Art Under Construction:
The Artists
Andrew Gurian


  Andrew Gurian joined the TP Videospace Troupe (founded and directed by Shirley Clarke) in 1972. As a member he participated in live video workshops throughout the 70’s at the Kitchen, Antioch College, Bucknell University, Wesleyan University, and the Flaherty Film Seminar. For the TP he directed video shows at Anthology Film Archives, Young Filmakers/Video Arts, New York University, Corning Public Library, the State University of New York at Oswego, and the Women’s Interart Center (NYC).
   His many video installations include “The Two Smallest Video Pieces in the World” for the 13th Annual Avant Garde Festival of New York (World Trade Center, 1977), “The Haircuts,” “Tea for Four: Video Feetback,” and “Water and Electricity: Homage to Alfred Hitchcock” (1981).
   Gurian received a New York State CAPS grant with Liz Pasquale, and together they produced Project Inside Art, a dance/video collaboration with prison inmates in Orange County, NY.
With Eric Appel he exhibited “The Birth of Joy” at “A Christmas Presence” (1977) at 112 Greene Street (NYC). Also at 112 Greene Gurian created videotapes for Charles Dennis’s Chaol Canyon and Jim Neu-Michael Galasso-Liz Pasquale’s Echo Ranch, a theater/music piece also presented at P.S. 1 (NYC, 1977).
  Recent work includes Dancing Heads, Dancing Feet (2002), a video/dance installation, and Oedipus at Colonus, a video opera written with Carolyn Lord. Other installations are the paired Grande Horizontale/Verticale and Nijinsky’s Last Dance (2002) and Rosa Ponselle’s Piano (2005), created for Groundwave’s Third MusicCircus. With Marjorie Gamso he incorporated live feeds of the 2004 Republican National Convention into a two-part political protest Topsy’s Lament.
  “UP” (2005) is a performance-installation about dancing on point. House of Incest (music by Carolyn Lord) is a video song cycle performance based on writing of Anaïs Nin (2006). “Fred Fixed Up” (2006) investigates Fred Astaire’s dance on the ceiling from Royal Wedding and was premiered at K2 Studio in Dumbo, Brooklyn.
  Collaborating with Scott Caywood he has created several dance/video/theater pieces (including Train of Thought, 1996) at the Construction Company from the early 1990s.
Gurian provided the video component of Leslie Satin’s dance pieces Shadow Load (2003, NYC; Centro Gráfico da Cidade do Rio de Janeiro, 2003, 2008), Blind Summit (Joyce Soho, 2004), Under Cover (2005, Center for Contemporary Arts, Santa Fe), No Through Traffic (2008, Santa Fe), and Procedural (2009, Ulla’s Place, Brooklyn). Their ARIA: On Line was part of Movement Research’s 2005 Publicsleep/Sleepover Open Source at Artists Space (2005, NYC).
   In 2014 Gurian collaborated with dancer Laura Shapiro/quicksilverdance in After All, presented at the Bronx Academy of Art and Dance (BAAD) and at Movement Research at Judson Church.
In 2007 Gurian presented A Night at the Opera, a two-screen mélodrame verité about a live simulcast of Madama Butterfly in the plaza at Lincoln Center and Times Square. He provided the video for Roy Nathanson’s Jazz Passengers’ chamber jazz cycle Subway Moon at Mass MoCA (North Adams, MA), Joe’s Pub (NYC), the Banlieues Bleues Festival in France (March, 2008), Cooper Union's Great Hall (May, 2008), Lincoln Center’s Rubenstein Atrium (2010), JazzFestivalSaalfelden (Austria, 2010), Sage/Gateshead International Jazz Festival (Newcastle, 2011), Amerika Haus (Munich, 2013), and Blue Note Jazz Club (New York, 2014).
   In 2009 Gurian screened his two-channel analysis of the cleaning of the world’s greatest works of art (Cleanliness/Godliness) and was video producer/director for Marjorie Gamso’s Video Veil. In development is a video installation, Unfinished Reconstruction, about cellist Charlotte Moorman's breast cancer and surgery, begun as a collaboration with Moorman in 1983.


  Gurian’s films include That Rotten Teabag (1964, 16mm, 3 mins.), Our Peace (1965, 16mm; 5mins.), Cecile Comes to Southampton (1966, 16mm, 10 mins.), and Radio Movie (1967, 16mm, 17mins.).
His films are in the collections of the Museum of Modern Art, the New York Public Library, and Young Filmakers/Video Arts. They have been exhibited on television and in museums and festivals worldwide, including the Metropolitan Museum of Art, MoMA (including the influential 1970 "Information" show), San Francisco Museum of Art, the Museum of Contemporary Art (Chicago), and WNET/Channel 13 (NYC).
He has made films about human development, men’s fashion, older-adult education, and voting machines. He has taught filmmaking at the New School and the NY Institute of Technology. As cameraman he has worked on B. Shils’s and T. Lucas’s Doing Justice, and Shils’s, S. Brown’s and E. Nagler’s The Joneses, C. Goss’s William S. Burroughs (videotape) and, as associate producer/editor, on P. Perlman’s Emmy-nominated Electronic Couch (videotape).


  Gurian’s article “Thoughts on Shirley Clarke and the TP Videospace Troupe” is published in the Millennium Film Journal (Issue 42, Fall, 2004).
Gurian appears in Nam June Paik’s and Howard Weinberg’s video tribute Topless Cellist: Charlotte Moorman and was interviewed for a 2007 Korean Broadcasting System documentary about Paik.
Gurian has been associated with The Construction Company since 1980. He has been the Film and Video Screening Co-ordinator for La Mama’s “Dance on the Lower East Side”; a founding member, in 1971, of “Queer Blue Light”; and Associate Director of the Annual Avant Garde Festival of New York. Since 2007 he has been a guest artist/lecturer at New York University’s Gallatin School of Individualized Study.

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