Peter Campus

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Exhibited Artists

Exhibited Artists

Aftermath, 1995, digital photograph, 40” x 60” approx. unframed, edition of 23
August Two, 1994, iris print, 25 38” x 35 78” (paper size), edition of 6
NumenThirty Senven, 1994, computer altered photograph, 17 18” x 24 12”, edition of 6
NumenNineteen, 1994, computer altered photograph, 18 38” x 24 38”, edition of 6


Peter Campus




The City College Film Institute



Bachelor of Science in Experimental Psychology, The Ohio State University



Selected Solo & Two-Person Exhibitions



peter campus: pause, Cristin Tierney Gallery, New York, NY



peter campus: video ergo sum, Galerie nationale du Jeu de Paume, Paris, France;

Centro Andaluz de Arte Contemporáneo, Seville, Spain; Fundação Caixa Geral de Depósitos Culturgest, Lisbon, Portugal;

The Bronx Museum of the Arts, Bronx, NY; The Sarasota Museum of Art, Sarasota, FL



peter campus, circa 1987, Cristin Tierney Gallery, New York, NY

peter campus, The Street Museum, Seoul, South Korea



shiva, Weatherspoon Art Museum, Greensboro, North Carolina



isthmos, Linfield Gallery, McMinnville, OR

dredgers, Tierney Gardarin, New York, NY



now and then, Bryce Wolkowitz Gallery, New York, NY Kiva, University of Michigan Museum of Art, Ann Arbor, MI

Existentialism and a Half-life in Video, Gwen Frostic School of Art, Western Michigan University, Kalamazoo, MI



Calling for Shantih, Cristin Tierney, New York, NY

Reflections and Inflections, The Power Plant, Toronto, Canada



Opticks, British Film Institute Southbank, London, England



Edge of the Ocean, Video Works by Peter Campus, 1970-2008, Parrish Art Museums, Water Mill, NY

Predominance of our constructs, Albion, London, England

An infinitesimal calculus, Albion, New York, NY



The earth is nowhere, Locks Gallery, Philadelphia, PA

Agenesis, Leslie Tonkonow Artworks + Projects, New York, NY

Divide, RISD Museum of Art, Providence, RI



Peter Campus & Jaime Davidovich, Galeria Senda, Barcelona, Spain

The Continuous Present: Peter Campus and Anthony McCall, Leslie Tonkonow Artworks + Projects, New York, NY

Sweepin, The Video Works of Peter Campus, Locks Gallery, Philadelphia, PA



Time’s friction: Recent Video Works, Leslie Tonkonow Artworks + Projects, New York, NY



Analog + Digital Video + Foto 19702003, Kunsthalle Bremen, Germany

Before this moment, Antiguo Colegio de San Ildefonso, Mexico City, Mexico



Video and Photography from the 1970s and Recent Video Works, Leslie Tonkonow Artworks + Projects, New York, NY




Selected Group Exhibitions



Coding the world, Centre Pompidou, Paris, France



Auto Vision : Medienkunst von Nam June Paik bis Pipilotti Rist, Kunsthalle Bremen, Bremen, Germany

Victors for Art: Michigan’s Alumni Collectors, University of Michigan Museum of Art, Ann Arbor, MI



Cross Point | NAN-ZARii, curated by Kim Yi-Sun, Gosaek Newseum, Suwon, South Korea

De Bello Naturae, City Gallery & City Plaza, Seoul, South Korea

Suwon Art Center, Suwon, South Korea

Yesultong Festival, Seoul, South Korea

optique: Peter Campus, Julia Oldham, Suzanne Opton, White Box, University of Oregon, Portland, OR

PRIÈRE DE TOUCHER The Touch of Art, Museum Tinguely, Basel, Switzerland

Architectural Intersections, Lehman College Art Gallery, Bronx, NY

The Death of Impressionism? Disruption and Innovation in Art, James A. Michener Museum, Doylestown, PA



Positions, Hales Gallery, London, UK

America Is Hard to See, Whitney Museum of American Art, New York, NY

Anarchive, Affinités / Diversités, mfc-michèle didier gallery, Paris, France

SELF: Portraits of Artists in their Absence, National Academy Museum, New York, NY

