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Wendy Clarke collection of video art, 1972-2002, (bulk 1976-1993).
Collection 9
Collection Overview


Wendy Clarke collection of video art, 1972-2002, (bulk 1976-1993)


Clarke, Wendy., creator


This collection contains the video artwork of Wendy Clarke. The materials record both the processes and final products of her career, including unfinished projects and edited media presentations. Love tapes is the largest single series, including both edited material and original footage materials from 1977-2001, consisting of approximately 2,500 people. One-on-one (1991-1994) is a series of video dialogues between the inmates in the California prison system and groups of residents with whom they are not familiar. Video rotation is a video art installation in the Artpark in Lewiston, NY from 1983. This concept is revisited in The link (1984), which concerns providing instantaneous playback of on-site video in an altered form, creating an immediate, visual collage. Amen (1992) is a group autobiography of inmates who have HIV/AIDS. Remembrance video recollections concerns individual experiences with HIV/AIDS. Among a number of smaller projects, this collection also contains a series of filmmaker Shirley Clarke's work that Wendy Clarke retained after her mother's death, and various video sculpture projects including a Taoist sexology teaching project aborted after the death of Clarke's teacher.


1972 (issued)


Clarke, Wendy -- Archives
Clarke, Shirley -- 1919-1997 -- Archives
Love tapes (Video art : 1989)
Video rotation
Taoist sexology
Prison tapes
Women artists -- Archival resources
Independent filmmakers -- Archival resources


APPOINTMENT REQUIRED FOR VIEWING MATERIALS ONSITE. Inquire at the Archive Research and Study Center for further information (email: arsc@ucla.edu).
Materials chiefly in English. Some materials in Spanish and French, with subtitles in English.
Wendy Clarke (1944-) is an independent video artist. She is the daughter of independent filmmaker Shirley Clarke (1925-1997). Wendy Clarke received her B.A. and M.A. from Ryokan College in California. Since 1972, Clarke has conceived and produced numerous interactive installations and tapes that have been shown internationally on television, in museums, galleries and public places. Many of her projects have been centered around creating contexts for other people, particularly disenfranchised individuals, to access video as a forum for personal expression. Her central project has been the Love tapes, a series in which she documents people's individual definitions of the meaning of love. Begun in 1977, the project, which developed from her own video diary, uses the medium's immediacy and intimacy to explore video's potential as a therapeutic, participatory tool. Isolated in a closed booth before a video camera and monitor, each participant speaks for three minutes on an aspect of love, and then chooses either to erase or exhibit the tape. These video booths have been installed in public spaces around the world. Representing a cross-section of contemporary American culture, from prison inmates and disabled veterans to lovesick adolescents, the participants' anecdotes and confessionals reveal an eclectic range of personalities and psychologies. Love tapes are personal, cathartic statements that illustrate the video camera's role as mirror, witness and voyeur, a vehicle for direct confrontation with the self.
Later, Clarke spent six years as an artist-in-residence in the California prison system, exploring video's potential with inmates as both a therapeutic and a creative tool. During this time she worked on diverse projects, including producing the One-on-one series, dialogues with prison inmates and strangers on the outside, and a documentary about the California Institute for Men, an institution that focuses on preparing incarcerated men to return to society. Working with HIV-positive inmates on a series of media collaborations during this period led to her Remembrance project, which focuses on video eulogies and thoughts concerning victims of AIDS. The stories in Remembrance, like those from the Love tapes a decade earlier, range from personal tragedy and deep sadness to humorous attempts at coping. Clarke's motivation was that: "In Remembrance, people can express their feelings by videotaping personal stories about how HIV and AIDS have affected their lives. The outcome doesn't change, but the creative process allows people to experience themselves and their lives as fully as possible." Collectively, the tapes serve as both a forum for contemporary discussion, healing, and as a historic record of these times. She is still active in creating video art, continuing her work on the Love tapes and is currently in the process of expanding the project to a global scale by using the Internet. Clarke has received numerous awards, including grants from the National Endowment for the Arts, the New York Council on the Arts, the Rockefeller Foundation, the Annenberg Center for Communication and the Corporation for Public Broadcasting.
Copyright not assigned to UCLA Film & Television Archive.
Deposit; Wendy Clarke; February 2005.
Inventory list available. Inquire at the Archive Research and Study Center.
Shirley Clarke Collection at the Wisconsin Center for Film and Theater Research.
Love tapes, series 26, that is included in this collection, comprises part of the video compilation: Love tapes 2 / conceived, designed & produced by Wendy Clarke. 1989.
Wendy Clarke Collection at the UCLA Film & Television Archive.


motion picture
Personal/independent films and video.

Physical Description:

approximately 743 videocassettes, 122 videoreels, 3 film reels.




Collection 9



Copyright Note:

APPOINTMENT REQUIRED FOR VIEWING MATERIALS ONSITE. Inquire at the Archive Research and Study Center for further information (email: arsc@ucla.edu).
Copyright not assigned to UCLA Film & Television Archive.