Page "London Video Arts" Paragraph 4

As video art became more established throughout the 1980s LVA changed to accommodate the different concerns which emerged across the decade.

The phenomenon of Scratch video, for example, and the rise of the music video and cheaper and more available video " camcorder " technology produced a different aesthetic less connected to the modernist concern for medium specificity which first characterised video.

In 1988, after some disagreements with John Cleese ’ s video production company ( Video Arts ) over company names, LVA became London Video Access, and indeed its production facilities were in great demand at the expense of its distribution library during this period, showing a shift towards broadcast and the independent video sector and away from the arts.

By 1994 another change of title to London Electronic Arts reflected developments in video technology towards a more dispersed digital media and again reasserted the artist led nature of the organisation.

A further move to Lottery funded premises at the Lux Centre in 1996 also provided a purpose built gallery space to accompany distribution and production facilities.

Under the pressure of funding cuts, and perhaps also determined by the increasingly blurred distinctions which now existed between video and other moving image media, LEA merged with the London Film-Makers ' Co-op with whom it shared a venue under the collective name of the Lux Centre, continuing until the eventual demise of the Centre in 2001.

Its extensive library of video tapes, attesting to the rich history of British and international video art which LVA first helped to promote, continues to find distribution through LUX, as do many of the artists originally involved.