Jaime Davidovich
Jaime Davidovich lives and works in New York, New York.
EDUCATION
| 1963 | School of Visual Arts, New York |
| 1959-61 | University of Uruguay |
| 1954-58 | National College, Buenos Aires, Argentina |
SELECTED EXHIBITIONS
| 2013 | Museum of Television Culture, Churner and Churner, New York |
| 2012 | Wooster Enterprises, Churner and Churner, New York |
| Taped Projects, Henrique Faria Fine Art, New York | |
| Re: Play, MediaNoche, New York | |
| 2011 | The Museum Show, Arnolfini, Bristol, England |
| 2010 | Biting the Hand that Feeds You, ARTIUM, Vitoria Gasteiz, Spain |
| The Live! Show, Cabinet, New York | |
| Changing Channels, MUMOK, Vienna, Austria | |
| 2009 | The Live! Show, Seventeen Gallery, London |
| Compass in Hand, MOMA, New York | |
| From the Archives: 40 years, 40 projects, White Columns, New York | |
| No Soul for Sale, X Initiative, New York | |
| 2008 | California Video, The J. Paul Getty Museum, Los Angeles |
| Dr. Videovich, Anthology Film Archives, New York | |
| The Live Show, MAMBA, Buenos Aires, Argentina | |
| Looking Back, White Columns, New York |
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| Arte no es Vida 1960-2000, Museo del Barrio, New York | |
| 2007 | Resplandores, Centro Cultural Recoleta, Buenos Aires, Argentina |
| Primera Generation.Arte e Imagen en Movimiento (1963-1986), Museo Nacional Centro de Arte, Reina Sofia, Madrid | |
| Monografico Jaime Davidovich, Caixa Forum, Barcelona, Spain | |
| Jaime Davidovich Television and Video Works: 1970-2007, Mitchell Algus Gallery, New York | |
| Real Life Magazine: 1979-1990, Artist Space, New York | |
| 2006 | The Studio Visit, Exit Art, New York |
| 2005 | Jaime Davidovich, VanGuardia, Bilbao, Spain |
| Odd Lots, White Columns, New York | |
| 2004 | Jaime Davidovich Video Works 1970-2000, The Phatory Gallery, New York |
| Imaging the River, The Hudson River Museum, New York | |
| Ultravideoform, Mitchell Algus Gallery, New York | |
| 2003 | Paintings in Real Time, Museo de Arte Moderno, Buenos Aires, Argentina |
| View from Above, Deep Listening Center, Kingston, New York | |
| 2002 | EXO, Kleinert Arts Center, Woodstock, New York |
| 2000 | “The End” An 18-year History of Exit Art, Exit Art, New York |
| 1999 | Paintings in Real Time, Lehman College Art Gallery, New York |
| 1998 | Zocalo 1975-1998, Museum of Modern Art, Buenos Aires, Argentina |
| 1997 | Legacy/Legado, The Old State House, Hartford, Connecticut |
| 1995 | The Promised Land, Installation, ICI de Buenos Aires, Argentina |
| El Museo del Barrio Twenty-fifth Anniversary Exhibition- Part III-Reaffirming Spirituality, El Museo del Barrio, New York | |
| 1994 | Lo Falso, Lo Virtual, Lo Real, ICI de Buenos Aires, Argentina |
| Scars, Pleasure + Sacrifice Argentina, Colombia Video Creation, Colombian Center and Consulate General of Argentina, New York | |
| Ver Y Estimar, Museo Nacional de Bellas Artes, Buenes Aires, Argentina | |
| Recordando el Futuro, Colombian Mission, New York | |
| 1993 | Buenos Aires Video, ICI de Buenos Aires, Argentina |
| Festival on Tactical Television, Paradiso Amsterdam | |
| 1992 | Los Pueblos Quieren Saber de que se Trata, Fundacion Banco Patricios, Buenos Aires, Argentina |
| Americas, Monasterio de Santa Clara, Moguer Huelva, Spain | |