Depth of Perception, Oakville Galleries, Oakville, Ontario, Canada



De Bello Naturae, Castello di Barletta, Barletta, Italy

International Biennial of Contemporary Art of Cartagena de Indias, Cartagena de Indias, Colombia

The Invention of the Bright Day (camera obscura) THE GUTENBERG GALAXY AT BLAKER, The Archive in Motion

(IFIKK), University of Oslo, Norway

The Rapid Pulse International Performance Art Festival, Chicago, IL



Zero +, White Box, New York, NY


Life and Death, School of Visual Arts, New York, NY

Digital Aesthetic 3, Harris Museum and Art Gallery, Lancashire, UK

Post-Movement, Cristin Tierney, New York, NY

The Digital Uncanny, Edith-Russ-Haus für Medienkunst, Oldenburg, Germany



Shoot the Shooter, Santiago Festival Internacional de Cine (SANFIC), Santiago, Chile By the Sea, Cristin Tierney Gallery, New York, NY



The Talent Show, Walker Art Center, Minneapolis, MN; MoMA PS1, Queens, NY; Henry Art Gallery, Seattle, WA; USF Contemporary Art Museum, Tampa, FL



Watch This! New Directions in the Art of the Moving Image, Smithsonian American Art Museum, Washington, DC

Simply Video, Kunstmuseum Stuttgart, Germany

True Grit, Salina Art Center, Salina, KS; Bradbury Gallery, Arkansas State University, Jonesboro, AR

Art Park, Lewiston, NY



In Collaboration: Early Works from the Media Arts Collection, San Francisco Museum of Modern Art, San Francisco, CA



Window/Interface, Kemper Art Museum St. Louis, MO

White Night, Museo Nacional d'arte Reina Sofia, Madrid, Spain

Vertigo: The Century of off-media art from Futurism to the web, Museum of Modern Art, Bologna, Italy

Conceptual Photography, Zwirner and Wirth, New York, NY



Beyond Cinema: The Art of Projection, Hamburger Bahnhof, Berlin, Germany

L’Age d’or de la performance, La Bâtie Festivale de Genève, Centre pour l’image contemporain, Saint-Gervais, Geneva

Video: An Art, A History, 19652005, Miami Art Central (MAC), Miami, FL

Signal Channel: Contemporary Video Art, Bemis Center, Omaha, NE

First Generation: Art and the Moving Image, 196386, Museo Nacional d’arte Reina Sofia, Madrid, Spain

Screened and Selected: Contemporary Photography and Video Acquisitions 19992005,

Middlebury College Museum of Art, Middlebury, VT

And Therefore I Am, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY

The Early Show: Video from 19691979, Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, NY



Balance and Power: Performance and Surveillance in Video Art, Krannert Art Museum and Kinkead Pavilion, Champaign, IL;

Rose Art Museum, Brandeis University, Waltham, M

Temps de Video. 19652005, collection nouveaux medias del centre pompidou de la coleccion de

arte contemporaneo, CaixaForum, Barcelona, Spain; Fine Arts Museum, Taipai, Taiwain

Pairs, Groups, and Grids, Leslie Tonkonow Artworks + Projects, New York, NY Multiflorous: A Spring Affair, Edward Thorp Gallery, New York, NY Landscape, Whitney Museum of American Art, New York, NY Third Tape, Picasso Museum, Barcelona, Spain



Les collections du Musée, Nouvelle présentation des œuvres de 1960 à nos jours, Centre Georges Pompidou, Paris, France



Site and Insight: An Assemblage of Artists, P.S.1 Contemporary Art Center, Long Island City, NY

Warum! Bilder diesseits und jenseits des Menschen, Martin-Gropius-Bau, Berlin, Germany

Zero Visibility, Colonna Castle, Genazzano, Italy

Video Topiques, Musée d’Art Modern et Contemporain, Strasbourg, France Me, Myself & I: Looking at Portraiture, CRG Gallery, New York, NY



Video Acts: Single Channel Works from the Collection of Pamela and Richard Kramlich and

The New Art Trust Collection, P.S. 1 Contemporary Art Center, Long Island City, NY

