Edin Vélez papers and videos, 1970-1994
Abstract/Contents
- Abstract
- Correspondence, scripts, business papers, original artwork, and production stills related to videos. Twenty completed video works, nearly half of which are out of distribution, 51 hours of video documentation including "Behind the Scenes," a 19-hour documentary of the production process for two key works: A MOSQUE IN TIME and MEMORY OF FIRE, and a 32-hour documentary of Japanese Butoh dance, and last, video copies of television interviews with Vélez for Spanish, Argentinian, and Japanese television.
Description
Alternative title | Behind the scenes |
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Alternative title | Meaning of the interval |
Alternative title | Dance of Darkness |
Alternative title | Naruhodo |
Alternative title | The Date |
Alternative title | A Mosque in time |
Alternative title | La Fura dels baus |
Alternative title | Revelaciones/Revelations |
Alternative title | Gemini |
Alternative title | Andes |
Alternative title | Ellen |
Alternative title | Haru |
Alternative title | Merian |
Alternative title | On the road to Atitlan |
Alternative title | Mother Mallard's portable masterpiece company |
Alternative title | Tule, the Cuna Indians of San Blas |
Alternative title | Meta Mayan |
Alternative title | Meta Mayan II |
Alternative title | Sanctus |
Alternative title | As is |
Alternative title | Oblique strategist |
Alternative title | Oblique strategist too |
Alternative title | Memory of fire |
Alternative title | Dance of darkness |
Type of resource | mixed material |
Extent | 6 linear feet |
Place | California |
Publication date | 1970 - 1994 |
Issuance | monographic |
Language | English |
Creators/Contributors
Associated with | Velez, Edin. |
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Subjects
Subject | Butō |
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Subject | Cuna Indians |
Subject | Modern dance > Japan |
Subject | Video art |
Subject | Video recordings |
Bibliographic information
Acquisition | Purchased, 1997. |
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Biographical/Historical | A pioneer in video art, Vélez, together with Gary Hill and Bill Viola, was at the forefront of the generation that established video as an art form in the 1970s. Educated at the University of Puerto Rico, where he was influenced by Marshal McLuhan, Vélez subsequently moved to New York where he studied at Global Village. Vélez has been credited with the development of "a new transequential language of representation," in which multiple scenes are superimposed and juxtaposed within the frame. In this respect, Vélez's production notes on his video pieces provide a unique and invaluable resource on how he was able to make these advances using analog formats -- nearly a decade before digital formats made layered imagery a standard practice in video production. In his numerous videos, Vélez has explored other cultures -- from the Cuna Indians of Panama to the Butoh dancers of Japan -- using his unique video aesthetic and language to explore intercultural dialogue and self-reflexive ethnography. Above all, Vélez's videos attest to the impossibility of a one-to-one translation across cultural boundaries. (Extracted from notes by Chon Noriega, Dept. of Film and Television, UCLA) |
Note | Unpublished guide available. |
Location |
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Contains |
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Location | https://purl.stanford.edu/hy386zn5657 |
Location | Department of Special Collections, Stanford University Libraries, Stanford, CA 94305. |
Access conditions
- Use and reproduction
- Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections (http://library.stanford.edu/spc).