| Uncommon Ground, College Art Gallery, SUNY New Paltz, New York | |
| Democracy in Communication, International Media Resource Exchange | |
| 1991 | Forces/Farces, Exit Art, New York |
| 1990 | Jaime Davidovich – Contexto Transcultural Video-Instalaciones, ICI de Buenos Aires, Argentina |
| Ideas and Images from Argentina, The Bronx Museum of the Arts, New York | |
| Video Arte Internacional, Museo Nacional de Bellas Artes, Asociacion Argentina de Criticos de Arte, Instituto de Cooperacion Ibero Americana, Buenos Aires, Argentina | |
| Image World: Metamedia, Whitney Museum of American Art, New York | |
| The Decade Show – Frameworks of Identity in the 1980’s, Museum of Contemporary Hispanic Art; The New Museum of Contemporary Art; The Studio Museum in Harlem, New York | |
| 1989-1990 | The Live! Show Retrospective, American Museum of the Moving Image, New York |
| The Latin American Spirit: Art and Artists in the United States, 1920-1970”, The Bronx Museum of the Arts, New York | |
| 1989 | “Image World – Art and Media Culture, Whitney Museum of American Art, New York |
| Pervasive Symbiosis – Ten Argentine-New York Artists, Carla Stellweg Gallery, New York | |
| 1988 | Jaime Davidovich, Diane Brown Gallery, New York |
| Crossing Over: Video, Criticism, Theory, The Corroboree + Multimedia Studios, School of Art and Art History, The University of Iowa, Iowa City | |
| 1988 National Latino Film and Video Festival, El Museo del Barrio, New York | |
| San Antonio Film and Video Festival, San Antonio, California | |
| 1986 | Television’s Impact on Contemporary Art, The Queens Museum, New York |
| Artists’ Television Project, The University of Iowa, Iowa City | |
| Transcultural/Transmedia, Exit Art, New York | |
| Computer Culture Days Linz, ORF – Videonale/New Images for a New Age, ARS Electronica, Austria | |
| 1985 | “Artists Talk Back to the Media”, Holland |
| Utah Arts Festival 1985, Triad Center, Salt Lake City, Utah | |
| Famous for 30 Seconds – Artists in the Media, Artists Space, New York | |
| 1984 | Cleveland Revisited, The New Gallery of Contemporary Art, Cleveland, Ohio |
| TV on TV, Texas Tech University, Lubbock, Texas | |
| Global Village 10th Annual Documentary Festival, New York | |
| So There, Orwell – 1984 – A Video Review, The Louisiana World Exposition | |
| Video: A Retrospective, Long Beach Museum of Art, California | |
| World Wide Video Festival 84, Kijkhuis, Nederland | |
| From TV to Video, L’immagine e Lettronica, Bologna, Italy | |
| 1 Bienal de la Habana, Pabellon Cuba Museo Nacional, La Habana, Cuba | |
| Salso Film & TV Festival, Assessorato Alla Cultura del Comune di Parma, Italy | |
| 1983 | Video/Jaime Davidovich, Hallways, Buffalo, New York |
| Television! Group Installation at the Windows at 62 White Street, New York | |
| Watching Television – A Video Event, School of Art and Design, University of Illinois at Urbana-Champaign, Illinois | |
| Wake Up, Artist’s in Residence Series, Chicago Editing Center, Chicago | |
| Jaime Davidovich,17 Bienal de Sao Paulo, Brazil | |
| TV USA 1983, Institute of American Studies, Barcelona, Spain | |
| 1982 | The Artist and Television, The University of Iowa School of Art and Art History, UCLA College of Fine Arts, Long Beach Museum of Art, NYU College of Arts |