Aviary, Edward Thorp Gallery, New York, NY

Into the Light, Cleveland Museum of Art, Cleveland, OH

Whitney Biennial, Whitney Museum of American Art, New York, NY

Time Share, Sara Meltzer Gallery, New York, NY

The First Decade: Video from the EAI Archives, The Museum of Modern Art, New York, NY

Outer and Inner Space, Virginia Museum of Fine Arts, Richmond, VA



Into the Light, Whitney Museum of American Art, New York, NY

The Reality Effect, Guild Hall, East Hampton, NY

Blind Vision: Video and the Limits of Perception, San Jose Museum of Art, San Jose, CA

The Search for a Personal Vision in Broadcast Television: Fred Barzyk, Haggerty Museum of Art,

Marquette University, Milwaukee, WI

Seventies Show, David Zwirner Gallery, New York, NY



The Swamp: On the Edge of Eden, Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL;

Cummer Museum of Art & Gardens, Jacksonville, FL

Digital Photography, Lawrence Miller Gallery, New York, NY

Odd Bodies, National Gallery of Canada, Oakville Galleries, Ottawa, Canada; Nickle Arts Musuem, Calgary, Canada

Recent Acquisitions: Works on Paper, Carnegie Museum of Art, Pittsburgh, PA

Permanent Change: Contemporary Works from the Collection, Williams College Museum of Art, Williamstown, MA

Video ist Kunst ist Video . . . Rewind to the Future, Neuer Berliner Kunstverein, Berlin, Germany



Selected Public Collections

Albright-Knox Art Gallery, Buffalo, NY

Allen Memorial Art Museum, Oberlin, OH


Bank of America Corporation


The Bohen Foundation, New York, NY (Donated to the Guggenheim Museum)


Bowdoin College Museum of Art, Brunswick, ME Brooklyn Museum, Brooklyn, NY


Carnegie Museum of Art, Pittsburgh, PA (Donation of The Lannan Foundation)


CCS Bard Hessel Museum, Annandale-on-Hudson, NY Centre Georges Pompidou, Paris, France


Centro Cultural Arte Contemporáneo, Mexico City, Mexico


The Cleveland Museum of Art, Cleveland, OH Dallas Museum of Art, Dallas, TX Goldman Sachs, New York, NY Hamburger Bahnhof, Berlin, Germany Harvard Art Museums, Cambridge, MA High Museum of Art, Atlanta, GA Kunsthalle Bremen, Bremen, Germany Kunstmuseum Bern, Bern, Switzerland


The Lannan Foundation, Los Angeles, CA

(Donated to Carnegie Museum of Art) List Visual Arts Center, Cambridge, MA


Metropolitan Museum of Art, New York, NY Middlebury College Museum of Art, Middlebury, VT Museum of Modern Art, New York, NY


Musée National d'Art Moderne, Paris, France National Gallery of Art, Washington, DC National Gallery of Canada, Ottawa, Canada National Gallery of Victoria, Melbourne, Australia The Nelson-Atkins Museum of Art, Kansas City, KS The Neuberger Berman Collection


Norton Museum of Art, Palm Beach, FL Parrish Art Museum, Water Mill, NY Philadelphia Museum of Art, Philadelphia, PA Princeton University Art Museum, Princeton, NJ The Public Theater, New York, NY


Museo Nacional de Arte Reina Sofia, Madrid, Spain RISD Museum, Providence, RI


The San Francisco Museum of Art, San Francisco, CA Smithsonian American Art Museum, Washington, DC


Solomon R. Guggenheim Museum, New York, NY (Donation of The Bohen Foundation) Stadtisches Museum Abteiberg, Möhchengladbach, Germany Tate Modern, London, United Kingdom


Walker Art Center, Minneapolis, MN


Weatherspoon Art Museum, Greensboro, NC


Whitney Museum of American Art, New York, NY


Yale University Art Gallery, New Haven, CT


Zentrum für Kunst und Medientechnologie, Karlsruhe




Selected Bibliography

Cascone, Sarah. “From Gordon Parks to LaToya Ruby Frazier, Here Are 35 Must-See Gallery Shows in New York City This January.” Artnet News (Jan. 5, 2017).


Berg, Tatiana. “Must-See Art Guide: New York.” Artnet News (Jan. 4, 2018).


