Fluxus emerged in the early 1960s as a loose, international network of artists, composers, and designers-"led" by Lithuanian-born American artist George Maciunas (1931-1978)- that was noted for blurring the boundaries between art and life. Fluxus artists like Maciunas, Nam June Paik, George Brecht, and Yoko Ono, among many others, challenged the notion of high art by creating unassuming, often humorous objects and performances that redefined the terms of artistic production by demonstrating the idea that "anything can be art and anyone can do it." Because of their disregard for traditional artistic media, many of the objects in the exhibition are-often by design-acutely resistant to conventional forms of museum display. Variously conceived as carriers of ideas, absurdist send-ups of consumer products, and invitations to direct, playful participation by the viewer, these works attempt to undermine the idea that art is separate from the activity of living one's life. Through 116 works, Fluxus and the Essential Questions of Life will introduce visitors to the study and appreciation of art as an exciting and intellectually rewarding experience, and to the notion that art is something that can play an active role in their own approaches to life's essential questions.

This exhibition was organized by the Hood Museum of Art and was generously supported by Constance and Walter Burke, Dartmouth College Class of 1944, the Marie-Louise and Samuel R. Rosenthal Fund, and the Ray Winfield Smith 1918 Fund. UMMA's installation is made possible in part by the University of Michigan Health System, the University of Michigan Office of the Provost, Arts at Michigan, and the CEW Frances and Sydney Lewis Visiting Leaders Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Fluxus emerged in the early 1960s as a loose, international network of artists, composers, and designers-"led" by Lithuanian-born American artist George Maciunas (1931-1978)- that was noted for blurring the boundaries between art and life. Fluxus artists like Maciunas, Nam June Paik, George Brecht, and Yoko Ono, among many others, challenged the notion of high art by creating unassuming, often humorous objects and performances that redefined the terms of artistic production by demonstrating the idea that "anything can be art and anyone can do it." Because of their disregard for traditional artistic media, many of the objects in the exhibition are-often by design-acutely resistant to conventional forms of museum display. Variously conceived as carriers of ideas, absurdist send-ups of consumer products, and invitations to direct, playful participation by the viewer, these works attempt to undermine the idea that art is separate from the activity of living one's life. Through 116 works, Fluxus and the Essential Questions of Life will introduce visitors to the study and appreciation of art as an exciting and intellectually rewarding experience, and to the notion that art is something that can play an active role in their own approaches to life's essential questions.

This exhibition was organized by the Hood Museum of Art and was generously supported by Constance and Walter Burke, Dartmouth College Class of 1944, the Marie-Louise and Samuel R. Rosenthal Fund, and the Ray Winfield Smith 1918 Fund. UMMA's installation is made possible in part by the University of Michigan Health System, the University of Michigan Office of the Provost, Arts at Michigan, and the CEW Frances and Sydney Lewis Visiting Leaders Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Designed specifically for the lunch hour, UMMA students will offer 30 minutes of conversation about art in the UMMA galleries around fresh and entertaining themes such as inspiration, love, heroes, and more. Meet at the Information Desk.

Fluxus emerged in the early 1960s as a loose, international network of artists, composers, and designers-"led" by Lithuanian-born American artist George Maciunas (1931-1978)- that was noted for blurring the boundaries between art and life. Fluxus artists like Maciunas, Nam June Paik, George Brecht, and Yoko Ono, among many others, challenged the notion of high art by creating unassuming, often humorous objects and performances that redefined the terms of artistic production by demonstrating the idea that "anything can be art and anyone can do it." Because of their disregard for traditional artistic media, many of the objects in the exhibition are-often by design-acutely resistant to conventional forms of museum display. Variously conceived as carriers of ideas, absurdist send-ups of consumer products, and invitations to direct, playful participation by the viewer, these works attempt to undermine the idea that art is separate from the activity of living one's life. Through 116 works, Fluxus and the Essential Questions of Life will introduce visitors to the study and appreciation of art as an exciting and intellectually rewarding experience, and to the notion that art is something that can play an active role in their own approaches to life's essential questions.

