Peter Callas has achieved a highly respected reputation internationally in the fields of both video art and computer graphics. His work has been included in a number of significant curated exhibitions including "Video: Two Decades", Museum of Modern Art, New York, 1992; "Strangers in Paradise," National Museum of Modern Art, Seoul, Korea, 1992; "Installation Age: Space & Vision", Tokyo Metropolitan Museum of Photography, Tokyo, 1992; "Taormina Arte", Taormina, Italy, 1991; "1st Biennial of the Moving Image", Reina Sophia, Madrid, 1990; "White Noise", BBC Television, London, 1990; and "Video and the Computer", Museum of Modern Art, New York, 1989.
He has worked in electronic media for over 18 years, including several years in Japan, and has completed commissions for the Adelaide Festival, 1992; the Museum of Contemporary Art, Sydney, 1991; the Powerhouse Museum, Sydney, 1988; the Australian Bicentennial Traveling Exhibition, 1987; and Pioneer Laserdisc, Tokyo, 1986. He has been invited to stage retrospective screenings of his work at the Kunstverien, Cologne, 1991; the ICA, London, 1990; the Australian International Video Festival, Sydney, 1990; the Museum of Modern Art, New York, 1989; and the Berlin Film Festival, 1988. His works have been screened frequently on television stations worldwide, including SBS, Syndey, BBC2, London; Canal +, Paris; SAT1, Cologne; WGBH, Boston; and NHK Satellite, Tokyo. In 1990 Television Espanola's "Metropolis" featured a special programme on his work.
Peter Callas has won numerous awards including Grand Prix, International Festival of Video Art, Locarno, Switzerland, 1990; Best Computer Art, Videobrasil, Sao Paulo, Brazil, 1990; and The New Horizons Award for Innovation in New Media, International Society for the Arts, Sciences and Technology, Berkeley, USA, 1989. In 1989 he was artist in residence at the Visual Arts/Craft Board Studio, PS1, New York. He was recently a recipient of an Australia Council Fellowship.
Peter Callas is also a curator and writer. Recent projects have included "Traversals: Instructions to the Double" for the Long Beach Museum of Art, 1990, a programme of videotapes dealing with cross-cultural issues in the Pacific Rim; "An Eccentric Orbit: Electronic Media Art from Australia", designed for exhibition throughout the United States through the American Federation of the Arts; and "Subtopian Zones: Visions of the Virtual Body" for the 1992 Video Television Festival in Tokyo. His most recent curatorial project "Georges Melies and the Independent Vision" (co-curated with David Watson), an exhibition of installations by major film, photographic and video artists commemorating the centenary of cinema, is scheduled for exhibition in the Museum of Contemporary Art, Sydney, in 1995.
Much of his curatorial involvement has concerned Japan. He was on the organising committee and was curator of the video section of "Continuum '83: the 1st Exhibition of Australian Contemporary Art in Japan", Tokyo, 1983, and was curator of "The Language of Fragments: The Tension of Shape in Recent Japanese Art", Artspace, Sydney, 1985. In 1986 he was engaged by the Visual Arts Board of the Australia Council to establish the Australian Studio in Monzenakacho, Tokyo. In 1987 he was the Australian Advisor to "Edge to Edge: Australian Contemporary Art in Japan" for the Australian Bicentennial Authority and the National Museum of Modern Art, Osaka. In 1984 he guest edited a special issue on Japanese contemporary art for Art Network Magazine. His writings have also appeared in Mediamatic, Amsterdam; Tension, Melbourne; Artlink, Adelaide; and in numerous catalogues.
1993, 11:00 minutes, colour
1989, 09:17 minutes, colour
by . Art + Text, Aug. Summer 1988.
by . Art + Text, Spring 1988, no. 28.
by . Marabo, June 1988, no. 6.
Technology As Territory, 1987. Fremantle: Praxis, 1987.
by . The Sydney Morning Herald, Mar. 13, 1987.
by . Artlink, 1987, v. 4, no. 3.
by . Pleasure of the Gaze, 1985. Perth: Art gallery of Western Australia, 1985.