Women Art Revolution : videotape interviews by Lynn Hershman-Leeson for film, 1990-2008 M1639

Finding aid prepared by Stefan Elnabli, Crystal Rangel, and Bill O'Hanlon
Stanford University. Department of Special Collections and University Archives
Stanford University Libraries
557 Escondido Mall
Stanford, California, 94305-6064
Repository email: speccollref@stanford.edu
2010


Title: Women Art Revolution : videotape interviews by Lynn Hershman-Leeson for film, 1990-2008
Identifier/Call Number: M1639
Contributing Institution: Stanford University. Department of Special Collections and University Archives
Language of Material: English
Physical Description: 3.0 Linear feet : 68 video tapes, 1 hard drive (2 record storage boxes)
Date (inclusive): 1990-2008
Abstract: Videotaped interviews with over 40 artists, critics, historians, and curators for the film !Women Art Revolution, documenting the development of the Feminist Art Movement from the 1970s through 2008. Materials available online at http://lib.stanford.edu/women-art-revolution.
creator: Hershman-Leeson, Lynn, 1941-

Preferred Citation

[identification of item], Women Art Revolution : videotape interviews by Lynn Hershman-Leeson for film, 1990-2008 , M1639. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.

Publication Rights

All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94304-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner, heir(s) or assigns. See: http://library.stanford.edu/depts/spc/pubserv/permissions.html.
Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes.

Acquisition Information

Purchased September, 2008; Accession 2008-242.

Scope and Contents note

The collection consists of artist, critic, and curator interviews and footage created for use in the documentary !Women Art Revolution made by Lynn Hershman Leeson, which chronicles the birth and evolution of the Feminist Art movement in the United States. The collection came as both the original videotapes of various formats and digital video file versions of most of the tapes, except where otherwise noted. The collection also includes transcripts for many of the interviews in both paper and digital form.
All received digital video files as well as any associated transcripts can be accessed through the collection website: http://lib.stanford.edu/women-art-revolution.

Subjects and Indexing Terms

Antin, Eleanor
Antoni, Janine
Baca, Judith Francisca
Brodsky, Judith K.
Butler, Cornelia H.
Chicago, Judy, 1939-
Da Costa, Beatriz
Edelson, Mary Beth
Fox, Howard
Grode, Susan A.
Guerrilla Girls
Hammond, Harmony
Heiss, Alanna
Hershman-Leeson, Lynn, 1941-
July, Miranda, 1974-
Kanarek, Yael
Kelley, Mike, 1954-
Kollwitz, Kathe
Kozloff, Joyce
Kushner, Robert, 1949-
Lacy, Suzanne
Leduc, Violette
Levrant de Bretteville, Sheila
Lippard, Lucy R.
Pindell, Howardena, 1943-
Rainer, Yvonne, 1934-
Reilly, Maura
Rich, B. Ruby
Ringgold, Faith
Rosenthal, Rachel, 1926
Rosler, Martha
Roth, Moira
Sackler, Elizabeth A.
Schapiro, Miriam, 1923-
Schneemann, Carolee, 1939-
Sims, Lowery Stokes
Spero, Nancy, 1926-2009
Tucker, Marcia
Utterback, Camille
Vicuña, Cecilia
Wilding, Faith
Wilson, Martha, 1947-

 

Interviews

 

Eleanor Antin

Biography

Eleanor Antin (b. 1935) is a performance artist, photographer, and filmmaker whose work has often explored the social constructions of gender and feminity. In the early 1970s, she began utilizing the tools of Conceptual art--especially serial photography and performance documentation--to insert social commentary, biographical representation, and fantasy into a discourse that had until then been much more focused upon the systematic and the semiotic. Carving a Traditional Sculpture (1972), for example, consisted of 144 gridded photographs of a nude Antin, arranged chronologically to document her weight loss over thirty-six days. History--and women's place in it--has been an important theme. Eleanor Antinova, her most well known and long-lived performative persona, was a fictional, marginalized member of the celebrated Ballets Russes and a demonstration of continuing gender and racial inequalities. 100 Boots (1971-73), a classic work of Conceptual art, featured 51 images of boots in scenes that progressed from one American coast to the other.
Antin's later work has tended to incorporate quasi-historical themes; her recent photographic series include Roman Allegories (2004) and The Last Days of Pompeii (2001).
Carton 1, videotape 1A

Santa Monica, CA; 2006-07-22

Format

Mini-DV (1A), Digital .mov file
 

Janine Antoni

Biography

Janine Antoni (b. 1964) is a performance artist, sculptor, and photographer who often explores the transitions between making and finished product--a focus that results in sculptural installations that appear both static and revelatory of the artist's creative process. Gnaw (1992) and Lick and Lather (1993) are two of her most well known works. In both, Antoni used materials in which she could leave lasting human marks: in Gnaw, she presented two Minimalist cubes--one of chocolate, the other of lard--that she had chewed away into deliberate deformity. In Lick and Lather, she ingested chocolate self-portrait busts and washed away soap ones into varying degrees of obscurity. These and other works--messy, unsterile--have caused viewers to re-envision the bodiliness of both abstract and figural forms; to acknowledge that feminine discretion (especially to keep body fluids hidden and their sources undisclosed) has long been a cultural expectation. Loving Care (1993) took these notions to an extreme, the piece consisting of the visual and physical remnants of Antoni's sweeping of her dye-filled hair, like a paint brush but much more personal, across a gallery floor.
In approaching her work in this way, Antoni has adopted a project that has motivated many activist, feminist artists both of her generation and earlier: to acknowledge the feminine body and to celebrate it.
Carton 1, videotape 2A-2B