Cabral, Ismael. “Peter Campus invita a pasar al cuarto oscuro.” El Correo de Andalucía (Sept. 22, 2017).


Morillo, Jesús. “El CAAC acoge la primera exposición en España de Peter Campus, pionero del videoarte.” ABC de Sevilla (Sept. 21, 2017).


“El precursor del videoarte Peter Campus inaugural en el CAAC de Sevilla su primera exposición individual en España.” Es Andalucia (Sept. 21, 2017).


Lugo, Pepe. “De las imagines de Peter Campus a la claridad de Cernuda.” Diario de Sevilla (Sept. 21, 2017).


Béghin, Cyril. “Miroirs de Campus.” Cahiers du Cinéma (May 13, 2017).


“Video Gaga.” Tracks ARTE (May 12, 2017).


Franck-Dumas, Elisabeth. “Peter Campus, Trouble Face.” Libération.


“dor: peter campus.” Transverse (May 3, 2017).


Caillard, Aurélie M. “VIDEO ERGO SUM, je vois donc je suis.” Attitude Lux (May 3, 2017).


“Arts plastiques: ‘Peter campus, Video ergo sum.’” Dkpod (Apr. 26, 2017).


“Peter Campus, withdrawal and extension.” Art Media Agency (Apr. 24, 2017).


“Peter campus: souriez, vous êtes filmés.” Entrée Libre (Apr. 13, 2017).


“Art video, têtes chercheuses.” Le Vif/L’Express (Apr. 7-13, 2017).


“Sortir avec Robert.” Judaïques FM (Apr. 3, 2017).


Moulon, Dominique. “Peter Campus.” artpress (Apr. 2017).


“Une réflexion à l’infini.” Tageblatt (Mar. 23, 2017).


Domino, Christophe. “Peter Campus, le sentiment de la nature.” Journal des Arts (Mar. 17, 2017).


Benhamou-Huet, Judith. “Peter Campus: When America fails to recognize one of its own geniuses.” Judith Benhamou-Huet Reports (Mar. 12, 2017).


Gaudin, Jeanne. “Images poétiques en movement.” A NOUS Paris (Mar. 6, 2017).


Mack, Joshua. “peter campus, circa 1987.” ArtReview (Mar. 2017).


Mateos, Pierre-Alexandre. “Peter Campus.” Flash Art International (Mar. 2017).


Sorrel-Dejerine, Olivia. “Les videos désarmantes de Peter Campus.” Le Bonbon (Mar. 2017).


Bardin, Camille. “peter campus: video ergo sum.” 800 Signes (Mar. 1, 2017).


de La Fresnaye, Marie-Elisabeth. “La video en majesté au Jeu de Paume: Peter Campus et Ali Cherri.” Mowwgli (Feb. 21, 2017). 

Boutié, Elise. “Peter Campus.” Time Out Paris (Feb. 20, 2017).


Bonnet, Philippe. “Se mirer le surmoi dans les écrans de Peter Campus au Jeu de Paume.” Les Soirées de Paris (Feb. 17, 2017).


Pardee, Hearne. “Peter Campus.” The Brooklyn Rail (Feb. 17, 2017).


Pernet, Diane. “Peter Campus at Jeu de Paume with his video ergo sum exhibition.” A Shaded View on Fashion (Feb. 14, 2017).


D., Elodie. “Peter Campus, l’expérience visuelle au Jeu de Paume.” Sortiraparis (Feb.13, 2017).


Stamler, Hannah. “Critics’ Picks: Peter Campus at Cristin Tierney Gallery.” Artforum (Feb. 10, 2017).


“Peter Campus at Cristin Tierney Gallery, New York.” Blouin Artinfo (Feb. 6, 2017).


“Campus Movies.” Trois Couleurs (Feb. 2017).


“Peter Campus at the Jeu de Paume, Paris.” Blouin Artinfo (3 Jan. 2017). Bingaman, Brian.


“Michener Art Museum in Doylestown presents ‘Death of Impressionism? Disruption & Innovation in Art.’” Bucks Local News (30 Dec. 2016).


“Peter Campus: Video ergo sum.” Wall Street International (13 Dec. 2016).


