In 1973, gallerist Howard Wise emphasized the need for bold and imaginative funding structures to support video artists. This vision laid the foundation for Electronic Arts Intermix (EAI), a distributor he founded in 1971. Wise’s manifesto, filled with optimism and potential, highlighted the importance of investing in the present to shape a vibrant future for media artists. He believed in empowering artists, researchers, and administrators to define the direction of their work, prioritizing experimentation and potential.
The recent decision by the School of the Art Institute of Chicago (SAIC) to divest from the Video Data Bank (VDB) is a significant failure of institutional stewardship. VDB plays a crucial role in preserving video art history, shaping canons, and making important works accessible to researchers, curators, and artists. Founded by SAIC graduate students and with a rich history intertwined with the school, VDB amplifies SAIC’s social capital in the media arts community. However, the abrupt divestment without proper planning or dialogue with VDB staff reflects a lack of ethical consideration and managerial negligence.
This divestment is part of a broader pattern in the history of media arts funding in the US, marked by shifting priorities and structural fragility. The withdrawal of public and private support in the 1980s had a devastating impact on media arts programs, leading to a long-lasting crisis in funding. Institutions like VDB and EAI stepped in to fill the void left by diminishing support, becoming essential stewards of the field.
SAIC’s divestment reflects the ongoing challenges faced by small, experimental organizations in the media arts sector. While partnerships like EAI and Rhizome’s residency programs offer hope for the future, they also underscore the need for proactive community-building and sustainable funding structures. Wise’s vision of empowering the creative community to shape its own future remains relevant, emphasizing the importance of philanthropic support and accessible distribution systems.
To ensure the continuity of the video art community, it is crucial to demand transparency, unrestricted funding, and ethical transitions when relationships with institutions are reevaluated. If SAIC chooses to end its partnership with VDB, it must do so responsibly and return agency to the individuals who have dedicated themselves to caring for the community. By prioritizing long-term stability and accountability, the media arts community can navigate the challenges of funding and preservation, ensuring a vibrant future for video art.
