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Doris Totten Chase
Doris Totten Chase
Doris Totten Chase
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Doris Totten Chase (29 April 1923 – 13 December 2008) was an American painter, teacher, and sculptor. She was a member of the Northwest School. Chase had a career as a painter and sculptor before moving to New York, where she made video art.

Key Information

Early years

[edit]

Chase was born Doris Mae Totten and graduated from Roosevelt High School in 1941. From 1941 to 1943 she studied architecture at the University of Washington[3] before dropping out of college in 1943 to marry Elmo Chase, a lieutenant in the U.S. Navy.

Art career

[edit]

To support her family, which had grown to two children, Chase taught painting and design at Edison Technical School. Chase was accepted into Women Painters of Washington in 1951. She remained a member until the mid-1960s.[4]

Changing Form sculpture in Seattle's Kerry Park

An early steel sculpture, the 4.6 m (15 ft) tall Changing Form, was commissioned for Kerry Park on Queen Anne Hill, in 1971.[5]

In 1972 she moved to New York.[6] She began creating video art, using computer imaging when video art was new. Chase was encouraged by the video artist, Nam June Paik, to explore video art[7] and during 1973 to 1974, she participated in the Experimental Television Center’s Residency Program.[8][9]

She began by integrating her sculptures with interactive dancers, using special effects to create dreamlike work. Victor Ancona said of Chase's dance videos, "Watching her tapes gave me the feeling of being transported to an enchanted, phosphorescent environment unceasingly in flux, a voyage I will long remember".[10]

Chase's most widely shown work is a series of 30-minute video dramas regarding older women's autonomy, titled By Herself. Table for One (1985), stars Geraldine Page in a voice-over monologue of a woman uneasy about dining alone, followed by Dear Papa (1986), starring Anne Jackson and her daughter Roberta Wallach. The third video was A Dancer (1987). Still Frame (1988) featured Priscilla Pointer and Robert Symonds. Sophie (1989) featured Joan Plowright as a woman who has just left her philandering husband to become "Sophie, reader of French tarot cards". The first two videos were presented at the Berlin and London Film Festivals in 1985 and 1986. Dear Papa won First Prize at Paris' 1986 Women's International Film Festival.

Later years

[edit]

In 1993, Chase produced a video documentary about her home, the Chelsea Hotel. The Chelsea Hotel was originally conceived as New York's first major cooperative apartment house, owned by a consortium of wealthy families in 1883, becoming a hotel in 1905. Chase's video paid tribute to the building's 110th anniversary, and those who have called it home.[11] In 1999, her four-piece bronze sculpture Moon Gates, 17 feet high, was installed at Seattle Center.[12] The Seattle Art Museum has only one Chase work in its collection: a 1950s oil painting. Documents relating to the production of her video works are held in The Celeste Bartos International Film Study Center at the Museum of Modern Art, New York.[3]

She died in 2008 from a combination of Alzheimer's disease and a series of strokes.[12]

Collections

[edit]

Filmography

[edit]

Director

[edit]
  • Glass Curtain (1990) (V)
  • Sophie (1990)
  • A Dancer (1988) (TV)
  • Still Frame (1988)
  • Dear Papa (1986)

Writer

[edit]
  • Glass Curtain (1990) (V)
  • Sophie (1990)
  • Still Frame (1988)
  • Dear Papa (1986)

Cinematographer

[edit]
  • Glass Curtain (1990)
  • Sophie (1990)
  • Still Frame (1988)
  • Dear Papa (1986)

