Andrew Gurian

Andrew Gurian began making films at age 12. His early films include That Rotten TeabagCecile Comes to Southampton, and Radio Movie. His films have been exhibited on television and in museums and festivals worldwide, including the Metropolitan Museum of Art, MoMA, San Francisco Museum of Art, the Museum of Contemporary Art (Chicago), and WNET/Channel 13 (NYC).

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).

Grand Verticale

Grand Verticale

Gurian created 15 short video pieces to accompany Roy Nathanson and the Jazz Passengers’ concerts of “Subway Moon,” presented at MassMOCA, Joe’s Pub (NYC), The Cooper Union, and the 2008 Banlieues Bleues Festival in Paris. Last year he made 6 more for Subway Moon at The Sage/Gateshead, England.

For the past decade, Gurian has created several live video performances and video installations and has collaborated with a half dozen dancers on video performances, the most recent being Yoshiko Chuma (“Love Story, Palestine; 2012).

In 2007 Gurian presented “A Night at the Opera,” a 2-screen mélodrame verité con musica. 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.” The Performance Project@University Settlement (NYC) presented his “Castle Variations,” a dance/video performance (2010).

“Dancing Heads, Dancing Feet” (2002, 2010) is a video/dance installation, and “Oedipus at Colonus,” is 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 performance. With Marjorie Gamso he incorporated live feeds of the 2004 Republican National Convention into a political protest “Topsy’s Lament.”

Nijinkski’s Last Dance

“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).

Other video pieces include “The Two Smallest Video Pieces in the World” for the 13th Annual Avant Garde Festival of New York (World Trade Center, 1977). With Eric Appel he exhibited “The Birth of Joy” at 112 Greene Street (NYC). Also at 112 Greene Street Gurian created videotapes for Jim Neu-Michael Galasso-Liz Pasquale’s “Echo Ranch,” a theater/music piece also presented at P.S. 1 (NYC, 1977).

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) and No Through Traffic (Center for Contemporary Arts, 2008, Santa Fe). Their ARIA: On Line was part of Movement Research’s 2005 Publicsleep/Sleepover Open Source at Artists Space (2005, NYC).

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. He has been the Film and Video Screening Co-ordinator for La Mama’s “Dance on the Lower East Side” series; 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.

Gurian’s article “Thoughts on Shirley Clarke and the TP Videospace Troupe” is published in the Millennium Film Journal (Issue 42, Fall, 2004). It is available, without the print-edition photographs, at

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