"Art Compensates for Mortality..."

BIBLIOGRAPHY

PUBLISHED WRITINGS BY MIROSLAW ROGALA

ROGALA, M. 1998. Three Artworks as Dynamic Matrix of Interactive Experience. In Proceedings, CAiiA-STAR Symposium, Valencia, Spain: Centro de La Beneficencia, December 4 - 5

___________. 1998. Dynamic Behavioural Spaces: Interactive Art with Single and Multi-User Group Interaction. Presentation and Unpublished paper. Living Surfaces Conference, Park City, Utah: American Center for Design Oct. 8 -October 11

___________. 1998. Dynamic Behavioural Spaces: Interactive Art with Single and Multi-User Group Interaction. Proceedings, Interstices: Architecture of Consciousness Symposium, St. Germans, Cornwall, Wales: STAR, August 23 - August 25

___________. 1998. Dynamic Behavioural Spaces: Interactive Art with Single and Multi-User Group Interaction. Proceedings and Abstracts, Consciousness Reframed II: Art and Consciousness in the Post-Biological Era , CAiiA Research Conference, Caerlon, Wales: University of Wales College, August 20 - August 22

___________. 1997. Dynamic Spaces: Interactive Art in Large-Scale Public Environments. Presentation and Unpublished Paper. ISEA 97 Conference. Chicago, Illinois: International Symposium for Electronic Arts, September 24

___________. 1997. Dynamic Spaces: Interactive Art in Large-Scale Public Environments. In R. Ascott, (ed.), Conference Proceedings and Proceedings Abstracts: Consciousness Reframed 1 : Art and Consciousness in the Post-Biological Era, First International CAiiA Research Conference, Newport, Wales: University of Wales College, July 5 - 6

___________. 1997. Restructuring Space. Presentation and Unpublished Paper. Sensing The Future: Research at the Leading Edge of Art and Technology Conference, Dublin, Ireland: Arthouse Multimedia Centre for the Arts, April 11

___________. 1997. Public and Personal Spaces. Digital Creativity: Computers in Art and Design Education, CADE International Conference. Derby, England: University of Derby, April 1-4

___________. 1996. Freedom or Interactivity. Presentation and Unpublished Paper. Design for the Internet 4th Annual Living Surfaces Conference. Chicago, Illinois: American Center for Design, November 15

____-_______. 1996. Public and Personal Spaces. Presentation and Unpublished Paper. The Total Museum International Conference. Chicago, Illinois: The Art Institute of Chicago, October 18-30 ___________. 1993. Nature Is Leaving Us : A Video Theatre Work. LEONARDO, The Journal of the International Society for the Arts, Sciences and Technology, MIT Press Vol. 26 No. 1, February, pp. 3, 11-20

BOOKS

__________. 1995-6. International Directory of Electronic Arts 1995/1996, London, England: John Libbey & Co. Ltd.

ANDERS, P. 1999. Envisioning Cyberspace: Designing Electronic Spaces. New York: McGraw Hill

ASCOTT, R. (ed). 1997. Consciousness Reframed I: Conference Proceedings and Proceedings Abstracts, First International CAiiA Research Conference. Newport, Wales: University of Wales College. Contains M. ROGALA, Dynamic Spaces: Interactive Art in Large-Scale Public Environments.

CARROLL, P. and YOOD, J. 1991. Spirited Visions: Portraits of Chicago Artists. Urbana and Chicago: University of Illinois Press, pp. 30, 31.

DINKLA, S. 1997. Pionere Interaktiver Kunst (Pioneer Interactive Art since 1970). Edition ZKM. Ostfildern, Germany: Canst Verlag:, pp. 23, 224

KLUSZCZYNSKI, R. W. 1998. Dynamiczne Przestrrzenie Doswiadczen: O Tworczosci Miroslawa Rogali (Dynamic Spaces of Experience: Miroslaw Rogala). In Obrazy Na Wolnosci: Studia z Historii Sztuk Medialnych w Polsce (Images of Freedom: Studies from the History of Media Arts in Poland). Warsaw, Poland: Warszawa Instytut Kultury, pp. 137-155

KRANTZ, L. 1993. The Chicago Art Review. Chicago: American References, p. 324.