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Doris Totten Chase

View on Grokipedia
from Grokipedia
Doris Totten Chase is an American artist known for her kinetic sculptures and her pioneering work in video art, particularly through groundbreaking explorations of movement, dance, and early computer-generated imagery. She transitioned across mediums over a six-decade career, beginning with painting influenced by the Northwest School, advancing to interactive sculptures designed for performance and public engagement, and ultimately establishing herself as a key figure in the emergence of video as an artistic medium. Born in Seattle, Washington, on April 29, 1923, Chase studied architecture at the University of Washington before turning to painting in the late 1940s after personal challenges and early classes at local institutions. Her early recognition came through exhibitions at the Seattle Art Museum and galleries in the United States and abroad, where she developed a style focused on organic forms, transformation, and movement. By the 1960s she shifted to sculpture, creating large-scale kinetic and interactive works such as Changing Form and Moon Gates that invited physical participation and were installed in public spaces in Seattle. Collaborations with dancers, including a commission for the Seattle Opera in 1968, incorporated film documentation and marked her entry into moving-image work. After moving to New York City in 1972, Chase immersed herself in video art, encouraged by figures such as Nam June Paik, and produced influential pieces that merged her sculptures with dance performances and early digital techniques. Her notable works from this period include Circles II, Dance Five, and the later feminist-themed series By Herself, which examined the inner lives of older women through theatrical video dramas. These videos screened at major international festivals, earned awards, and entered collections at institutions including the Museum of Modern Art and the Seattle Art Museum. Chase received honors such as the Washington State Governor’s Award for the Arts and the Twining Humber Award for Lifetime Achievement, and her legacy endures through retrospectives and her role in defining multimedia and computer-generated art. She continued creating until her death in Seattle on December 13, 2008.

Early life and education

Birth and family background

Doris Totten Chase was born Doris Mae Totten on April 29, 1923, in Seattle, Washington, to William Totten, a Seattle attorney, and Helen Totten. She was the only daughter in the family and had an older brother named Bill, who was five years her senior at the time of her birth. Chase grew up in Seattle, immersed in the urban environment of the Pacific Northwest during her childhood.

Education and early artistic development

Doris Totten Chase studied architecture at the University of Washington in Seattle from 1941 to 1943 before leaving school after two years to marry Elmo Chase. She did not pursue formal art training during this period, and her initial introduction to painting came later through informal and part-time studies. Following the birth of her children and a subsequent nervous breakdown, which she later attributed to not pursuing creative work, Chase was encouraged by a counselor to begin painting seriously in the late 1940s as a form of personal expression and therapy. She started taking night classes in oil painting at Edison Vocational School in 1948 and studied briefly under Northwest artists including the Russian émigré Jacob Elshin, Greek artist Nickolas Damascus, and one class with Mark Tobey, whom she described as a significant influence. In the early 1950s she occasionally took additional painting classes from Kenneth Callahan to refine her approach. Lacking extensive formal art education, Chase noted that this freedom from conventional rules allowed her to develop a distinctive style without restrictive guidance. Her early paintings were semi-abstract works featuring atmospheric Northwest landscapes, figures (often musicians), and still lifes rendered in blocks of color with heavy impasto surfaces, sometimes built up with sand for coarse texture, drawing inspiration from the structured designs of Northwest Coast Native American basketry and carving as well as the region's natural environment. Her first public recognition came in 1948 when one of her paintings was accepted into the Seattle Art Museum's Northwest Annual Exhibition, an achievement that placed her alongside established Northwest School artists. She continued exhibiting in the Northwest Annual multiple times and held her first solo exhibition in 1956 at the Otto Seligman Gallery in Seattle, where her work was praised for its diffused atmospheric depth in marine views and distinctive contrast between light landscapes and solid figures. To support her family, Chase taught painting and design classes at Edison Technical School during this period. Her early paintings aligned with the Northwest School's emphasis on organic forms and regional influences, though she later reflected that she was not consciously imitating a specific regional style at the time.