| The Live! Show, MCTV, New York Athens International Film/Video Festival, Athens Center for Film and Video, Ohio University College of Fine Arts | |
| Videodagen, Fodor, Amsterdam | |
| Video and Television Festival, Maastrich, Holland | |
| “Festival de Video”, Center for Media Art, American Center, Paris | |
| “Kijkschrift een Uitgave Van Het Kijkhuis”, Kijkhuis World Wide Video Festival, Nederland (Catalogue) | |
| New Images/New Languages, Toulouse, France | |
| 1981 | Video/Behavior/Art, Institut D’Estudis Nord-Americans, Barcelona, Spain |
| Video, University Art Museum, Berkley, California | |
| Alternatives in Retrospect, The New Museum, New York | |
| 1980 | Shock Opera, Youthinasia, Hurrah, New York |
| Visual Arts Conference, University of Northern Iowa, Cedar Falls | |
| Video – Informative Series 2, Collegi D’Arquitectes de Catalunya, Institut Alemany de Barcelona, Barcelona, Spain | |
| Jaime Davidovich, Stichting Agora, Nederland Agora Studio, Maastrich, Holland | |
| 1979 | Intermedia, Corroboree Gallery, Iowa State University, Iowa City |
| Soho TV Presents, Long Beach Museum of Art, California | |
| 1978 | Jaime Davidovich ‘Art Turns on Television, Coroborree, New York |
| Soho Television, The Kitchen, New York | |
| Video – Entre L’Art ila Comunicacio – Series Informatives 1, Col-legi D’Arquitectes de Catalunya, Institut Alemany de Barcelona, Spain | |
| 1977 | “Artists Make Television”, Anthology Film Archives, New York |
| “Soho Television”, The Kitchen, New York | |
| Adhesive Tape/Video Installation, Everson Museum of Art, Syracuse, New York | |
| Outdoor Environmental Art, The New Gallery, Cleveland, Ohio | |
| Art of the Seventies, Fundacion Miro, Barcelona, Spain | |
| New York Artists, Louisiana Museum, Denmark | |
| 8th International Video Art Festival, Continental Gallery, Lima, Peru | |
| 1976 | Jaime Davidovich: Video Tapes, Anthology Film Archives, New York |
| Jaime Davidovich Video VII, Museum of Modern Art, New York | |
| New York – Downtown Manhattan – Soho, Academie de Kunst, Berlin | |
| The New American Filmmakers Series, Whitney Museum of American Art, New York | |
| Baseboard, The Kitchen, New York | |
| Jaime Davidovich, Arnot Museum, Elmira, New York | |
| 1975 | Art of the Seventies, Museum of Modern Art, Buenos Aires, Argentina |
| Fourth International Open Encounter on Video, CAYC, Buenos Aires, Argentina | |
| Encounter of Video Tape, Museum of Art, Ferrara, Italy | |
| Art Today USA, Teheran, Iran | |
| International Encounter of Video Tapes, Espace, Pierre Cardin, Paris | |
| Video Performance, 3 Mercer Street Store, New York | |
| Video Tapes, New Gallery, Cleveland, Ohio | |
| 1974 | Open Circuit Video Show, Museum of Modern Art, New York |
| Kunst Systemen in America – Centrum, Antwerpen, Belgium | |
| Latin American Week in London, Institute of Contemporary Arts, London | |
| Cayc, Museum of Fine Arts, Brussels, Belgium | |
| Cayc, Museum of Modern Art, Antwerp, Belgium | |
| 1973 | Railroad Bridge Project, The New Gallery, Cleveland, Ohio |
| Biennial Exhibition, Whitney Museum of American Art, New York | |
| 1972 | Six Artists, Akron Art Institute, Akron, Ohio |
| Master Drawings and Works on Paper, The New Gallery, Cleveland, Ohio | |
| Five Artists, The New Gallery, Cleveland, Ohio | |
