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Prof Chris Meigh-Andrews, PhD (RCA)

Dr. Chris Meigh-Andrews is Emeritus Professor of Electronic and Digital Art, University of Central Lancashire . He was born in Braintree, Essex in 1952 and lived and worked in Montreal, Canada from 1957-75. He studied film and television at the London College of Printing , (HDCP, 1976-79) and fine art at Goldsmith's (MA, 1981-83) and the Royal College of Art , London (PhD, 1996-2001). He has been making and exhibiting his video and electronic imaging work internationally since 1978 and has held residencies in the UK and abroad. He has written and lectured extensively on the history and practice of artists' video both within the UK and internationally.   His sculptural and site-specific installations seek to establish direct relationships with the natural environment. Since the mid 1990's Meigh-Andrews’ commissioned and site-specific installation work has often featured renewable energy sources including wind and solar power.

meighandrews@btinernet.com
http://www.meigh-andrews.com/


Profile CV Gallery

Chris Meigh-Andrews has exhibited his video and installation work widely, both within the UK and internationally since the late 1970‘s. Early works have featured in a number of key exhibitions including The Self & Surroundings, Dundee Contemporary Arts Centre, (2012); Video from the 70’s and 80’s, Doggerfisher, Edinburgh (2008); Analogue: Pioneering British, Canadian and Polish Artists’ Video, (1968-88), Tate Britain, Anthology Film Archives, New York, FACT, Liverpool, Museum of Contemporary Canadian Art, Toronto, Arsenal Institute fur Film und Videokunst, Berlin, Centre for Contemporary Art, Warsaw, (2007-08); Electric Eyes: British Artists' Video 1985-88Tate Britain, Institute of Contemporary Art (ICA), London, (1988); Short Histories of Video Art, (Part 2), John Hansard Gallery, Southampton, (2004). His work also features in two recent DVD collections: Rewind and Play: An Anthology of Early British Video Art, Lux/Rewind, (2009) and New Contemporaries Moving Image: 1968-2010, Bloomberg/New Contemporaries, (2014). Recent solo shows include Sculpting with Light & Time: Installations & Video: 1976-2014, Minories, Colchester ( 2014-15) and The Sky is For All, Ruskin Gallery, Cambridge (2019).


Examples of his single screen video, installation and photographic work are held in a number of national and international collections including the Victoria and Albert Museum, London; Muzeum Historii Fotografii, Krakow; Stadsarchief, Amsterdam; Harris Museum and Art Gallery, Preston; The Scottish Screen Archive at the National Library of Scotland; The British Artists’ Film & Video Collection, The British Film Institute and the Lux Collection, as well as in a number of private collections in the Uk and abroad. Most recently, documentation of his early video and installation work and a substantial collection of his photographs, papers, notes and writings have been acquired by the archive and library at Tate Britain.

 

Meigh-Andrews has been video artist-in-residence in the UK, Canada, Denmark and Poland. He was "Resident Artist in Digital Imaging" in the School of Visual Arts, Music & Publishing, Oxford Brookes University, (1994) and "Arts Council International Artist Fellow" at Galeria Sztuki Wspólczesnej, Krakow  (2003-04). He was the recipient of a research award from the National Endowment of Science, Technology and the Arts (NESTA) in 2004 to develop Interwoven Motion, a prototype self-powered outdoor video installation in Grizedale Forest. His installation The Monument Project (Si Monumentum Requiris, Circumspice), commissioned by architects Julian Harrap, produced a continuous stream of panoramic images from the top of the Monument in the City of London 24/7 for three years (2009-2011). Recent work includes Aeolian Processes II, (Box Revealing the Sound of its Own Making), New South Wales, Australia (2014); In Darwin’s Garden, “Carbon Meets Silicon”, Oriel Sycarth, Wrexham (2017), and For Issac, Alan & Steve (2017), “Future Now: Aesthetica Art Prize: 100 Contemporary Artists”, York Art Gallery, (2017).