Sculpture career

Shift from painting to sculpture

In the mid-1960s, Doris Totten Chase shifted her primary focus from painting to sculpture, a transition driven by her growing interest in organic geometry, transformation, physical change, and the potential for interactivity in art. This move represented an evolution from her earlier two-dimensional works, as experiments with shaped canvases began to bridge painting and three-dimensional form. Chase's early sculptural efforts included three-dimensional wooden nesting modules that viewers could rearrange, emphasizing interactivity and the exploration of form through physical manipulation. These works marked her initial foray into sculpture, using wood as a primary material to create modular, reconfigurable pieces that reflected her fascination with movement and change. The early sculptures were exhibited in Seattle and received attention for their innovative approach, helping to establish her reputation as a sculptor in the regional art scene prior to her subsequent developments in kinetic forms.

Kinetic sculptures

Doris Totten Chase developed her kinetic sculptures primarily during the mid- to late 1960s following her transition from painting to three-dimensional work. These early pieces emphasized interactivity and movement through physical manipulation rather than electronic motors, inviting viewers to touch, rearrange, and engage directly with the forms. Her initial experiments included small painted wooden sculptures with hinged sections that opened to reveal painted interiors, which she exhibited in her first solo show in New York at the Smolin Gallery in 1965. Chase soon advanced to larger modular sculptures crafted from laminated oak and other woods, featuring nesting modules cut from a single block that could be disassembled into infinite configurations and then reassembled into the original shape. She designed these works to encourage active participation, explaining that she sought "a new kind of spectator … not just an observer, but one who will touch and actively work with the movement and arrangement of its interacting parts; one who will redesign space, and reorganize form; be entrapped in creating." Some incorporated design elements inspired by Northwest Coast Native American art, such as ovoids and rounded squares, exemplified by the sculpture Haida executed in black-stained fir. By the late 1960s, her kinetic sculptures reached grand scale with giant arches, ellipses, hoops, and circles, some tall enough for people to walk through and serve as architectural environments. These pieces were built to rock and roll while remaining stable in multiple positions, relying on balance and manual interaction to achieve their dynamic qualities. The sculptures grew progressively larger, eventually accommodating human-scale engagement and pleading for active participation to explore spatial relationships and form. A notable example of their kinetic application occurred in 1968 when large wooden circles and arcs were integrated into a dance performance choreographed by Mary Staton at the Seattle Opera House, with dancers rocking upside down in arcs, spreading out like spokes in hoops, and wheeling the forms across the stage. This collaboration demonstrated the sculptures' potential for movement and interaction, briefly informing her emerging interest in capturing dynamic processes through other media.

Public art commissions and installations

Doris Totten Chase created monumental public sculptures that became prominent features of Seattle's urban landscape during her sculpture career. Her most recognized public commission is Changing Form, an abstract steel sculpture installed at Kerry Park in 1971. Commissioned by the Kerry family for the park named in their honor, the work stands approximately 15 feet tall and incorporates large circular openings that allow viewers to walk through it, fostering direct physical interaction with the sculpture and its panoramic views of the city. Changing Form is part of the City of Seattle's civic art collection and represents one of the earliest monumental sculptures by a woman artist in the city's public holdings. In 1999, Chase completed Moon Gates, a four-piece bronze sculpture measuring 17 feet in height, which was installed at Seattle Center. This work further demonstrates her engagement with large-scale public art, creating forms that interact with the surrounding architecture and open space. These public commissions reflect Chase's interest in kinetic and volumetric forms through their dynamic shapes and interactive qualities, even as static installations.

Transition to video art

Move to New York and initial video experiments

In 1972, Doris Totten Chase relocated to New York City, seeking greater access to emerging technologies and the dynamic environment of the avant-garde art scene. This move built upon her earlier explorations in film and video, allowing her to further develop video as a medium capable of capturing continuous motion and introducing color in ways not possible with physical materials. Her decision was influenced by the limitations she encountered in sculpture, prompting her to explore electronic means for animating forms. In New York, Chase expanded her video experiments using portable video equipment, including early Sony Portapak systems, which allowed her to record and manipulate images in real time. These efforts concentrated on abstract compositions featuring geometric shapes, patterns, and luminous effects in motion, extending the kinetic principles of her sculptures into an electronic format. She worked with basic editing techniques and direct camera manipulation to create layered, rhythmic sequences that emphasized transformation and flow rather than narrative content. These non-figurative video pieces formed the foundation of her entry into the medium and demonstrated her adaptation to video's potential for abstraction.