| Hacia un Perfil del Arte Latino Americano, Pamplona, Spain | |
| Arte de Sistemas, Museo de Arte Moderno, Buenes Aires; Museo de Bellas Artes, Santiago, Chile | |
| 1971 | Jaime Davidovich’s ‘Carroll Wall Project, John Carroll University, Cleveland, Ohio |
| Experiments in Art and Technology, B.K. Smith Gallery, Lake Erie College, Painesville, Ohio | |
| Iberamerican Celebration, Drake University, Des Moines, Iowa | |
| 11 From E.A.T., John Carroll University, Cleveland, Ohio | |
SELECTED BIBLIOGRAPHY
| 2014 | Jason Varone, “5 Old School NYC Video Artists You Should Know (and Follow)” Hyperallergic (April 18, 2014) |
| 2013 | Holland Cotter, “Jaime Davidovich: Museum of Television Culture,” The New York Times (December 20, 2013) |
| Ali Pechman, Critics’ Picks, ArtForum (November 27, 2013) | |
| 2012 | Charles Marshall Schultz, “Jaime Davidovich: Henrique Faria and Medianoche,” Art in America (September 2012) pp.144 |
| Colby Chamberlain, ”Wooster Enterprises,” ArtForum (November 2012) | |
| “Wooster Enterprises, 1977-78 at Churner and Churner Gallery,” The Huffington Post (August 15, 2012) | |
| Carmen Winant, “Soho and Fluxus,” ArtSlant (August, 2012) | |
| Holland Cotter, “Wooster Enterprises, 1976-78,″ The New York Times (August 9, 2012) | |
| Robert Shuster, “Best in Show: Wooster Enterprises,” The Village Voice (August 1,2012) | |
| Serena Qiu, “Classic Wit: Wooster Enterprises at Churner and Churner,” The Wild (July 27,2012) | |
| Michael H. Miller, “8 Things to DO in New York’s Art World Before July 15,″ Gallerist NY (July 7, 2012) | |
| Aime´Inglesias Lukin, “Taped Projects,” Henrique Faria Fine Art (April 2012) | |
| 2010 | Fito Rodríguez, “Biting the Hand That Feeds You,” Artium (October 2010) |
| “Magnet: New York Argentine Art from the 60’s” Proa (July 2010) | |
| “The Live! Show,” Artium, (October 2010) | |
| Sina Najafi, “Jaime Davidovich: The Live Show!” Cabinet (January 22, 2010) | |
| Miguel Cereceda, “Pegados a La Pantalla” ABC Cultural (October 23, 2010) | |
| Jaime Cuenca, “Conflicto de Medios,” Bilbao (November 2010) | |
| 2009 | Holland Cotter, “Restoring the ‘Eek’ to Eking Out a Living,” The New York Times(June 25, 2009) |
| Leah Churner, “The Poor Soul of Television,” Moving Image Source (June 25, 2009) | |
| 2008 | Erin Clements, “Retro NYC,” TimeOut, New York (May 2008) |
| Ken Johnson, “SoHo: Provocations, Reflections and Abstractions,” The New York Times (November14, 2008) | |
| 2007 | Joseph Jacobs, “When Video Was Young,” Art in America (May 2007) |
| 2005 | Pedro Cuperman, “2005 Syracuse International Film & Video Festival,”Point of Contact, (April 28-May 1 2005) |
| 2004 | Pedro Cuperman, “DOSSIER: 2004 Syracuse International Film & Video Festival,” Point of Contact, (April 29-May 2 2004) |
| Elaine Beth Wilson, “Lucid Dreaming.” Chronogram (June 2004) | |
| Slavko Kacunko, “Closed Circuit: Videoinstallationen” Logo Vergag, Berlin. | |
| Lower Manhattan Cultural Council, “Site Matters,” Distributed Art Publishers | |
| Ariadna Capasso and Diana Korchak. “Jaime Davidovich,” The New York Art World (April 2004), p. 13. | |
| Thomas Riggs, “St. James Guide to Hispanic Artists,” St James Press, Minnesota & the Hispanic Arts and Association for Latin American Art | |