This exhibition was organized by the Hood Museum of Art and was generously supported by Constance and Walter Burke, Dartmouth College Class of 1944, the Marie-Louise and Samuel R. Rosenthal Fund, and the Ray Winfield Smith 1918 Fund. UMMA's installation is made possible in part by the University of Michigan Health System, the University of Michigan Office of the Provost, Arts at Michigan, and the CEW Frances and Sydney Lewis Visiting Leaders Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Fluxus emerged in the early 1960s as a loose, international network of artists, composers, and designers-"led" by Lithuanian-born American artist George Maciunas (1931-1978)- that was noted for blurring the boundaries between art and life. Fluxus artists like Maciunas, Nam June Paik, George Brecht, and Yoko Ono, among many others, challenged the notion of high art by creating unassuming, often humorous objects and performances that redefined the terms of artistic production by demonstrating the idea that "anything can be art and anyone can do it." Because of their disregard for traditional artistic media, many of the objects in the exhibition are-often by design-acutely resistant to conventional forms of museum display. Variously conceived as carriers of ideas, absurdist send-ups of consumer products, and invitations to direct, playful participation by the viewer, these works attempt to undermine the idea that art is separate from the activity of living one's life. Through 116 works, Fluxus and the Essential Questions of Life will introduce visitors to the study and appreciation of art as an exciting and intellectually rewarding experience, and to the notion that art is something that can play an active role in their own approaches to life's essential questions.

This exhibition was organized by the Hood Museum of Art and was generously supported by Constance and Walter Burke, Dartmouth College Class of 1944, the Marie-Louise and Samuel R. Rosenthal Fund, and the Ray Winfield Smith 1918 Fund. UMMA's installation is made possible in part by the University of Michigan Health System, the University of Michigan Office of the Provost, Arts at Michigan, and the CEW Frances and Sydney Lewis Visiting Leaders Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Noted for blurring the boundaries between art and life, Fluxus artists such as George Maciunas, Nam June Paik, George Brecht, and Yoko Ono, among many others, challenged the notion of high art by creating unassuming, often humorous objects and performances. Their work redefined the terms of artistic production by demonstrating the idea that "anything can be art and anyone can do it" and by their disregard for traditional artistic media.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Advance registration required by Wednesday, May 23. Register online at annarborartcenter.org.

Learn the techniques of wood blocking, as seen in Saitô Kiyoshi’s famous prints in UMMA’s Japanese collection. Be inspired by the art of Chang Ku-nien and other Japanese and Chinese artists. Then create your own unique wood block stationery sets! All materials included.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Asian art, both historic and modern in ceramics, woodwork and basketry representing Hindu and Buddhist practices will be on view in this selection of exciting recent acquisitions. Docents will engage visitors in conversation on artists as diverse as Japanese ceramic artist Kôyama Kiyoko, local favorite Larry Cressman, and the acclaimed Michele Oka Doner—all included in this exhibition.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Haroon Mirza explores the relationships humans have with sound that occurs through objects, actions and forcews. He has captured the attention of the public and critics alike and was awarded the prestigious Northern Art Prize in 2010 and the 2011 Venice Biennale Silver LIon Award for the most promising young artist. This is Mirza's first solor museum exhibition in the United States.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.

Peter Campus is a pioneer of video art who experimented with the medium in the 1970s alongside other notable artists Bill Viola, Bruce Nauman, and Joan Jonas. Video represented a new frontier, one that allowed artists to expand upon common artistic concerns of the era, including minimalism, performance, and conceptual art Campus pursued many directions, and created both large-scale projections and a series of little-seen installation works that employ live video feeds, of which Kiva (1971) is one. Campus experimented with closed circuit cameras not with an interest in surveillance and control, but rather because they were the ideal tools for producing situations of interactive engagement between viewer and image.

Kiva—the title refers to a kind of ceremonial room used by Native Americans of the Southwest for ritual and spiritual ceremonies—comprises a monitor with a closed circuit camera mounted on top; the lens is pointed directly at the viewer of the monitor, but the camera's view is restricted and manipulated by the placement of suspended mirrors. The camera shoots through a hole in one mirror to the surface of the other, both constantly shifting in relation to each other as they turn like a mobile. The mirrors fragment and multiply the image, allowing the camera to take in aspects of the room, the viewer, and the eye of the camera itself.

This project is made possible by the UMMA Director's Discretionary Fund.