LOVEJOY, M. 1997. Postmodern Currents: Art and Artists in the Age of Electronic Media 2nd Edition. Upper Saddle River, New Jersey: Prentice Hall, pp. 138-208

___________. 1993. Postmodern Currents: Art and Artists in the Age of Electronic Media 1st Edition. Ann Arbor, Michigan: UMI Research Press, pp. 236, 284.

MORSE, M. 1998. Miroslaw Rogala: Lovers Leap. In Hardware Software Artware: Confluence of Art and Technology . Art Practice at the ZKM Institute for Visual Media 1992 - 1997. Germany: Cantz Verlag, pp. 92-97, 176-183

NOWY DZIENNIK. 1996. Polish American Who's Who. New York: Bicentennial Publishing Co.

SCHWARZ, H. P. 1997. Media-Art-History: Media Museum, ZKM Center for Art and Media, Karlsruhe. Munich, New York: Prestel, October, p. 17

CATALOGUES

____________________. 1985. Alternating Currents. Exhibition Catalog. New York: Alternative Museum, pp. 3, 13, 21

____________________. 1996. Burning The Interface. Exhibition Catalogue. International Artists' CD-ROM Traveling Exhibition. Sydney, Australia: Museum of Contemporary Art, , pp. 84-85, 104

____________________. 1995. Deuxieme Manifestation Internationale Video et Art Electronique. Exhibition Catalogue. Montreal, Canada: Internationale Video et Art Electronique, Sept., p.120 1995

____________________. 1999. Digital Traces: Navigating Interactive Domains. Exhibition Catalogue. Pittsburgh Center for the Arts

____________________. 1996. 14th Festival International du Film Sur L'Art.. Exhibition Catalogue. Montreal, Canada: Festival International du Film Sur L'Art

____________________. 1996. 14 de World Wide Video Festival.. Programme Book. The Hague, Netherlands: World Wide Video Festival, pp. 136-137

____________________. 1995. Free City: Krakow. Exhibition Catalogue. Krakow, Poland: Galeria BWA, October-November, pp. 12-14, 47, 146-149 1995

____________________. 1995. International Festival of Films on Art . Exhibition Catalogue. Montreal, Canada: International Festival of Films on Art, pp. 2, 47, 102-104, catalogue cover

____________________. 1986. Made in America. Exhibition Catalogue. New York: Alternative Museum, pp. 7, 11, 27

____________________. 1994. New Perspectives . Group Exhibition Catalogue. Chicago, Illinois: Ukrainian Museum of Modern Art

____________________. 1987. 19a Bienal Internacional De Sao Paulo. Exhibition Catalogue. Sao Paulo, Brazil: Bienal Internacional De Sao Paulo, p. 361.

____________________. 1987. 1987/89 Catalog. Chicago, Illinois: The School of The Art Institute of Chicago, pp. 7, 8, 14, 86.

____________________. 1996. Photography After Photography. Exhibition Catalogue. Traveling Exhibition, Munich, Germany: Siemens Kulturprogramm (German edition); Germany: Verlag der Kunst (English and French editions)

____________________. 1996. Program, New York Film Academy, June

____________________. 1999. Second Nature, A Show of New Media for the New Millennium. Exhibition Catalogue. Chicago, Illinois: Ukrainian Institute of Modern Art

____________________. 1995. 13 de World Wide Video Festival. Programme Book. The Hague, Netherlands: World Wide Video Festival

____________________. 1996. 25th Festival du Noueveau Cinema. Catalogue. Montreal, Canada: Festival du Noueveau Cinema, June, p. 69 96

AMERICAN FILM INSTITUTE. 1989. Macbeth: The Witches Scenes. In Festival Catalogue, The 1989 American Film Institute Video Festival. Los Angeles, California: American Film Institute, pp. 2, 26 - 29.