Shrift, Gwen. “Michener museum looks at how New Hope School impressed later artists.” Bucks County Courier Times (11 Dec. 2016).


Barmann, Jay. “SFMOMA Does MTV ‘Cribs’-Style Short with SF Photographer Michael Jang.” SFist (2 Sept. 2016).


“Strong sales & critical acclaim mark 14th edition of Art Basel in Miami Beach.” Florida Trend (7 Dec. 2015).


Lazo, Direlia. “Art Basel Miami Beach.” art agenda (4 Dec. 2015).


Crow, Kelly. “Slideshow: Five Artists to Watch at This Week’s Art Basel Miami Beach.” Wall Street Journal (3 Dec. 2015).


Harris, Gareth. “Art Basel Miami Beach’s ‘Survey’: blasts from the past.” Financial Times (28 Nov. 2015).


“Art Basel Miami Beach 2015 abre sus puertas.” el Nuevo Herald (25 Nov. 2015).


Di Marino, Bruno. “Il paradosso dell’identità.” il manifesto (13 Dec. 2014).


“(Dis)fide at the castle of Barletta.” Arshake. (November 2014).


Berlind, Robert. “Peter Campus Dredgers.” The Brooklyn Rail (May 6, 2014).


Laluyan, Oscar. “AF Recommends Peter Campus: dredgers.” Arte Fuse (9 Mar. 2014).


Wolff, Rachel. “Keeping New Media New.” ARTnews (Oct. 2013): 76-81.


Jones, Stephen. “Video art at the National Gallery of Victoria: 1973-78.”


Art Journal of the National Gallery of Victoria 52 (2013): 68-79.


Berman, Aniko. “AO Interview - New York: Peter Campus “Now and then” at Bryce Wolkowitz Gallery.” (13 Jan. 2013).


“One-Line Reviews: Pithy Takes on Peter Campus, Gunther Uecker, and More.” (20 Nov. 2012).


Thomas, Elizabeth. “University of Michigan Museum of Art opens exhibition by video pioneer Peter Campus.” (6 May 2012).


Sapmen91. “From Real to Surreal: Three Transitions with Peter Campus.” The Art of Our Civilization (24 Apr. 2012).


Durlach, Tonya. “Video art by Peter Campus on display at Richmond Center.” WMU News (21 Feb. 2012).


Wedel, Mark. “Groundbreaking video artist Peter Campus to display ‘personal favorites’ at WMU.” The Kalamazoo Gazette (19 Feb. 2012).


Hoberman, J. “Celestial Events.” The Village Voice (6 Nov. 2011).


“Coming Attractions; Victorian Nudes, Cuyp’s Cows and Venice in June.” The New York Times (2 May 2011).


Welling, James. Interview with Steel Stillman. Art in America (4 Feb. 2011).


Berman, Aniko. “Peter Campus: Calling for Shantih at Cristin Tierney.” XXXX Magazine (20 Jan. 2011).


Hirsch, Faye. “Artpark 1974-1984.” Art in America (5 Jan. 2011).


Johnson, Ken. “Peter Campus: ‘Calling for Shantih’” New York Times, Weekend Arts (10 Dec. 2010).


Pardee, Hearne. “The Surrogate Eye: Peter Campus’s new videos/artcritical.” artcritical (12 Dec. 2010).


Viola, Bill. “Artist to Artist: Peter Campus - Image and Self.” Art in America 98.2 (Feb. 2010): 59-64.


Daffau, Anne. “Opticks, Peter Campus at the BFI South Bank Gallery.” (27 Jan. 2010).


Basciano, Oliver. “ArtReview meets Peter Campus.” ArtReview (18 Dec. 2009).


Colia, Claudia. “Opitcks: una mostra de Peter Campus.” New Cult Frame Arte Visive. (Dec. 2009).


Aletti, Vince. “Peter Campus.” The Village Voice (29 Oct. 2009): 106-107.


Maul, Tim. “Peter Campus: Albion.” Art in America 97.3 (Mar. 2009): 138.


McQuaid, Cate. “ART REVIEW: Videos, then and now, tell a story at RISD museum.” Boston Globe (4 Jan. 2009).


