institute of Contemporary Art, London, England Museum of Fine Arts, Brussels, Belgium 1975 Video Tapes, The New Gallery of Contemporary Art, Cleveland, Ohio "Art Now U.S.A.", Teheran, Iran "Art of the Seventies", Museum of Modern Art, Buenos Aires, Argentina 1976 Video Vii, Museum of Modern Art, New York, February-April The Kitchen, New York, April Anthology Film Archives, New York, May Whitney Museum of American Art, New York, June 1977 New York Artists, Louisiana Museum, Denmark Art of the Seventies, Fundacion Miro, Barcelona, Spain Outdoor Environmental Art, The New Gallery of Contemporary Art, Cleveland, Ohio 1979 Corroboree Gallery, Iowa State University, Iowa City 1980 Agore Studio, Maastricht, Holland 1981 University Art Museum, Berkeley, California Long Beach Museum of Art, Los Angeles, California 1982 Center for Media Arts, Paris, France The Live! Show, MCTV, New York Video and Television Festival, Maastricht, Holland 1983 Institute of American Studies, Barcelona, Spain Sao Paolo Biennal, San Paolo, Brazil Professional Activities 1977-pres't President, Artist Television Network 1979 Director, Artists Cable Project 1978 Executive Producer, "Soho Television" series, Manhattan Cable TV Selected Bibliography 1974 Carr, Carolyn, Art Forum, February Stern, Ellen, "The Inner Tube", New York Magazine, April 17 Wolcott, James, "O Soho Mio", The Village Voice, May 9 1979 O'Connor, John, "Soho Programs on Video Art", The New York Times, June 4 1982 "Artists Television", Art Forum, Summer Brewin, Bob, "The Mega Satellite Art Event", The Village Voice, October 26 1983 O'Connor, John, "Video Artists Still Seek a Showcase for Their Work", June 19 [[image - phorograph]] JAIME DAVIDOVICH surrounded by "Video Kitch" APRIL GORNIK Born Cleveland, Ohio, 1953 Lives in New York, N.Y. Education Cleveland Institute of Art, Cleveland, Ohio, 1971-75 Nova Scotia College of Art and Design, Nova Scotia, Canada, B.F.A 13