Innovations in video technology and abstraction

Doris Totten Chase pioneered key innovations in video art by experimenting with early video technology to produce abstract compositions that emphasized transformation and dynamic form. Her shift to video allowed her to extend her interest in organic geometry and physical change, recording movement and evolution in abstract visual terms through techniques such as layering and color manipulation. Chase employed feedback loops and other video processing methods to generate evolving patterns and forms, contributing to the development of video as an abstract medium capable of real-time image synthesis and manipulation. Her abstract video works from the early 1970s included pieces such as Circles I (1971) and Circles II (1972), which featured experimental approaches to visual abstraction using video tools available at the time. These works explored color, feedback, and layering to create immersive, non-representational imagery that highlighted the unique properties of electronic media. Chase's contributions helped establish video art as a field for abstract expression, bridging her earlier kinetic sculptures with later applications in collaborative dance videos. Her abstract videos were screened and exhibited in contexts that recognized their technological and artistic advancements, solidifying her role in the early video art movement.

Dance video collaborations

Partnerships with dancers and choreographers

Doris Totten Chase established key partnerships with dancers and choreographers in New York during the 1970s and 1980s, following her transition to video art. These collaborations typically began through mutual connections in the city's experimental art and dance communities, where Chase sought performers open to integrating movement with emerging video technologies. Her most prominent partnership was with choreographer and dancer Mary Staton, beginning in the early 1970s when Staton responded to Chase's interest in capturing and transforming dance through video. Together they explored how Chase's video processing—such as layering images, altering colors, and creating kinetic effects—could extend Staton's choreography beyond live performance. Chase also collaborated with dancer and choreographer Gus Solomons Jr., whose modern and improvisational style aligned with her desire to manipulate time and space in recorded movement. Their work together emphasized Solomons's precise, architectural approach to dance, which Chase then abstracted through video editing and synthesis techniques. Other notable collaborators included choreographer Jonathan Hollander, who contributed distinct movement vocabularies that Chase incorporated into her experimental process. The collaborative method generally involved studio filming sessions where dancers performed choreography tailored or adapted for the camera, followed by Chase's intensive post-production phase to fuse the human form with electronic abstraction. These partnerships proved foundational to Chase's development of video as a medium for dance, enabling her to create hybrid works that bridged performance art and electronic media.

Key dance video series and works

Doris Totten Chase's most prominent contributions to dance video art emerged in the 1970s through her Doris Chase Dance series, a collection of 13 videos produced between 1970 and 1979 that fused dance performance with her earlier kinetic sculptures and innovative video processing. These works used techniques such as color separation, feedback, de-beaming, time-lapse trails, and image synthesis to abstract human movement into flowing colored shapes within dreamlike, phosphorescent environments, often evoking a Northwest aesthetic through pale blue tones. An early standout in this vein was Rocking Orange (1970-1971), a dance film derived from her kinetic rocking sculpture, followed by Rocking Orange III (1974), which incorporated choreography by Mary Staton, music by George Kleinsinger, and experimental video effects to explore organic movement within abstract forms. Circles II (1972), developed from 1968 footage of Mary Staton performing with Chase's large wooden kinetic circles and hoops, transformed dancers and sculptures into pure color forms with light trails following limbs, earning praise as "delicate and massive" and "ravishing" by critic Roger Greenspun, who compared it to Matisse's Dance. The piece won recognition at the 1973 American Film Festival. Later entries in the series included Jazz Dance (1975), Dance Seven (1975) featuring dancer/choreographer Marnee Morris with special color video effects, and multiple variations created with Sara Rudner, such as three video treatments of a single theme. The Doris Chase Dance Series with Gay Delanghe (1979) presented a solo performance structured on a video-specific theme. These dance videos gained international exposure through the United States Information Agency and entered the permanent collection of the Museum of Modern Art, underscoring their status as key works in video art history.