ANTHOLOGY FILM ARCHIVES. 1984. Miroslaw Rogala, Video and Multimedia Work, 1980-1984. Program Catalog. New York: Anthology Film Archives

ARSENAL GALLERY. 1995. Miroslaw Rogala: Multimedia Works: Videotapes, Video Installations, Video Theatre, Interactive Works. Exhibition catalogue. Bialystok, Poland: Arsenal Gallery

ARTCHICAGO. 1996. Catalogue, International Art Exposition, Chicago: Art 1996 Chicago, pp. 96

ARTCOM. 1988. Media Distribution Catalog. San Francisco: Art Com/ La Mamelle, pp. 36-37

DEAF. 1995. Interfacing Realities. Exhibition Catalogue. Rotterdam, Holland: Dutch Electronic Art Festival, pp. 4, 12-13, Front and Rear Inside Covers, November 21 - 26 1995

DRUCKREY, T. and STAINBACK, C. (eds). 1993. Iterations. Exhibition Catalogue. New York City, New York: Museum of Modern Photography.

ISEA. 1997. The Eighth International Symposium on Electronic Art. Abstracts and Program Guide. Chicago: The School of the Art Institute of Chicago, pp. 13, 19, 69, 117.

____. 1995. International Symposium on Electronic Art. Abstracts and Program Guide. Montreal, Canada: International Symposium on Electronic Art, pp. 30, 48 1995

KING, E. 1998. Art in a Post-Modern Age of Reproduction. Exhibition Catalogue and Essay. Gyor, Hungary, IV Graphic Arts Biennial Exhibition

----------_______. 1993. Video As Universal Language: The Magical World of Miroslaw Rogala. Exhibition Brochure. Cincinnati, Ohio: Contemporary Art Center

KLUSZCZYNSKI, R. W. (ed.) 2000. Miroslaw Rogala: Retrospective 1975-2000. Warsaw, Poland: Centre for Contemporary Art

PRAT, T., RASPAIL, T. and REY, G. (Curators). 1996. Catalogue de la Toisieme Biennale d'Art Contemporain du Lyon, France. Paris and Lyon, France: Reunion des Musees Nationaux, pp. 22, 291, 374-377, 524, 541

SÜDWESTFUNK. 1995. Internationaler Videokunstpreis 1995. Baden Baden: Südwestfunk, pp. 106-107, 1995

TSCHERERKASSKY, P. (Ed.) 1998. Avant-Garde Films and Videos from Central Europe. Vienna and London: Sixpack Film and The Lux Centre, pp. 46

VIDEO DATA BANK. 1994. Early Video Art in the United States. Catalogue. Chicago. Illinois: Video Data Bank, pp. 92, 93

WARREN, L. 1997.Divided We Speak. 1997. Exhibition Brochure. Chicago, Illinois: Museum of Contemporary Art

___________. (ed.) 1996. Art In Chicago 1945-1995. Exhibition Catalogue. Chicago, Illinois: Museum of Contemporary Art, pp. 100, 101, 235, 279

WRO95. 1995. Wroclaw, Poland, Media Festival. Exhibition Catalogue. Wroclaw, Poland: Media Festival, pp. 85, 125

ZKM/CENTER FOR ART AND MEDIA. 1995. Multimediale 4, Das Medien Kunst Festival Des ZKM. Exhibition Catalogue. Karlsruhe, Germany: pp. 43, 55, 84, 107 1995

ARTICLES

__________________1996. Art and Life Meet in Washington Square Park. A Newberry Newsletter. Chicago, Illinois: The Newberry Library, Spring-Summer, p. 7

__________________1997. Artystyczne Dzialania Miroslawa Rogali. Polish Daily Zgoda. May 13

__________________1988. Arts/Theater - New Chicago: Video Excerpts from "Sunday In The Park With George". TV commercial, 0:30 sec, January; also aired on ABC TV 1988 Winter Olympics

__________________1996. Being Digital, Studies from Lovers Leap. Digital Photographs, Chicago Social, June

__________________1995. The Best of Art is Yet to Come. Noëma Art Journal , Winter 95/96, p. 15

__________________1995. Interfacing Realities. Catalogue. Dutch Electronic Arts Festival, DEAF 95, Rotterdam, Holland, pp. 4, 12-13, Front and Rear Inside Covers, November

__________________1988. Chicago International Art Exposition Features Video Performance Artist Miroslaw Rogala. Video Times, Summer, p. 50.

