grant from the Rockefeller Foundation in 1978.  Artists now pay $25.00 per hour to edit, assisted by a video technician,44 on a system which includes 1/2 and 3/4 inch equipment and a time-base corrector; EAI's editing facility has subsequently been copied by many other post-production houses.  While it is still a vital part of the organization, its importance has diminished somewhat as the Distribution Service has gained prominence.

EAI's circulating video collection is now the most comprehensive in the U.S. Few organizations have leapt on the distribution bandwagon, preferring instead to concentrate on post-production.  Castelli-Sonnabend distributes a number of artists' tapes (including work by ex-EAlers Gillette and Downey), but the gallery tends to represent a specific kind of work-art-world oriented, by artists who also work in other media.  Very recently, organizations like the Kitchen, the Museum of Modem Art, and the Whitney Museum (through the American Federation for the Arts) have tentatively begun to distribute tapes, and, outside of New York, Video Data Bank in Chicago, University Community Video in Minneapolis, and the Media Project in Portland, Ore. rent and sell tapes.  The collection at EAI, however, remains the most important group of tapes.


Howard has not only done a lot for video-makers In the creating of Electronic Arts Intermix but has spoken out and fought for the rights of video artists when he felt they were being taken advantage of by others His energy, commitment and passion have been an important factor in the development of video art.45

-Ed Emshwiller

Entities like Howard Wise's Electronic Arts Intermix have to carry the weight as lonely outposts of support.  There should be many, many more plains like that in New York City.  There are very few places where artists can go to edit tape at a price they can afford, but at EAI there is also a good, creative ambience.  Electronic Arts Intermix is video.  Howard's contribution has been incalculable.

- Willoughby Sharp

When EAI published its first catalogue in 1975, It listed more than 100 videotapes by video artists: Davis, Downey, Emshwiller, Gillette, Kubota, Mann, Paik, Schneider, Siegel, Stan VanDerBeek, the Vasulkas, Bill Viola, the Ant Farm and TVTV collectives, as well as work produced for KQED, WGBH, and VVNET.  The collection has since grown to Include over 350 videotapes In active distribution, with a larger collection of early work available for screening (works in outdated formats and early tapes which, for various reasons, are no longer in distribution).  While the distribution service has steadily expanded, in

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