Wainwright, Jean. “Peter Campus.” Art Review 23 (Jun. 2008): 143.


Meigh-Andrews, Chris. “Peter Campus: Projected Video Works 1972-1980,


Recent Landscapes 2007.” Art Monthly 316 (May 2008): 27-28.


Tate Modern. “The Expansive Lens: Peter Campus, Douglas Gordon and David A Ross in Conversation.” (Apr. 2008).


Vogel, Carol. “Confiscated Old Master is Back on the Market.” The New York Times (7 Mar. 2008).


Ryan, Suzanne C. “Developing an appetite for nontraditional dining rooms.” Boston Globe (21 Feb. 2008).


Galvez, Paul. “Peter Campus: Locks Gallery.” Artforum 46.5 (Jan. 2008): 286-7.


Spielmann, Yvonne. Video: The Reflexive Medium. Cambridge, MA: MIT Press, 2008. 83, 118, 164-5, 243-4 (images).


Bockington, Horace. “Double Meditations: Carlo Ferraris - Horace Brockington.” NY Arts (Sep./Oct. 2007).


Bonetti, David. “We can see through ‘Window,’ but do we?” St. Louis Post - Dispatch (9 Sep. 2007): F8.


Mondloch, Kate. “Be Here (and There) Now: The Spatial Dynamics of Screen-Reliant


Installation Art.” Art Journal (Fall 2007): 20-33.


Bonetti, David. “Exhibit opens a window on technology.” St. Louis Post - Dispatch (30 Aug. 2007): 8.


Otten, Liam. “St. Louis, Mo.: Peter Campus and Iñigo Manglano-Ovalle to Discuss New Media Art in August.”


Targeted News Service (17 Aug. 2007).


Diaz, Eva. “Peter Campus: Leslie Tonkonow Artworks + Projects.” Modern Painters 19.6 (Jul./Aug. 2007): 80.


Thorel, Benjamin. L’art contemporain et la télévision: Telle est la Téle. Paris, France: Cercle d’Art, 2007.


Rush, Michael. Video Art. London, United Kingdom: Thames & Hudson, 2007. Wildman, David.

Johnson, Ken. “Surveillance, spectacle on video.” The Boston Globe (3 Nov. 2006). 

Rush, Michael. “In Love With Reality Truly, Madly, Virtually.” The New York Times (8 Jan. 2006).


Meigh-Andrews, Chris. A History of Video Art: The Development of Form and Function. Oxford, England: Berg, 2006.


Morse, Margaret. “Video Installation Art: The Body, the Image, and the Space-in-between.”


A History of Video Art: The Development of Form and Function.


Chris Meigh-Andrews. Oxford, England: Berg, 2006. 152-167.


“Peter Campus.” Video Art. Eds. Sylvia Martin and Uta Grosenick. Hong Kong, China: Köln, 2006. 40-41.


Wooster, Ann-Sargent. “Reach Out and Touch Someone: The Romance of Interactivity.” A History of Video Art: The Development of Form and Function.


Chris Meigh-Andrews. Oxford, England: Berg, 2006. 275-303.


Kuhn, Thomas W. “Ackermans at K 21.” NY Arts (Nov./Dec. 2005).


Massot, Joseph. “La Vanguardia: Entrevista a Peter Campus, pionero del videoarte.” (10 Nov. 2005).


Doran, Anne. “The Continuous Present: Peter Campus & Anthony McCall. TimeOut New York (15 Sep. 2005).


Kuspit, Donald. “The Matrix of Sensations.” Artnet Magazine (6 Aug. 2005).


Smith, Roberta. “Wide Open Spaces, Within and Between the Frames.” The New York Times( 2 Sep. 2005).


Rush, Michael. “Peter Campus at Leslie Tonkonow.” Art in America 93.5 (May 2005):168.


Burton, Johanna. “Peter Campus.” Artforum International 43.7 (Mar. 2005): 238-240.


Mondloch, Kate. “Thinking through the screen: Media installation, its spectator, and the screen.” Thesis. University of California, Los Angeles, 2005.


Smith, Roberta. “Art in Review; Peter Campus.” The New York Times (17 Dec. 2004): 44.