__________________1985. The Dark Bob Interviews: Miroslaw Rogala. PFORM/ Randolph Street Gallery, Chicago, Illinois, March

__________________1996. Die Dressur der Wirklichkeit. Studies for Lovers Leap CD-ROM, Digital Photographs, GEO Magazine, Issue #2 ("Photo Extra"), June, pp. 59, 195 1996

__________________1996. Digitale Fotomalerie auf der Praterinsel. Donau Kurier Ingolstadt, Germany, January 11

__________________1998. Instalacja Miroslawa Rogali w Parku i w Internecie. Polish Daily Zgoda, August 14

__________________1995. Instructions Per Second: Chapter One. Videotape screenings, SUD-WEST 3 and ORF 2 television programs, Germany, November 7

__________________1988. Macbeth. STAGEBILL, November, pp. 17, 18, 22.

__________________1989. Macbeth: The Witches Scenes. Festival Catalogue. Los Angeles, California: The 1989 American Film Institute Video Festival, October 26-29, p.2.

__________________1986. Made In America. Catalogue, Alternative Museum, New York, pp. 7, 11, 27.

__________________1995. Mediagramm Magazine/Multimediale4, Zentrum Fur Kunst und Medientechnologie Karlsruhe, Germany, April, pp. 7, 12-13, 16

__________________1996. Miroslaw Rogala. Expo: 3éme Biennale d'Art Contemporain de Lyon, Cybersphere 7 - Janvier 96. www.cybersphere.tm.fr/mag/N7/Biennale.html

__________________1988. Miroslaw Rogala Collaborates on Futuristic Production of Shakespeare's 'Macbeth'. Relax Magazine, November 10, pp. 14-15.

__________________1986. Performance Art. Chicago Magazine, September, p. 56.

__________________1996. Richtig Falsh: Lovers Leap Studies, ZEIT Magazine, 1996. Germany, March 8, p. 30

__________________1986. Rogala Art. Interview. WBBM-TV CBS Channel 2/Chicago, (Producer: Jim Hatfield), Aired on ŒTwo on 2¹ - May 18 and Sept. 14.

__________________1988. Rogala Studio: Outerpretation. Slide Market News. International Bulletin For Photographic Documentation Of The Visual Arts, Journal of the Visual Resources Association, Fall Issue, pp. 30, 31.

__________________1996. Speech. Video Drive-In, Catalogue, IVAM Centre Julio Gonzalez, Valencia, Spain, Sept. 18, p. 24

__________________1987. Video Art of Miroslaw Rogala . Backstage, December, p. 65.

__________________1988. Videos By Miroslaw Rogala. Chicago Reader, December 2, p. 45 (Section 2), p. 2.

__________________1997. Wyklad Mieroslawa Rogali. Dziennik Zwiazkowy. November 14-16, p. 3

ABARBANEL, J. 1988. Macbeth, A Post Production. Screen Magazine, September 26 pp. 64, 66.

AHERN, C. 1987. Video Art Chicago Style. Advertising Age, October 5, p. C4.

ALBEN, L. 1997. At the Heart of Interaction Design. Design Management Journal, Summer, pp. 19-21

ARTNER, A. 1996. Artists And Communities are Collaborating to Make Chicago a Park Place. Chicago Tribune, Arts & Entertainment, June 23, Section 7, p.11

___________ and MCCRACKEN, D. Artists on View. Chicago Tribune, September 17, The Friday Guide, Section 7, p. 32

BOMMER, L. 1988. Macbeth. Chicago Reader, November 18, pp. 44, 46.

BOULWARE, H. 1987. Chicago Video Art Gets a Showcase in Video Playhouse. Chicago Tribune, October 9, p. 96.

CAIN, E. 1989. Swell Helps Video Artist. Screen Magazine, October 16, p. 9.

