Artist

Tom Sherman

Tom Sherman was born in Michigan and received a BFA degree from Eastern Michigan University. In 1972 he immigrated to Toronto where he helped establish A Space’s video production and exhibition programs. He was also active with Art Metropole and numerous artist-run venues throughout the 1970s, publishing his conceptual/literary texts and developing his practice as a video performance artist. In 1980 he was one of the founding editors of Fuse magazine. That same year he represented Canada at the Venice Biennale in the groundbreaking “Canada Video” exhibition. In 1983 the National Gallery of Canada mounted “Cultural Engineering,” a ten-year survey of his video, installations and text works.

His interdisciplinary work has been featured in hundreds of international exhibitions, festivals, broadcast and Web venues, including the Vancouver Art Gallery, the Musee d’art contemporain and Festival International des Film sur l’Art (Montreal), Museum of Modern Art (New York), Musee d'art moderne de la ville de Paris, LUX Cinema (London), Montevideo (Amsterdam), In Video (Milan), Kunstradio and Wiener Konzerthaus (Vienna), Ars Electronica (Linz), Documenta X (Kassel) and Sender Freies Berlin. His published monographs include “3 Death Stories” (Art Metropole 1976), “1 Traditional Methodology for Processing Information” (Art Gallery of Ontario 1978), “The Banff Information Base,” co-authored with Jan Pottie (Walter Philips Gallery, Banff Centre 1981), “Cultural Engineering” (National Gallery of Canada 1983) and “Before and After the I-Bomb” (Banff Centre Press 2002).

Sherman was the founding Head of the Canada Council’s Media Arts Section in 1983. In 1991 he was appointed the Director of the School of Art and Design at Syracuse University. In 1993 he began performing and recording with the Austrian artist Bernhard Loibner in the duo Nerve Theory. He received the Bell Canada Award for excellence in video art in 2003 and the Governor General’s Award in Visual and Media Arts in 2010. He is a Professor at Syracuse University, teaching video production and media art history in its Department of Transmedia. A dual citizen of Canada and the US, he splits his time between Syracuse, New York, and his Canadian home on the South Shore of Nova Scotia.

Videography

Broken Neckers Ring Sublime (Right)

2016, 29:09 minutes, colour

Broken Neckers Ring Sublime (Left)

2016, 29:09 minutes, colour

The climate is changing at Syracuse University

2016, 01:43 minutes, colour, English

See the text comes to read you

2016, 07:28 minutes, colour, English

Fox behaviour documented from automobile

2016, 09:51 minutes, colour, English

El Cientifico Aficionado

2013, 06:34 minutes, colour, Spanish

Apes AND Wildflowers OR Spiders NOT Urbanity

2013, 33:26 minutes, colour, English

Birds Listening

2012, 02:19 minutes, colour, English

Stop Killing Our Bay

2012, 06:00 minutes, colour, English

Karen Crocker fires up crowd in Port Mouton Bay

2012, 03:42 minutes, colour, English

the fish are in

2012, 03:00 minutes, colour, English

The recurring Nightmare in Port Mouton Bay

2012, 08:48 minutes, colour, English

ISAv

2012, 03:47 minutes, colour, English

Fish Virus Advisory #6v [IHN]