Joselit, David. “Inside the Light Cube: Pierre Huyghe’s Streamside Day Follies and the Rise of Video Projection.” Artforum 42.7 (Mar. 2004): 154-159.


Smith, Roberta. “Art Review; Getting Caravaggio From Video, With Several Hearts of Darkness.” The New York Times (9 Jan. 2004).


Campus, Peter. Interview. TimeOut New York (12-19 Sep. 2003): 56.


Johnson, Ken. “Art Review; Gathering a Flock of Quirky Grown-Ups.” The New York Times (18 Jul. 2003).


Pardee, Hearne. “Peter Campus at Leslie Tonkonow.” Art in America 91.7 (Jul. 2003): 93.


Maak, Niklas. “Asch Mensch.” Frankfurter Allgemeine Zeitung 123 (28 May 2003): 33.


Smith, Roberta. “Art Review; Video, in Its Infancy, Had to Crawl Before It Could Walk.” The New York Times (24 Jan. 2003).


Aranson, H.H. History of Modern Art, 5th Edition. Revising Author, Peter Klab. Upper Saddle River, NJ: Prentice Hall, Inc, 2003. 599.


Campus, Peter. “meditaciones/musings.” Peter Campus: Before this Moment. Mexico: Conaculta: Antiguo Colegio de San Ildefonso, 2003. 9-13.


Campus, Peter. Peter Campus: Before this Moment. Mexico: Conaculta: Antiguo Colegio de San Ildefonso, 2003.


Dubois, Philippe. “L’état-vidéo: une forme qui pense: Une histoire en deux mouvements.”

 Video Topiques - tours et retours de l’art vidéo. Strasbourg: 2002-2003, 42-52.


Flach, Sabine. Körper-Szenarien: Zum Verhältnis von Körper und Bild inVideoinstallationen. München, Germany: Fink, 2003.


Herzogenrath, Wulf. “Peter Campus.” warum! Bilder diesseits und jenseits des Menschen. Berlin, Germany: Hatje Cantz Verlag, 2003. 84-88.


Herzogenrath, Wulf. “Videokunst: Ein neuer Stil.” Videokunst in Deutschland 1963-1982: Videobänder, Videoinstallationen, Video-Objekte, VIdeo-performances, Fotografien. Köln: Hatje, 1982. 10-25.


Herzogenrath, Wulf and Barbara Nierhoff. “Peter Campus: analog + digital video + foto: Kunsthalle Bremen, 13 September - 9 November 2003.” Bremen, Germany: Kunsthalle, Bremen, 2003.


Joselit, David. American Art since 1945. London, England: Thames & Hudson, 2003.157-158.


Jussim, Estelle. “Gesture and Idea: Image and Medium.” The Boston Review (Dec.1983): 15.


Ross, David A. “Peter Campus: Ver y ser visto/Peter Campus: Seeing and Seen.”


Peter Campus: Before this Moment. Mexico: Conaculta: Antiguo Colegio de San Ildefonso, 2003. 15-21.


Kuspit, Donald. “Fragments of a Scene: Gallery hopping with Donald Kuspit.” Art New England 24.1 (Dec. 2002/Jan. 2003): 10-11.


Trainor, James. “Peter Campus.” Frieze (Nov./Dec. 2002): 103.


Sundell, Margaret. “Back on Campus.” Time Out New York 363 (12-19 Sep. 2002): 56.


“Peter Campus.” The New Yorker 14 Oct. 2002.


Rosenberg, Karen. “Peter Campus’s Pioneering Videos: Return to Oz.” The Village Voice 25 Sep. - 1 Oct. 2002.


Robinson, Walter. “Weekend Update.” 9 Sep. 2002.


Robinson, Walter. “Weekend Update.” 9 Sep. 2002.


Shuman, Rachel. “Bird on a Wire.” Time Out New York 361 (Aug./Sep. 2002).


Smith, Roberta. “Art Review; Technology as a Muse, A Hazard and an Ally.” The New York Times 16 Aug. 2002.


Kimmelman, Michael. “Art Review; A Brazilian’s Work in the 70’s Now Looks New.” The New York Times 2 Aug. 2002.


MoMA, The Museum of Modern Art. “Film and Media Exhibitions.” MoMA 5.3 (Mar. - Apr. 2002): 17-32. 30.