CHRISTIANSEN, R. 1989. Video Opus Stars 48 TV Sets, Chicago Tribune, October 19, Tempo Section, p. 5

_________________. 1988. Mad Maxbeth. Chicago Tribune, November 11, Tempo Section, p. 5

CUBITT, S. 1996. The Splendour and Death of the CD-ROM. Coil Magazine, Great Britain, #3 (Summer)

CUNNINGHAM , M. 1997. The Art of Cyberspace. The Irish Times on the Web, April 14, website

HANKINS, M. 1986. MCA Show is Feast of Ideas. Chicago Sun-Times, Sept. 19, p.62.

HERBST, P. 1988. Production Report: News. Videography, September, p. 96.

KARLENZIG, W. 1986. Performance Chicago: Remote Faces: Outerpretation. P-FORM, June, p. 9.

KARR, R. 1996. Feature Interview, Electronic Garden / NatuRealization, aired on All Things Considered, National Public Radio, August 28

KING, E. 1998. Art in a Post-Modern Age of Reproduction. Exhibition Catalogue and Essay. IV Graphics Arts Biennial Exhibition. Gyor, Hungary, December

________. 1993. Video as Universal Language: The Magical World of Miroslaw Rogala. Exhibition Brochure. Cincinnati, Ohio: Contemporary Art Center

KLUSZCZYNSKI, R. W. 1998. Dynamiczne Przestrzenie Doswiadczen: O Tworczosci Miroslawa Rogali. In Obrazy Na Wolnosci: Studia z Historii Sztuk Medialnych w Polsce (Images of Freedom: Studies from the History of Media Arts in Poland). Warsaw, Poland: Warszawa Instytut Kultury, pp. 137-155

_____________________. 1997. Art of the Media and Multimedia, the Two Illusory Analogies. EXIT (New Art in Poland), Quarterly #2(30), April-June, pp. 1476-1479

_____________________.1995. The Art of Media in a Historical Perspective. MAGAZYN SZTUKI Art Magazine, February-March, pp. 274-282, 283-286 KOHL, P. 1995. Die Natur Verabschiedet sich Miroslaw Rogala (Nature Takes Her Farewell). Mediagramm Magazine, Zentrum Fur Kunst und Medientechnologie Karlsruhe, Germany, January, pp. 1 (cover), 2 - 4

KRASON, E. 1997. Symfonia Mediow: z Miroslawem. Monitor (Dodatek Kulturany). March

LELLIS, G. 1997. Miroslaw Rogala¹s The New Wisdom of Energy: Collaboration, Process and Documentation. Paper presented at the University Film and Video Association Conference. Hartsville, SC: Coker College. To be published in Proceedings, 1999.

LILLINGTON, K. 1997. State of the Art Technology.Technology Ireland, June, pp. 3, 20-21

LOVEJOY, M. 1997. Artists¹ Books in the Digital Age. SubStance #82, pp. 127-128

MCCRACKEN, D. 1993. Rogala's 3-Ring Multimedia Circus Dazzles. Chicago Tribune, Nov. 12, The Friday Guide, Section 7, page 72

_______________. 1986. A New Generation from SAIC. Visions. The School of The Art Institute of Chicago, Chicago, Fall 1986, pp. 8, 9 and 19.

MCMAHAN, L. 1996. Profile: Miroslaw Rogala. Chicago SOCIAL. June

METRICK, R. 1986. Remote Faces: Outerpretation by Miroslaw Rogala. Scan, Sept./Oct., Vol. 8, No. 4, pp. 1, 4.

OKITA, D. 1988. Video Macbeth. Lerner Newspapers, December 7, pp. 8, 11.

OLIVERIO, J. and PAIR, J. 1997. Design and Implementation of a Multimedia Opera. Georgia: Georgia Institute of Technology, Department of Music website

OSGOOD, C. 1989. Video Op: Chicago Arts. Chicago Tribune, October 8, Arts Section 13, p 38

PALUS, A. 1987. Portret Artysty (Portrait of an Artist). Relax #10, March 7, pp. 34, 35 (I), Relax #11, Chicago, March 14, pp. 30 - 32.

