She understood it as coded, particularly in terms of gender, and her practice reflected a sustained search for what it means to be a woman and how that meaning has been constructed in the media. Following the receipt of a certificate in video and electronic editing from the New School of Social Research in 1976, Birnbaum’s work became heavily invested in the appropriation and deconstruction of televisual imagery. ![]() in painting from the San Francisco Art Institute in 1973. from Carnegie Mellon University in 1969, and her B.F.A. As she once stated, in her work, television “is manipulated before it manipulates us.”īorn in 1946 in New York, N.Y., where she continues to live and work, Birnbaum received her B.A. Referred to by many critics as the “first pirateer of television imagery,” Birnbaum also sought a means to turn TV on itself. She utilized the facilities of public television stations and developed sophisticated sound and video montages that would become the standard practice for video artists throughout the 1980s and beyond. ![]() ![]() At that time, video art was an emerging genre, and Birnbaum was a major contributor to its development. During the late 1970s, she turned her attention to television and video, which she saw as the architecture of the day, defining ways of life and how people inhabit public and private spaces. Inspired by her architectural background, American artist Dara Birnbaum holds an enduring interest in the ways in which people live.
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