Were gallery owners able to sell videos for high prices?
What was the result of the bickering over funding by video makers who didn’t want to sell their work through the gallery system, or who couldn’t sell work that way or otherwise make much money through other means of distribution? Jud: Basically, there were two different worlds that never merged. Many video makers of that time came from different areas, including radical software or alternative television documentaries, and more abstract image-processing, There were also the most didactic or conceptual uses of video, and this aspect coincided more with the gallery video art world. How extensive the sales were for gallery video, I don’t know, not having ever seen any figures, but the word was that the take was limited. The conceptual forms of video are what might be called “Teledynamic Environments” and would include such varied things as Paul Ryan’s confessionals and “Earthscore, Dan Graham’s video viewing environments, and for me, the use of video as a distance and space coordinator in