During the 1980’s Meigh-Andrews taught at a number of art schools and institutions including The London College of Printing, The London International Film School, Maidstone School of Art and Leicester Polytechnic. However, his main teaching role was at the University of Central Lancashire (1984- 2012). Whilst working at Uclan he initiated and was head of Time-Based Media (1986-2000), co-founded the MA Fine Art course and established the Electronic & Digital Art Unit (EDAU), a centre for post-graduate research. He was made Reader in 2000, Professor in 2007 and Professor Emeritus in 2012.


From 2013-2017 Meigh-Andrews was Visiting Professor at the Centre for Moving Image Research, Faculty of Arts, Creative Industries and Education at the University of the West of England (UWE). He has been external examiner for many undergraduate and post graduate courses; most recently MA Digital Arts, University of Malta, MA Photography-Contemporary Dialogues, Faculty of Art & Design, at the University of Wales, Trinity St David and BA and MA Digital Media at Bournemouth University, as well as for MPhil and PhD projects at Manchester Metropolitan University,  Swinburne University of Technology, (Australia); University of Malta; University of Westminster; Nottingham Trent University; the Royal College of Art; Central St Martins College of Art & Design; University of Dundee and Leeds University.

 As a curator, Meigh-Andrews has initiated and co-curated a number of major international exhibitions and symposia including The Digital Aesthetic (2001, 2007 & 2012) in collaboration with the Harris Museum, Preston and Analogue: Pioneering Artists’ Video from the UK, Canada and Poland (1968-88), presented at Tate Modern and Tate Britain, London and touring to venues in Liverpool, Norwich, Warsaw, New York, Toronto, Ottawa, Valletta and Berlin with funding from Arts Council England, the Polish Cultural Commission and the Canada Council. In 2008 he co-curated Yes, Snow Show, showcasing digital video work of renowned Canadian artist Michael Snow at the British Film Institute in London.

 

In 2010 he was awarded a Diawa Foundation grant to visit Tokyo, Kyoto and Nagoya to research into early artists' video in Japan. He has published numerous papers, articles and book chapters on the history of the electronic moving image and on the work of major international artists including Peter Campus, Woody & Steina Vasulka, Robert Cahen, Takahiko Iimura and Michael Nyman.



His book, A History of Video Art: the Development of Form and Function which provides an overview of the development of video as an art form since its inception in the early 1960’s was originally published by Berg (Oxford & New York, 2006) and in Japanese by Sangensha (Tokyo, 2012).  An enlarged and updated edition was published by Bloomsbury, London in 2013 and published in Mandarin by the Chinese Pictorial Publishing Co. Ltd (Shanghai, 2018).



Contributions to other books include “Digital Moving Image Installations and Renewable Energy: 1994-2018”, Technology, Design and the Arts–Challenges and Opportunities, Springer Books, Cham, Switzerland, 2020; “The Emergence of Early Artists’ Video in Europe and the USA and its Relationship to Broadcast TV”, in Materializing Memories: Dispositifs, Generations, Amateurs, Bloomsbury, (London and New York, 2018); “Location & Dislocation, Site & Architecture: Video Installation by Palestinian Artists”, in Palestinian Video Art: Constellation of the Moving Image, Bashir Makhoul, ed, Palestinian Art Court-al Hoash, (Jerusalem, 2013.) “Optiks: Peter Campus”, in The BFI Gallery Book, British Film Institute, (London, 2011) and “Video Installation in Europe and the USA: The Expansion and Exploration of Electronic and Televisual Space: 1968-1988”, inExpanded Cinema: Film Art Performance, Tate Publications, (London, 2011.);“Interwoven Motion: Steps Towards a Semi-Permanent Outdoor Self-Powered Video Installation”, in The Itemisation of Creative Knowledge, FACT/ Liverpool University Press, (Liverpool, 2006); “The Vasulka Tapes” in Vasulka Lab 1969-2005-Live Archive, Vivid, Birmingham, 2006; “Chris Meigh-Andrews: Early Video Tapes: 1978-87” in Experimental Film and Video, Jackie Hatfield, ed.,John Libbey Publishing,(Hertfordshire, 2006).


He is currently Editor-in-Chief, (UK and Europe) of the forthcoming three-volume Encyclopedia of New Media Art for Bloomsbury Academic