Rush, Michael. “Art/Architecture; No Longer an Orphan, Video Art Gives Itself a Party.” The New York Times 10 Feb. 2002.


Biesenbach, Klaus, Barbara London and Christopher Edmon. Video Acts: Single Channel Works from the Collections of Pamela and Richard Kranich and New Art Trust. Long Island City, NY: P.S.1 Contemporary Art Center, 2002.


Campus, Peter. “A Small Thing.” “Studio as Study: A Selection of Drawings by American Video Artists. Ed. Melinda Barlow, et al. Performing Arts Journal, Inc. 71 (2002): 1-33. 20-21.


Duguet, Anne-Marie. Déjouer l’image: Créations électroniques et numériques. Nîmes, France:Jacqueline Chambon, 2002.


Falkenberg, Merrill Brooke. “Circuits of exchange: The myth of interactivity in video art.” Thesis. Stanford University, 2002.


Flach, Sabine. “Passagen der Ähnlichkeit: Bild und Ab-Bild in den Videoinstallationen von Peter Campus.” Mimetische: Differenzen: Der Spielraum der Medien zwischen Abbildung und Nachbilding. Eds. Sabine Flach und Georg C. Tholen. Kassel, Germany: Kassel University Press, 2002. 19-38.


Flach, Sabine and Georg C. Tholen, eds. Mimetische Differenzen: Der Spielraum der Medien zwischen Abbildung und Nachbildung. Kassel, Germany: Kassel University Press, 2002.


Herzogenrath, Wulf. “Peter Campus: mem.” Vidéo Topiques - tours et retours de l’art vidéo. Strasbourg, France: Musées de Strasbourg, 2002. 94-97.


Schmitz, Britta. “Peter Campus.” Verein der Freunde der Nationalgalerie Berlin. Zum 95. Jubiläum des Veriens. Ed. Jan. Rave. Leipzig, Germany: Seemann, 2002. 247.


“Peter Campus.” The New Yorker (21 Oct. 2001).


Rush, Michael. “Art/Architecture; Video Prophets Who Foretold Today’s InNov.ations.” The New York Times (14 Oct. 2001).


Rush, Michael. “Art/Architecture; Before ‘Reality TV’ There Was Reality Video.” The New York Times (21 Jan. 2001).


Gfeller, Johannes. “Kunstfehler! Elektrisch, elektronisch, digital: fünf vor zwölf zeigt die Uhr allemal. Für einen historisch informierten Umgang mit Medienkunst.” Horizonte: Beiträge zur Kunst und Kunstwissenschaft; 50 Jahre Schweizerisches Institut für Kunstwissenscahft. Eds. Juerg Albrecht and Kornelia Imesch. Ostfildern-Ruit, 2001. 415-422.


Longavesne, John-Paul. “The Aesthetics and Rhetoric of the Technological Arts: Interface Machines, Part One.” Crossings: Electronic Journal of Art and Technology 1.2 (Sep. 2001). 

Neuer Berliner Kunstverein, ed. Video-Forum des Neuen Berliner Kunstvereins. Berlin, Germany: Neuer Berliner Kunstverein, 2001. 51, 93.


Osswald, Anja. “Der ‘elektronishce Spiegel:’ Künstlerishce Selbstreflexion in amerikanischen Videotapes um 1970.” Thesis. Berlin, 2001.


MoMA, The Museum of Modern Art. “Film and Video Exhibitions.” MoMA 3.8 (Nov. 2000): 15-30. 27.


Unger, Miles. “Art/Architecture; A Boston TV Party in Aid of a Video Revolution.” The New York Times (2 Apr. 2000).


Frieling, Rudolf and Dieter Daniels. Medien Kunst Interaktion: Die 80er und 90er Jahre in Deutschland. Wien, Austria: Springer Verlag Gmbh, 2000.


GRAM (Groupe de Recherche en Arts Médiatiques). “New Media Dictionary: ‘Video Art.’” Leonardo 33.2 (2000): 137-140. 139.


Joselit, David. “The Video Public Sphere.” Art Journal 59.2 (Summer 2000) 46-53.



Copyright ⓒ 1994 GALLERY SIMON