PILCIKA, J. 1989. Przyroda nas opuszcza: Teatr video Miroslawa Rogali (Nature Is Leaving Us).Gazeta Wspolczesna, Bialystok, January 24

PRESCOTT, D. 1986a. OUTERPRETATION Gets Inside of Video Art. Chicago Tribune, May 9, p. 84.

____________. 1986b. Artist Synthesizes 20th Century's High-Tech Onslaught. Chicago Tribune, March 14, pp. 65-66.

SACHSSE, R. 1995. Die Welt ist Rund - The World is Round: Miroslaw Rogala, Lovers Leap. NeuLand Multimediale4, ZKM Karlsruhe Publication, May 17, p. 3 1995

SANTOW, D. 1990. The Warsaw Pack. Neon Magazine. May/June, pp. 35 - 37.

SCHWARTZ, I. 1995. Met Interface kan Zelfs stem Tekenen. De Volkskrant, Rotterdam, Holland, November 23, p. 18

SHANKEN, E. 1997. Divided We Stand: Interactive Art and The Limits of Freedom. Unpublished Essay. Durham, NC: Duke University, February

____________. 1996. Virtual Perspective and the Artistic Vision: A Genealogy of Technology, Perception, and Power. Paper presented at International Society for Electronic Art (ISEA), Rotterdam, Holland, September

STRAAYER, C. 1985. Screen Arts: Miroslaw Rogala's Erupting Images. Chicago Reader, February 3, p. 6.

TAJIMA, R. 1988. In And Out Of Production. The Independent Film and Video, November, pp. 30-31

THOMAS, M. 1999. In With the Interactive. Pittsburgh Post-Gazette, pp. 22-23, 38

VOEDISCH, L. 1989a. With Nature, Artist Creates a New Landscape. Chicago Sun-Times, October 11, Arts & Show Section, p. 4.

____________. 1989B. Video Artists Presenting Glimpses of the Future. Chicago Sun-Times, June 11, p. 5 1989

WARREN, L. 1997. Miroslaw Rogala¹s Divided We Speak. Exhibition Brochure. Chicago, Illinois: Museum of Contemporary Art

___________. 1996. Miroslaw Rogala : Lovers Leap. In Photography After Photography: Memory and Representation in the Digital Age. Munich, Germany: Siemens Kulturprogramm and B+G Arts, pp. 248-253, 301 (English, French, German editions)

___________. 1986. A New Generation From SAIC. Catalogue. Museum of Contemporary Art, Chicago, pp. 24, 25.

WEISS, H. 1988. Video Macbeth. Chicago Sun-Times, December 1, p. 65.

_________. 1987. Sunday in the Park Turns to Video. Chicago Sun-Times, Sunday SHOW Section, June 14, p. 4 and work pictured on p. 1.

WEISS, S. 1988. Macbeth. Pioneer Press Newspapers, November 17, p. D5.

WESEMANN, V. A. 1997. Durch deb Baum Gesagt: Internet-Kunstn und Freie Rede: Miroslaw Rogalas Elektronischer Garten (Nature Takes Her Farewell: Miroslaw Rogala¹s Electronic Garden). Frankfurter Rundschau, March 8

WESTERBECK, C. 1986. A New Generation from SAIC, Museum of Contemporary Art, Chicago. Artforum, December, p. 120.

WHITE, C. 1996. When Two Worlds Collide: Rogala's Lovers Leap. Digital Video Online www.livedv.com/Chicago/LoversLeap/Lovers.html, February,

WILLIAMS, K.M. 1996. Art In The Park. Chicago Sun-Times, Arts & Show Section, June 18, p. 27

ZAKRZEWSKA, M. 1997. Miroslaw Rogala: Tworca Amerykanski o Polskim Rodowodzie. Kurier Codzienny. November 21-23, p. 27 _________________. Miroslaw Rogala: Multimedialny Polish Dance. Magazine Sztuki, Nr. 15-16, Mar-Apr., pp. 276-281


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