Later career and recognition

Computer-generated work and retrospectives

In the late 1960s, Doris Totten Chase pioneered the use of computer-generated imagery in her artistic practice, marking a significant shift toward digital tools during the infancy of video art. Her collaboration with Boeing resulted in Circles (1969-70), an early computer film featuring abstracted spinning hoops and dynamic forms derived from her kinetic sculpture interests. This work, along with related preparatory drawings, exemplified her experimentation with computer imaging to create non-narrative, movement-based abstractions. By the early 1970s, she integrated computer-generated elements into her video productions, contributing to the emerging medium at a time when such technology was rarely accessible to artists. Chase's adoption of computer graphics built upon her prior explorations in video and dance collaborations, enabling her to pursue more complex abstract and interactive visual forms. As an influential figure in early computer-generated art, her experiments helped define possibilities for the medium, emphasizing fluidity, transformation, and viewer engagement through digital means. Her contributions to computer-generated and video art received significant recognition through major retrospectives later in her career. In 2017, the Henry Art Gallery organized Doris Totten Chase: Changing Forms, the first comprehensive retrospective of her work in her birthplace of Seattle and her first-ever full-career survey, presented on the occasion of a major gift from her sons. The exhibition traced her evolution across mediums, prominently featuring her experimental computer-generated video works alongside earlier paintings and sculptures to highlight her innovative trajectory. This survey affirmed her place in the history of video and digital art as a trailblazer who bridged analog and computational approaches.

Awards and institutional holdings

Doris Totten Chase received notable recognition for her contributions to art, including the Washington State Governor's Award for the Arts in 1992. The City of Seattle proclaimed "Doris Chase Day" in her honor. Her works are held in major institutional collections. The Museum of Modern Art holds archival materials and some of her video and film works. The Seattle Art Museum maintains examples of her sculpture in its permanent collection. The Smithsonian American Art Museum also holds her work. In addition, the Henry Art Gallery received a substantial gift of 59 works from her family, encompassing sculptures, works on paper, and videos. Electronic Arts Intermix preserves and distributes several of her video pieces.

Personal life

Family, marriages, and residences

Doris Totten Chase married Elmo M. Chase in 1943. Her husband served as a naval officer, leading the couple to relocate temporarily to Berkeley, California, for the duration of World War II. Following the war, they returned to Seattle, Washington, where they established their family home and resided for the next several decades. The couple had two sons: Gary (born 1946) and Randy (born 1951). After the birth of her first son Gary, Chase experienced a nervous breakdown. Several years later, around the time her second son Randy was born, her husband contracted polio, which left him paralyzed. These personal hardships occurred during her early years as an artist in Seattle. After 28 years of marriage, she filed for divorce in 1972. Following the divorce, Chase relocated to New York City in pursuit of her artistic development. She maintained New York as her primary residence for much of her later career, while also being described as a bi-coastal artist with ties to both cities. In her final years, she returned to Seattle, where she lived until her death in 2008.

Death and legacy

Final years and passing

In her final years, Doris Totten Chase resided at Horizon House, a retirement community in Seattle's Capitol Hill neighborhood, after returning to Seattle full-time. During this period, she focused less on creating art and more on personal enjoyment, including relaxed travel with friends and a slower pace of life. She was affected by Alzheimer's disease and experienced several strokes. Chase passed away on December 13, 2008, in Seattle due to complications from Alzheimer's disease and the strokes. Her son Randy Chase confirmed the circumstances of her death. She was 85 years old.