2012, 04:17 minutes, colour, English

Playing with Fire Under Water

2012, 04:19 minutes, colour, English

The new economy is the economy of existence

2012, 04:09 minutes, colour, English

The Amateur Scientist

2012, 05:53 minutes, colour, English

Michael Swim's Catch

2011, 09:35 minutes, colour, English

Danny Roy's POV

2011, 09:05 minutes, colour, English

You speak my language

2011, 20:00 minutes, colour, English

Hyperventilation 2011

2011, 08:30 minutes, B&W, English

Alley 9

2009, 26:52 minutes, colour, English

Fray

2007, 04:20 minutes, colour, English

Gig

2007, 03:30 minutes, colour, English

Cultures of Fear and Loathing

2007, 01:30 minutes, colour, English

Brain Fingerprinting

2006, 02:50 minutes, colour, English

World of Strangers

2006, 02:45 minutes, colour, English

Shark Fest

2005, 09:00 minutes, colour, English

The Face is the Logo of the Human Body

2005, 14:00 minutes, colour, English

Wamboldt’s Pines

2005, 08:00 minutes, colour, English

Double Bill

2005, 08:00 minutes, colour, English

West Nile

2004, 04:00 minutes, colour, English

Off-Kilter: The Appearance of Voice

2004, 04:57 minutes, Colour, english

Off-Kilter: Addressable Memory

2004, 06:20 minutes, Colour, english

The Off-Kilter Series

2004, 25:00 minutes, Colour, English

Landmark Prom

2003, 08:00 minutes, colour, English

Off-Kilter: 23/7

2003, 07:00 minutes, Colour, english

Off-Kilter: Merger

2003, 02:23 minutes, colour, English

Off-Kilter: Talking to Nature

2002, 02:48 minutes, Colour, english

HALF/LIVES

2001, 07:37 minutes, colour, English

FIELDS UNEARTHED

1999, 05:25 minutes, colour, English

LEFTOVERS

1999, 05:20 minutes, colour, English

GANNET BURIAL

1999, 04:30 minutes, colour, English

WIND - UP WOLF

1999, 03:10 minutes, colour, English

PERSONAL HUMAN

1999, 04:30 minutes, colour, English

Motion Pictures At English Bay

1990, 06:20 minutes, colour

Spiders

1990, 08:50 minutes, colour

Planes

1990, 08:40 minutes, colour

Exclusive Memory Part 3 (4-9-19)

1987, 57:17 minutes, B&W, English

Exclusive Memory Part 2 (5-8-16)

1987, 61:23 minutes, B&W, English

Exclusive Memory Part 1 (7-11-12)

