My Video Art Bootlegging Article in the Sunday NY Times

Thanks to the adoring fans who commented on my article in the NY Times yesterday about video art tape trading. I won't list them by name (mostly because it's possible to list them by name, and doing so might crush my carefully crafted illusion of worldwide fame).

I met Chris, the "star" of the piece several months ago, a guy in a small southern town who has become an impassioned expert on, of all things, video art. My working title for it was "The Cremaster Thief," after Susan Orlean's article/book, The Orchid Thief, about a guy in a small southern town who became an impassioned expert on, of all things, orchids. He's a fascinating and very helpful guy.

Chris Hughes' online collection of video art (Remember, they're not for sale. But if you have a copy of Doug Aitken's multi-channel Electric Earth, Eija-Liisa Ahtila's Love Is A Treasure, or Salla Tykka's Lasso, I bet he'd do a deal with you.)
My "research," watching Cremaster 2 (and other works) on my VCR
Christian Marclay, whose experience with unauthorized dubbing of his work didn't make it in time for the article. (His work rocks, btw.)
Baltimore artist Jon Routson, whose video works also rock, including his edited-for-TV version of Cremaster 4 .
The "I Survived Cremaster 3" T-shirts that were so popular in Basel last year.
The Cremaster Cycle, an exhaustive and lush reference to the symbolism and interpretations of Barney's films. By chief Koolaid drinker, Neville Wakefield

Since 2001 here at, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

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first published: August 18, 2003.

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