Artist

Catherine Elwes

Catherine Elwes was born in St. Maixent, France and lives and works in London and Oxford, England. She has degrees from the Slade School of Art and the Royal College of Art in London. She was active in the feminist art movement in the late 1970s and her practice now centres around videomaking, writing and curating. She co-curated the exhibitions:Women’s Images of Men and About Time at the ICA in 1980. Throughout the 1980s her work and writings continued to explore time–based media in general and feminist themes in particular centering on the belief that the ‘Personal is Political’. Recent work in video has investigated masculinity as it solidifies and dissolves within the military especially in the image of the war hero. She is currently working on a series of landscape works. Her videos have been shown widely both here and abroad and her tapes are in a number of collections including the National Gallery of Ottowa, Arnolfini Gallery, Liverpool and Arts Council England. Her work has been broadcast on Channel 4 television as well as on Spanish, Canadian and French networks. Elwes’ early videos have been archived at LUXONLINE and within the REWIND conservation project, both in the UK.

Elwes is the author of Video Loupe, (K.T. Press, 2000) and Video Art, a guided tour (I.B.Tauris, 2005). She is currently writing Installation and the Moving Image and Landscape and the Moving Image for Wallflower Press. From 1998-2006 she was the director of the UK/Canadian Film & Video Exchange and co-curator of Figuring Landscapes an international screening exhibition on themes of landscape. Elwes is Professor of Moving Image Art at Camberwell College of Arts, University of the Arts London, and Founding Editor of the Moving Image Review & Art Journal (MIRAJ) published by Intellect Books.

Videography

The Liason Officer

1997, 45:00 minutes, colour/B&W, French with English ST

Introduction To Summer

1993, 01:00 minutes

Grown Up

1990, 02:00 minutes

Postcard

1986, 04:00 minutes

The Gunfighters

1985, 05:30 minutes

Sleep

1984, 08:00 minutes

There is a Myth

1984, 10:00 minutes, colour, English

Critical Writing

Embedded Aggression Implied or Enacted
by Grahame Weinbren. Millennium Film Journal, Spring 2013, no. 57.
Peter Campus: Opticks
by Catherine Elwes. MIRAJ, Moving Image Review & Art Journal, 2012, v. 1, no. 1.
Pipilotti Rist
by Catherine Elwes. Moving Image Review & Art Journal, 2012, v. 1, no. 2.
How Television Saved Video
by Laura Paolini. Les Fleurs Du Mal, Sept. 2006, v. 1, no. 2.
Video Art, A Guided Tour by Catherine Elwes (Books)
by Tom Sherman. Border Crossings, Aug. 2005, v. 24, no. 3.
A day curated by artists Catherine Elwes, Hayley Newman and Jeremy...
by Unknown. Video art: From the Margins to the Mainstream, 2005. London: TATE, 2005.
Video Acts
by Catherine Elwes. Border Crossings, 2004, v. 23, no. 89.
Trespassing beyond the frame: John Smith talking film with Cate Elwes
by Catherine Elwes. Filmwaves, 2001, v. 2, no. 15.
Tacita Dean at Tate Britain
by Catherine Elwes. Filmwaves, 2001, v. 2, no. 15.
Moving Pictures: UK/Canada Video
by Catherine Elwes. Border Crossings, Aug. 2000, v. 19, no. 3.
"Concerning Memory"
by Kay Roberts. Time Out, 2000.
Book Reviews: Video Loupe: a collection of essays by and about the...
by Elaine Kowalsky. n. paradoxa, July Summer 2000, v. 6.
Northern Exposure
by Catherine Elwes. Art Monthly, June 1998, no. 217.
Untitled
1998 British Canadian Video Exchange, 1998. Toronto: Vtape, 1998.
(untitled)
1998 British Canadian Video Exchange, 1998. Toronto: V tape, 1998.
Through Deconstruction to Reconstruction
by Catherine Elwes. Desmontaje: Film/Video/Apropiacion/Reciclaje (Demontage: Film/Video/ Appropriation/Recycling), 1993. Valencia: Institut Valencia d'Art Modern, 1993.
Brit Bright Bill: Private Members Public Tools
by Shirley Cameron and Roland Miller. Fuse, Spring 1985, v. 8, no. 6.
Mythologies and Militarism: "Just Some Women Trying to Change History"
by Lisa Steele. Fuse, Fall 1984, v. 8, no. 3.
(untitled)
British/Canadian Video Exchange '84, 1984. Toronto: A Space, 1984.