| 2003 | “Jaime Davidovich: Minimal, Concepto y video Arte,” Cartela, Vol. 4, No. 7 (October 2003) |
| 1999 | Susan Hoeltzel, “Painting in Real Time” Lehman College Art Gallery (Sept 1999), catalogue |
| William Zimmer, “Hudson River School Just Keeps on Rolling,” The New York Times (October 17, 1999) | |
| 1998 | John Hanhardt, “Entrevista a John Hanhardt,” Mediapolis (August 1998) pp.12-14 |
| 1997 | Antonio Muntadas, “Davidovich Un Museo Personal Media Zone,”Mediapolis, Vol. 2, No. 4, (November1997) Buenos Aires pp. 38-41 |
| 1995 | Albino Dieguez Videla, “Direcciones Encontradas,” La Prensa, Buenos Aires (May 21, 1995) |
| Jorge Lopez Anaya, “Un Espacio Cibernetico,” La Nacion, Buenos Aires, (May 27, 1995) | |
| Ana M. Battistazzi, “Jaime Davidovich, Precursor en el Arte Digital – La Argentina Tecnologica,”Clarin, Buenos Aires, (May 27, 1995), pp. 14 | |
| M. Farman-Farmaian, “Breakfast in the U.S.,” Buenos Aires Herald, (May 29, 1995) | |
| Herman Rapaport, “Jaime Davidovich – A Video Promenade – Jorge Luis Borges Interview with Davidovich While Walking on University Place from 12th to 11th Streets, New York, 1982,” Point of Contact, Vol. 4, No. 2, (Fall 1995) pp.16-21. | |
| 1994 | Miguel Briante, “Tanteo en Lo Real,” Buenos Aires (August 30, 1994) pp. 12 |
| Jorge Lopez Anaya “El Esteticismo Banal Frente Al Arte-Arte”, La Nacion (September 12 1994) | |
| Olivera, Elena. “Lo Falso, Lo Virtual, Lo Rel Y Pocas Sorpresas”, Clarin(September 17 1994) Buenos Aires | |
| Fabian Lebenglik, “Jaime Davidovich – Experiencias Irreales,” (October 4. 1994) pp.12 | |
| 1993 | Carlos Trilnik, “Una Television Alternativa”, Tipo Grafica, Vol 4. No. 17, 1992 |
| Paviglianiti, Noemi. “Hacia un Perfil de Los ‘90”, Revista Que Hacemos, Ano 13, No. 147 (August 1992) pp. 28-29 | |
| Bonnie Langston, “Discovering the Art of Latin America,” Sunday Freeman (September 27 1992) p. 25 | |
| James G. Shine, “Unusual Experience in ‘Uncommon Ground,” Daily Freeman (October 11, 1992) Preview pp. 6-7 | |
| 1991 | “Self-Portrait by Jaime Davidovich, Goings on About Town,” The New Yorker (July 8, 1991) p. 13 |
| Ellen Handy, “New York in Review”, Arts Magazine (October 1991) pp. 93 | |
| “Kill Win”, Art Metropole Video Archive Catalogue | |
| 1990 | Mireia Sentis, “Jaime Davidovich – El Humor Como Arma de Reflexion,” Mensaje Y Medios, No. 10 (January 1990) pp. 14-19 |
| Jaime Davidovich, “Manifesto for the Last Decade of this Century,” Real Life Magazine, N20, pp. 40-41. | |
| 1988 | Susan Morgan, Catalogue Essay for “Jaime Davidovich”, Diane Brown Gallery |
| 1986 | Jaime Davidovich “Context – Come together Textere – To Weave,” Real Life Magazine, No 16 (Fall 1986) pp. 18-22 |
| Marc H. Miller, Catalogue Essay for “Television’s Impact on Contemporary Art,” The Queens Museum, New York | |
| “Video Tape Review – Video Data Bank”, School of the Art Institute of Chicago, Chicago | |
| “El Televisor es La Iglesia, El Amante Y Sera, Probablement, Le Sepultura,” La Vanguardia, (October 19 1986) pp. 91 | |
| 1985 | Les Krantz, “American Artists – An Illustrated Survey of Leading Contemporary Americans,” The Krantz Company Publishers, Inc.,Chicago, Illinois. |
| Wentscher von Herbert “Wir schalten um: ‘Let’s go for the real public,” Kunstforum (January/February 1985) pp. 44-52 | |