Posthumous impact and preservation of work

Doris Totten Chase's contributions to video art and multimedia performance have continued to be preserved and celebrated after her death in 2008, primarily through institutional efforts to maintain and distribute her works. Her video pieces are represented and distributed by Electronic Arts Intermix (EAI), a leading nonprofit resource for video art that ensures long-term accessibility of her catalog for educational, exhibition, and research purposes. This distribution model has kept her pioneering collaborations with dancers and early computer-generated imagery available to contemporary audiences and scholars interested in the intersection of technology, dance, and visual art. Posthumous exhibitions have highlighted her innovative approach, including presentations that draw from her archive to demonstrate her role as an early explorer of kinetic and digital forms in art. Scholarly interest in her work has grown within discussions of feminist video art and the history of media art, positioning her as an influential figure for artists working in performance and digital media. Her legacy is further sustained by the ongoing availability of her videos through specialized archives, allowing new generations to study and exhibit her explorations of motion and transformation.

References

  1. https://art.seattleartmuseum.org/people/objects/1026
  2. https://www.macdowell.org/artists/doris-chase
  3. https://henryart.org/exhibitions/doris-totten-chase
  4. https://www.whatcommuseum.org/5-women-artists-doris-totten-chase/
  5. https://www.historylink.org/file/5330
  6. https://www.legacy.com/us/obituaries/seattletimes/name/doris-chase-obituary?id=28678502
  7. https://art.seattleartmuseum.org/people/1026
  8. https://www.seattletimes.com/entertainment/visual-arts/henry-gallery-showcases-doris-totten-chase-beyond-famed-kerry-park-sculpture/
  9. https://www.thestranger.com/visual-art/2017/08/09/25337041/experimental-artist-doris-totten-chase-gets-her-first-ever-retrospective
  10. https://www.seattle.gov/documents/Departments/OPCD/DesignCommission/50thAnniversary/SeattleDesignCommission_50thAnniversary_Handout.pdf
  11. https://www.historylink.org/file/22609
  12. https://www.eai.org/artists/doris-chase
  13. https://film-makerscoop.com/filmmakers/doris-chase?page=2
  14. https://poba.org/poba_portfolios/doris-chase-video-work/
  15. https://digitalcollections.nypl.org/collections/doris-chase-dance-series-video-archive
  16. https://film-makerscoop.com/catalogue/doris-chase-rocking-orange-iii
  17. https://www.youtube.com/playlist?list=PLtx_X7z7OLw2RX4GAGjskVBul59MZIz-p
  18. https://americanarchive.org/catalog/cpb-aacip_526-sj19k4737p
  19. https://film-makerscoop.com/catalogue/doris-chase-doris-chase-dance-series-with-gay-delanghe-the
  20. http://womenoutwest.blogspot.com/2018/12/doris-totten-chase-experiemental-artist.html
  21. https://collections.henryart.org/results.php?term=R+&M=&module=objects&type=keyword&sortby=name_title&sortdir=asc&kv=11773&record=5235&page=59&view=3
  22. https://features.eai.org/video-features/computer-art-festivals-selected
  23. https://www.artforum.com/columns/wendy-vogel-at-the-3rd-seattle-art-fair-235457/
  24. https://www.legacy.com/us/obituaries/legacyremembers/doris-chase-obituary?id=28678498
  25. https://www.moma.org/pdfs/docs/learn/filmstudycenter/Doris_Chase_Finding_Aid_MoMA.pdf
  26. https://americanart.si.edu/artist/doris-chase-837
  27. https://artdaily.com/news/97110/Family-of-Doris-Totten-Chase-gifts-the-Henry-with-works-of-art-
  28. https://www.seattletimes.com/seattle-news/doris-chase-celebrated-artist-divided-career-between-seattle-and-new-york/
  29. https://art.seattleartmuseum.org/people/1026/doris-totten-chase
  30. https://poba.org/poba_portfolios/doris-chase-changing-form/
  31. https://www.askart.com/artist/Doris_Mae_Totten_Chase/108959/Doris_Mae_Totten_Chase.aspx
  32. https://henryart.org/exhibitions/doris-chase
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