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Time and Memory        Page Two

technology advanced interactive video art work of Grahame Weinbren and Roberta Friedman in their evocative installation, The Erl King (1986). The diverse concerns embodied in the exhibition -- from Nam June Paik and Shigeko Kubota's unusual record of artists discussing their lives and work (Allan and Allen's Complaint (1982)), to Pier Marton (Say I'm a Jew (1985)) and Barbara Rosenthal's (Women in the Camps (1976-86)) focus on victims of the Holocaust -- offer a broad perspective on the state of video art and the artists' abilities to utilize contemporary technology in presenting their ideas and visions.

In Dachau 1974 (1975), Beryl Korot has used the contemporary technology of video to create a work incorporating the structural techniques of weaving: four channels that present interlocking threads of visual images. The artist went to Dachau in the 1974 to record images of the site in its present state. A visual drama that resists the conventions of both narrative and documentary, Dachau 1974 offers a provocative view of history that questions the way we watch television and our methods of identification with the horrors of civilization. 

Barbara Rosenthal's Women in the Camps (1976-86) and Leah Gluck: Victim of the Twins Experiments (1986) utilize a series of taped

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