| 1984 | Carl Loeffler, “Marketing Art to TV Biz!” Art Com, No.24, Vol. 6(4), pp. 40-45, 49 |
| Robin White, “Fernsehen Hat Vorsprung – Video ist Jung”, Kunst und Massen Medien, Osterreichischer Kunsttag, pp. 16-17 | |
| Kathy Rae Huffman, “1974 – 1984 Video: A Retrospective”, Long Beach Museum of Art Publication, Long Beach, California | |
| “LBMA Video,”The Long Beach Museum of Art, Long Beach, California | |
| Jaime Davidovich, “TV Art in New York, Photo Essay,” Art Com, No. 23, Vol. 6(3) pp. 17-20. | |
| Catherine Texier, “Television Alternative,” New York Creation, Villes E Autrement Createurs, Paris, pp. 284-299 | |
| 1983 | Gregory McKenna, “New Video Art Reaches Cable Audiences,” Art Com, No. 20, Vol. 5(4), pp. 28-30, 57-58 |
| Yvonne Stahr, “Video Art Out to Lunch – Jaime Davidovich Interviews Les Brown,” Art Com, No. 22, Vol. 6(2), pp. 46-49. | |
| “Dynamic Megapole,” Ryuko Tsushin (Japanese Fashion News), no. 238 New York Culture Map, (Japanese Publication) | |
| Ann-Sargent Wooster, “Manhattan Short Cuts,” AfterImage (March 1983) pp. 17-18. | |
| Jaime Davidovich, “Tee Vee: The Poor Soul of Television,” TV Magazine, Vol. I, No.1 (Spring 1983) pp. 53 | |
| John J. O’Connor, “Video Artists Still Seek a Showcase for their Works,”The New York Times (June 19, 1983) pp. H31-33 | |
| Perez Ornia, J.R. “Programas Independientes Y de Colectivos Ciudadanos Acceden a La Television por Cable”, El Pais, 22 de Junio. | |
| “La Television Como Arte – Jaime Davidovich,” El Pais, (June 30, 1983) | |
| John J. O’Connor, “Spain Braces for Cable,” The New York Times(July 3, 1983) pp. H17 | |
| Jack Hitt, “Making Video Art Work for a Living,” The Villager (July 7, 1983) pp. 10 | |
| Patrice Thomson, “Television Art,” Art Com, Vol 6(2) (Fall1983) pp. 56-59 | |
| Eugeni Bonet; Jodi Torrent, “TV USA el Dinosaurio del Imperio,” Video Actualidad, No. 26 (September 1983) pp. 25-35 | |
| Moracy R Oliveira, “A Arte A Tecnologia,” O Estado de S. Paulo, Terca-Fiera. | |
| Arlene Zeichner, “Re(tele)visionists,” The Village Voice (December 20) | |
| 1982 | “Realization: International Media Meeting, Colophon”, (Panel Discussion Transcription), State University of Limburg, Maastricht, The Netherlands, pp. 30-31 |
| Carl Loeffler, “Performing Post-Performancist or The Televisionist Performing Televisionism,”Art Com, Vol.5 No.19, pp. 20-22 | |
| Cover Illustration, LBMAVideo, Vol.2, No.3 (May – June 1982) | |
| “Jaime Davidovich, Le Cable et Le Qube,” Cahiers Du Cinema – Made in USA, No.337 (June 1982) pp. 93 | |
| Robin White, “Great Expectations: Artists’ TV Guide,” Artforum(Summer 1982) pp. 40-46 | |
| Claudia Blaine, “TV, By the People,” The Village Voice (October 5, 1982) pp. 76 | |
| Jeffrey Miller, “UI Linked to Coasts in Tel-Art Display,” The Daily Iowan (October 22, 1982) pp.8B | |
| “Jaime Davidovich: Stop Calling It Video and Start Calling It Television,”The Village Voice, (October 26, 1982) pp. 114 | |
| Gary Reynolds, “Video Art Debuts on Local Cable TV in ‘Artists Make Television’ Series,” The Daily Iowan (December 2, 1982) Arts & Entertainment, pp. 2 | |
| 1981 | “Shows to Watch For -Manhattan Eyes,” On Cable (November 1981) pp. 6A |
| John F. Stodder, “Video – Alternative Access,” Artweek, (March 2, 1981) | |
| Kathleen Hulser, “Will Downtown Culture Come to Cable?” The Villager(May 28, 1981) pp. 11 | |