1987, 60:53 minutes, B&W, English

Transvideo

1981, 26:00 minutes, colour, English

TVideo

1980, 28:00 minutes, colour, English

Envisioner

1978, 03:00 minutes, B&W

Individual Release

1978, 25:20 minutes, B&W

East on the 401

1978, 28:00 minutes, colour, English

Television's Human Nature

1977, 28:00 minutes, colour, English

Theoretical Television

1977, 28:50 minutes, colour, English

Critical Writing

Primary Devices: Artists' Strategic Use of Video, Computers and...
by Tom Sherman. Leonardo, Oct. 22, 2012, v. 24, no. 2.
"ME CALLING HIM - HIM CALLING ME" - TOM SHERMAN'S RECENT VIDEO WORK
by Caroline Seck Langill. C Magazine, Winter 2011, no. 112.
Captured and Controlled: Critiquing Surveillance through The Camera
by Sarah E. K. Smith. Sorting Daemons: Art, Surveillance Regimes and Social Control, 2010. Kingston: Agnes Etherington Art Centre, 2010.
Enduring Messaging: Are microcommunicaions an art form?
by Tom Sherman. Canadian Art, Fall 2008, v. 25, no. 3.
The Lingering Present: Canadian Video Art in its Youth: 1968-1986
by Lisa Steele. Analogue, 2006. Preston: Electronic and Digital Art Unit, 2006.
Video 2005
by Tom Sherman. Canadian Art, Spring 2005, v. 22, no. 1.
Foreword: VS Program
by Jon Davies. VS (Event Program), Dec. 2004.
Nothing Ventured, Nothing Gained: (Vs. Program)
by Scott SØrli. VS (Event Program), Dec. 2004.
VS: 640 480 - original programme
by Jon Davies et al. VS, Dec. 2004.
Millennial Spurn
by Tom Sherman. Public, 2003, no. 27.
More Dead Artists!?: Casualties of the Last Decade, the New...
by Tom Sherman. Before and After the I-Bomb: An Artist in the Information Environment, 2002. Banff: Banff Centre Press, 2002.
The Art-Style Computer-Processing System
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
Appearance, Memory, and Influence
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
Nature is Perverse Sometimes (Version 6.1)
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
The Face of the Machine
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
Reflecting on the Future of Video
by Tom Sherman and Peggy Gale. Before and After the I-Bomb, 2002.
Nature is Perverse Sometimes, Version 1
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
Machines R Us
by Tom Sherman. Before and After the I-Bomb, 2002. Banff: Banff Centre Press, 2002.
Always Nice to be Recognized
by Tom Sherman. Fuse, Nov. 2002, v. 25, no. 4.
Turning Television into Radio
by Tom Sherman. Before and After the i-bomb, 2002. Banff: Banff Centre Press, 2002.
Lisa Steele: On Trinity's Beginings
by Lisa Steele. Video Vogue, Spring 2001.
The Finished Work of Art is a Thing of the Past
by Tom Sherman. C Magazine, Spring 1995, no. 45.
There's Something Preverse about this Relationship
by Peggy Gale. Videotexts, 1995. Waterloo: Wilfred Laurier University Press, 1995.
UNB Art Centre Exhibit Tells Stories on Videotape
by Unknown. The Daily Gleaner, Oct. 15, 1994.
Video and Orality
by Peggy Gale. Canadian Art, Summer 1993, v. 10, no. 2.
From A Reservoir of Predictions
by Tom Sherman. From A Reservoir of Predictions, 1990. Toronto: Art Metropole, 1990.
The Video and Film by Artists series: Recent Acquisitions
by Susan Ditta. National Gallery of Canada, 1990.
Tom Sherman: There's something perverse about this relationship...
by Peggy Gale. Parachute, 1990, no. 58.
Intelligent Artifacts: Technics and Praxis in Tom Sherman's Art
by James D. Campbell. C Magazine, June Summer 1990, no. 26.
From Resevoir of Predictions
by Tom Sherman. Art Metropole, 1990.
Video, for art's sake
by Rodney Gilchrist. Photo Life, May 1989, v. 14, no. 4.
Touching the film and video edge at Images 88
by Robert Everett-Green. The Globe and Mail, June 24, 1988.
Cold Snaps: Images 88, Northern Visions showcase of new film and video
by Andrew J. Patterson. Cinema Canada, Sept. 1988, no. 155.
Sex and Violence Through Television
by Tom Sherman. Impulse, Spring 1986.
Letters
by Renee Baert et al. Parallelogramme, 1986, v. 11, no. 3.
Everyday Events
by Karen Knights. Video Guide, 1986, v. 8, no. 1.
Consolidation and Resistance:: Video in Toronto, An Overview
by Elke Town. Canadian Video Art, 1985. S.N, 1985.
Video Works: Western Front Video
by Karen Knights. Video Guide, 1985, v. 8, no. 1.
Video Refractions
by Goldie Rans. C. Magazine, 1984, no. 3.
Tom Sherman Presenting Text: animals, weather, car crashes and...
by Phillip Monk. Parachute, Mar. 1983.
Tom Sherman
by Trevor Gould. Parachute, Fall 1983, no. 32.
Introduction: Transmissions
by Elke Town. Transmissions, 1982. Cambridge: Cambridge Library/Art Center, 1982.
Television By Artists
by Martha Fleming. Video Guide, Mar. 1981, v. 3, no. 4.
Television By Artists
by Philip Monk. Canadian Forum, May 1981, v. 61, no. 709.
Tom Sherman
by Barbara Daniel. Vanguard, Oct. 1981, v. 10, no. 8.
A Question of Place 2
by Jennifer Oille. Vanguard, Nov. 1981, v. 10, no. 9.
VIDEO/VIDEO: If this event was a dry run for PAY-TV, one must view...
by Clive Robertson. Fuse, Nov. 1981, v. 5, no. 8 & 9.
Transvideo: Video information produced by artists must be assessed...
by Tom Sherman. Fuse, Mar. 1981, v. 5, no. 2+3.
Discontinuous Notes on and After a Meeting of Critics, By One of...
by Vera Frenkel. artscanada, Mar. 1981, no. 240.
The Exhibition
by David Nasby. Realism: Structure & Illusion Towards a Definition of Representational Art, 1981. Burlington: Burlington Cultural Centre, 1981.
222 Warehouse
by Judith Doyle. Parachute, Fall 1980, no. 20.
Cable TV experiment brings video art into the living room
by John Bentley Mays. The Globe and Mail, July 5, 1980.
Introduction
by Bruce Ferguson. University of Chicago Press, Aug. 1980.
Quelques-uns des Nouveaux titres du Catalogue de Art Metropole
by Rene Blouin. Parachute, Spring 1979, no. 14.
Larry Dubin: A Video Portrait: Stealing the show on tape
by Tom Sherman. Centerfold, June 1979, v. 3, no. 5.
Fantasia Video Plastica: 10,000 viewers at Festival in Caracas
by Tom Sherman. Centerfold, June 1979, v. 3, no. 5.
The 1978 Canadian Video Open
by Lisa Steele. Centerfold, Apr. 1978, v. 2, no. 4.
Télé-performances/ Toronto
by Rober Racine. Parachute, Winter 1978, no. 13.
Brushing up on TV as an art form: Toronto Conference of video...
by Steven Davey. Sunday Star, Sept. 3, 1978.
Introduction
by Tom Sherman. Video by Artists, 1976. Toronto: Art Metropole, 1976.
La vidéographie dans un contexte d'art
by Eric Cameron. Vie des arts, Fall 1975, v. 20, no. 80.