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Jaime Davidovich


Jaime Davidovich lives and works in New York, New York.


1963 School of Visual Arts, New York
1959-61 University of Uruguay
1954-58 National College, Buenos Aires, Argentina



 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
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



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)


 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

“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)

“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)