| Kathleen Hulser, “Artists Speak Their Piece,” The Villager (November 5, 1981) | |
| 1980 | Eugenio Bonet; Antoni Mercader; Antoni Muntadas; Joaquim Rusinol.En Torno al Video, Coleccion Punto Y Linea, Editorial Gustavo Gili, S.A., Barcelona, Spain |
| Les Morsillo, “Home is Where the Art is” (Photo Spread) Video, Vol. 4, No. 1 (April 1980) pp. 60-61 | |
| Bob Brewin, “Soho Qubed,” Soho News (April 30 – May 6 1980) | |
| George Anthony Moore, “Television Breaks Down Race Barriers,” The Cleveland Press (May 23, 1980) pp. A12 | |
| William Hickey, “TV Finds Its Place Among Fine Arts,” The Plain Dealer (May 29, 1980) | |
| “Video Van Davidovich In Agora ‘Kabel-TV Als Vaktijdschrift,” De Limburger (Oktober 17, 1980) | |
| 1979 | Alexandra Anderson; B.J. Archer, “Film/Video,” Anderson & Archer’s Soho -The Essential Guide to Art and Life in Lower Manhattan, Simon and Schuster, New York, pp.71 |
| John O’Connor, “TV: ‘Soho’ Programs on Video Art,” The New York Times (June 4, 1979) | |
| “Soho Wants to Know,” TV Magazine, Pilot Issue, pp. 40-43 | |
| Hans Breder; Stephen C. Foster, Intermedia, Gallery of New Concepts, School of Art and Art History, The University of Iowa, pp. 73-74 | |
| Hans Breder; Stephen C. Foster, Intermedia, Gallery of New Concepts, School of Art and Art History, The University of Iowa, pp. 73-74 | |
| 1978 | Stern, Ellen. “Best Bets – The Inner Tube”, New York Magazine, April 17, p. 85. |
| Ingrid Wiegand, “Soho TV – Cable Video for the Avante-Garde,” The Soho Weekly News, Vol.5, No.29 (April 20-26, 1978) pp. 57 | |
| John Minett, “Soho What?” TV World, Vol. 4, No. 15 (April 22-28,1978) pp. 92-95 | |
| James Wolcott, “O Soho Mio,” The Village Voice (May 8, 1978) pp. 45 | |
| Victor Ancona, “Soho Television: Bringing the Arts to the People,”Videography (August 1978) | |
| Alexandra Anderson; B.J. Archer, “Video Art, A TV Infant, Is Shooting for Prime Time,” International Herald Tribune (October 14-15 1978) | |
| 1977 | Davidson Gigliotti, “On Video,” The Soho Weekly News (January 27, 1977) |
| Davidson Gigliotti, “Local Injection: Cable Soho,” The Soho WeeklyNews (June 23, 1977) pp. 47 | |
| Jody McMahon, “The Coming of Cable Soho,” Videography, Vol. 2, No 6 (June 1977) pp. 27-29 | |
| 1976 | Grace Glueck, “Art People,” The New York Times (June 4, 1976) pp. C20 |
| Ann-Sargent Wooster, “Douglas Davis: Intussesception or Revolution,”Soho News (October 7-13 1976) | |
| Annette Kuhn, “Culture Shock,” The Village Voice (October 11 1976) | |
| 1974 | Carolyn Kinder Carr, “Jaime Davidovich,” Artforum (February 1974) pp. 61-62 |
| 1973 | “Indeed an Honor,” The Plain Dealer (January 28, 1973) pp. 20-E |
| Carolyn Carr, “New Gallery Goes Under Despite Good Performance,”Akron Beacon Journal (May 13, 1973) pp. G7 | |
| Helen Borsick, “Pride, Prejudice and the May Show,” The Plain Dealer, (May 20, 1973) pp. 18-E | |
| Helen Borsick, “New Eyes for Old Places,” The Plain Dealer, Cleveland (October 14 1973) | |
| Carolyn Carr, “Calming a Rail Bridge,” Akron Beacon Journal (October 14, 1973) pp. H7 | |
| J.R. Blevans, “Unwrecking the Penn-Central,” Cleveland Magazine, Vol. 2, No. 8 (November 1973) | |
| Elizabeth McClelland, “A Trip Into Space,” WCLV Cleveland Guide(December, 1973) pp. 11-13 | |
