Writing about My work
Future Perfect (1978) by Roberta Friedman & Grahame Weinbren / FIFTEEN YEARS? part 5: 2007
by Mark Toscano
“In some ways, this film is a stand-in for other films by Roberta Friedman and Grahame Weinbren and in a larger sense for Los Angeles filmmakers in general. In yet another sense, it’s a stand-in for a very specific film by Roberta Friedman and Grahame Weinbren: Bertha’s Children (1976). But although Bertha’s Children was a major catalyst for me in 2006-07, its preservation wasn’t necessarily an immediate part of the ensuing path my work took, whereas Future Perfect (1978) — the first film of Roberta’s and Grahame’s that I worked on — most definitely was…” Read More
RE-COLLECTION: Art, New Media, and Social Memory
by Richard Rhinehart
Alternative projections: Experimental film in los angeles 1945-1980
by David E. James & Adam Hyman
“the collaborative projects of Roberta Friedman and Grahame Weinbren represent pioneering experiments with form, authorship, and ideology within the independent cinema of the 1970s and early ‘80s…” Read More
Art in america 1988: interactive storytelling
by Regina Cornwell
“A pioneering work of high-tech video art, The Erl King, incorporates the viewer into a fragmented narrative of abandonment, sexuality, and death…” Read More
The Independent
May 1988
MUSik texte (germany)
new york waltzes. john cage: 49 waltzes for the five boroughs
by Raoul Mörchen
Translated from German: “The 49 Waltzes for the Five Boroughs are not only a conceivably good illustrative model for the five boroughs of the city of New York, but also in general for Cage’s idea to replace arbitrary selection with indeterminacy and chance…”
Cage: 49 Waltzes for the Five boroughs
by Francisco Ramos
Translated from Spanish: “Converts the original idea of Cage into a particular and minimalist look in the urban environment of New York…” Read More
le quotidien (France)
beaubourg, zapping zone
Translated from French: “The Pompidou Center, after Warhol and before a major exhibition on ‘art and advertising,’ continues its off-road thinking on contemporary icons with ‘Passages of the Images,’ an exhibition at the crossroads of cinema, photography, video and confusing and exciting synthetic images.”
The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles; by David E. James; University of California Press, 2005
David Tafler 'Beyond Narrative: Notes Toward a Theory of Interactive Cinema', Millenium Film Journal, nos. 20-21 (Fall-Winter, 1988-89), pp. 122-123. ...
Lucinda Furlong, “Electronic Backtalk The art of Interactive Video”, The Independent, may 1988
Leslie Stern, “Point of View: the Blind spot”, “Film Reader no. 4 1979 p 214-236
Tom Waters, “Hypermedia” pg 75-76, Discovery June 1989
Village Voice, “See Me, Feel Me” review by Amy Taubin 8/88
New York Times, “Grown-Ups’ Video game is a Mazelike Journey” by Stephen Holden 1988
Christian Science Monitor, 1987 “Video images and sounds literally at your finger tips” David Sterritt
Boston Globe, MA 1987, “Whitney Biennial Takes a Step Forward”
Los Angeles Herald Examiner, “Whitney show reflects calm after the storm” 1987
Los Angeles Times, “Pristine Anarchy” by William Wilson 1987
The Hartford Coruant, 1987
Village Voice, 1987 (several issues, several reviews)
New York Times, “The Whitney Biennial Seeks a Softer Tone” 1987
USA Today, 1987