Keith Sanborn has taught Introductory and Intermediate Video Production in the Program in Visual Arts since 2002. In addition, in 2005, he devised and taught a new course attempting a synthesis of theory and practice called “From Montage to Game Hacks: Strategies of Cultural Critique.” His long-term interest is in media critique through his theoretical writings and translations, as well as, through strategies of cultural critique in his media work. He continues to pursue both his artistic and theoretical interests. In the past several years he has concentrated on video installations.
His media work has been featured at festivals such as the Rotterdam International Film Festival, The European Media Arts Festival in Osnabrück, Oberhausen Kurzfilmtage, Rencontres Internationales Paris/Berlin, OVNI in Barcelona, the New York Video Festival, the Migrating Forms Festival, Video Dumbo and Video Vortex . His work has been included in the Whitney Biennial of American Art two times and was included in the Whitney’s “American Century” survey as well as the Pomidou Centre’s survey “Monter/Sampler.” He has had numerous one-person shows at a range of institutions including Smolny Institute in St. Petersburg, FAMU in Prague, The École nationale superieure des beaux arts in Paris, the Kunsthochschule für Medien in Cologne, Millennium Film Workshop in New York, Chicago Filmmakers, the London Filmmaker’s Coop and the National Film School in Beaconsfield. His work is held in the permanent collections of the Museum of Modern Art in New York, the Department of Cinema Studies of New York University, Bard College, Smolny Insitute in St. Petersburg, the City University of Hong Kong, the Centre de Cultura of Barcelona, SUNY/Buffalo, The Rochester Institute of Technology and the University of Sussex.
His theoretical and critical essays have appeared in a range of periodicals from Artforum, A/S, The Brooklyn Rail, and thething.net and in collections such as Kunst nach Ground Zero. He has written catalogue essays for the Museum of Modern Art in New York, the San Francisco Cinematheque, the Pompidou Centre, Exit Art and the Pacific Film Archive among others. He has also acted as a curator for Hallwalls Gallery in Buffalo, the Oberhausen Kurzfilmtage, Exit Art, and the Pacific Film Archive. His curatorial and theoretical work has lead him to translate the works of Guy Debord, Gil Wolman, René Viénet, Georges Bataille, Napoleon, Paolo Gioli, Berthold Brecht, Harun Farocki and Esfir Shub. His curatorial, critical and translation work has contributed strongly to the introduction of the work of the Situationist International to the English-speaking world. In 2008, supported by a Fulbright grant, he taught a history of the compilation film at Smolny Institute in St. Petersburg and pursued research in Russian media.
His media work has been supported by the Jerome Foundation, NYSCA, Art Matters, the Experimental Television Center and The Thing.