| “Jaime Davidovich RR Bridge Project,” Avalanche (Winter/Spring 1973) pp. 9. | |
| 1972 | Carolyn Carr, “Materials Take Handin Creating,” Akron Beacon Journal(December 31, 1972) pp. D7 |
| Michael Sundell, “Fixity and Transcience at Akron,” Cleveland Magazine, Vol.1, No.9 (December 1972) | |
| 1971 | Roger A. Welchans, “Jaime Davidovich’s ‘Carroll Wall Project,” Fine Arts, Vol. 18, No. 867 (March 1, 1971) pp. 4-5 |
| Marie Kirkwood, “New ‘Conceptual Art’ Makes Appearance at John Carroll,” The Sun Press (March 4, 1971) | |
GRANTS
| 1990 | NEA Visual Arts Fellowship |
| 1984 | NEA Visual Arts Fellowship |
| 1982 | CAPS (Creative Artists Public Service Program), NYSCA (New York State Council on the Arts) |
| 1978 | NEA Visual Arts Fellowship |
| 1975 | CAPS, NYSCA |
“Looking back at Davidovich’s videos, it almost seems like the “videokitsch” style that he developed laid the groundwork for what we now call the “new aesthetic.”
Jason Varone, “5 Old School NYC Video Artists You Should Know (and Follow)” Hyperallergic (April 18,2014)
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“Mr. Davidovich brilliantly nailed it 30 years ago and in terms every bit as pertinent now as then.”
Holland Cotter, “Jaime Davidovich: Museum of Television Culture” The New York Times (December 20,2013)
“Cable first came to SoHo in 1976-by 1979 Jaime Davidovich had created “The Live! Show” as its avant-garde antidote, or “the television of the future” as the artist describes it.”
Ali Pechman, Critics’ Picks, ArtForum (November 27, 2013)
“Wooster Enterprises, the subject of this retrospective exhibition, was a short-lived stationary business incorporated by Davidovich and his then wife Judith Henry in 1976.”
Colby Chamberlain,”Wooster Enterprises,” ArtForum (November 2012)
“Artist generated entrepreneurship used to be more modest in scale and more inventive in scope than it tends to be now, as the work in this historical show demonstrates.”
Holland Cotter, “Wooster Enterprises, 1976-78,″ The New York Times (August 9, 2012)
“Churner and Churner gallery is revisiting the unorthodox art business of Wooster Enterprises, a conceptual stationary company from the 1970’s….”
“Wooster Enterprises, 1977-78 at Churner and Churner Gallery,” The Huffington Post (August 15,2012)
“For Wooster Enterprises,the mission was specific: to create all aspects of design, production, and distribution for the Fluxus community.”
Carmen Winant, “Soho and Fluxus,” ArtSlant (August, 2012)
“At Churner and Churner, there’s commercial but quirky graphic design from the short-lived Wooster Enterprises, a group founded in 1976 by Jaime Davidovich and Judith Henry, with help from Fluxus guru George Maciunas.”
Robert Shuster, “Best in Show: Wooster Enterprises,” The Village Voice (August 1,2012)
“Churner and Churner’s Wooster Enterprises, 1976-78 is some mix of a historical art exhibition and a paper good boutique set up in a previous generation of downtown New York City.”
Serena Qiu, “Classic Wit: Wooster Enterprises at Churner and Churner,” The Wild (July 27,2012)
“The late 1970’s in New York was a fertile time for artists seeking to offer their work to a broad market at cheap prices.”
Michael H. Miller, “8 Things to DO in New York’s Art World Before July 15,″ Gallerist NY (July 7, 2012)