Brooklyn, NY; 2006-05-10

Format

Mini-DV (2A-2B), Digital .mov file
 

Judith Baca

Biography

Judith (Judy) Baca (b. 1946), a Mexican-American artist and activist working primarily in Los Angeles, has dedicated her career to demonstrating the ways in which public art, created in partnership with community members, can be a force for social change. One of her first undertakings after college was a collaborative mural project aimed at tempering gang violence (1969). In 1976 she co-founded the Social and Public Art Resource Center (SPARC), which has been a source of inspiration, support, and sponsorship for projects that address the identities and concerns of underrepresented populations such as women, immigrants, and the economically disadvantaged. Because these murals and related public art installations are located in the neighborhoods in which the participants live, a strong sense of joint ownership accompanies the works' creation.
Baca's most celebrated work is The Great Wall of Los Angeles, a mural project begun in 1973 in the Tujunga Flood Control Channel of the San Fernando Valley. Completed over the course of five years, The Great Wall acts as a visual narrative of centuries of California history--especially of that history which has consistently been underrepresented in "official" documents and textbooks. It, and Baca's mural projects in general, find their stylistic precedents in the works of the Mexican muralists and the W.P.A., yet the social activism and specific themes that they espouse are decidedly contemporary.
Carton 1, videotape 3A, 3A-copy

Catalina Island, CA; 1992-10-02

Format

Hi-8 (3A), U-matic (3A-copy), Digital .mov file
 

Judith Baca and Suzanne Lacy

Carton 1, videotape 3B, 6A

Los Angeles, CA; 2004-07-07

Format

DVCAM (3B, 6A), Digital .mov file
 

Judith Brodsky

Biography

Judith K. Brodsky (b. 1933) is a noted artist and art educator. She is a Distinguished Professor Emerita in the Department of Visual Arts at Rutgers, and the Founding Director of the Rutgers Center for Innovative Print and Paper, which was renamed the Brodsky Center in her honor in September 2006.
Over the past thirty years, Brodsky has held numerous leadership positions in the art world, most notably as past national president of ArtTable, the College Art Association, and the Women's Caucus for Art (WCA). The WCA was established in 1972 as part of the College Art Association to promote equity for women artists and art professionals. Today it remains one of the largest and most influential organizations for women artists, with twenty-seven chapters nationwide. As the first working artist to lead the organization, Brodsky expanded political activism and membership in the WCA.
 

New York, NY; 2008-04-22

Format

Digital .mov file
 

Cornelia (Connie) Butler

Biography

Cornelia (Connie) Butler is the Robert Lehman Foundation Chief Curator of Drawings at the Museum of Modern Art. Prior to coming to New York in 2006, she served as a curator at the Museum of Contemporary Art, Los Angeles. Though much of Butler's curatorial focus has been directed toward works on paper and the graphic arts, perhaps her most notable project of late was the ambitious, multimedia undertaking WACK!: Art and the Feminist Revolution. Her final exhibition for MOCA, WACK! served as a retrospective exploration of the effects that feminist art of the 1970s had on the art and society that surrounded it. The show achieved a multifaceted success: high attendance numbers and an intense critical response, both positive and negative.
Carton 1, videotape 4A

Los Angeles, CA; 2004-07-07

Format

DVCAM (4A), Digital .mov file
 

New York, NY; 2008-02-17

Format

Digital .mov file
 

Judy Chicago

Biography

Judy Chicago's (b. 1939) Dinner Party (1973-79) is certainly the most iconic feminist artwork of the decade, but the artist's accomplishments are much broader than a single artwork can suggest. Having begun her career as a painter and sculptor in the late modernist vein, she radically varied the course of her career in the early 1970s by adopting an overtly feminist, and often sexual, iconography for her own work. In partnership with Miriam Schapiro she established the Feminist Art Program at the California Institute of the Arts, which opened in 1972. It was meant to serve as a place for young female artists to discover a new way of making art, removed from the entrenched male-centrism that she asserted occupied most art schools. A notable result of this program's establishment was the organization of Womanhouse, a collaborative space occupied by female artists working in various media. The Feminist Studio Workshop, which she founded with Sheila de Bretteville and Arlene Raven and which was not affiliated with CalArts, opened in 1973.
In parallel with her artistic and pedagogical endeavors, Chicago published Through the Flower, a work that has become a touchstone for feminist autobiographical writing of the 1970s. Beyond the Flower is a sequel of sorts, describing her post-1970s life and the evolution of both her career and her views on the place of women in society.
Carton 1, videotape 5A-5C

Hayward, CA; 1990-11-09

Format

U-matic (5A, 5B, 5C), Digital .mov files (3)
Carton 1, videotape 5H

Davis, CA; 2005-03-04

Format

Mini-DV (5H), Digital .mov file
 

Beatriz da Costa

Carton 1, videotape 6A

Los Angeles, CA; 2004-07-07

Format

DVCAM (6A)
 

DISBAND performance

 

New York, NY; 2008-02-28

Format

Digital .mov file

Existence and Location of Originals note

The DISBAND performance begins at 00:06:36 and ends at 00:18:18 on the PS 1 digital file.
 

Mary Beth Edelson

Biography

Mary Beth Edelson (b. 1933) creates works that impel viewers to confront the feminine body and the ways in which it has been both exploited and underrepresented in the history of art. One of her primary strategies has been to portray women as primordial archetypes--created before the establishment of patriarchal societies--such as goddesses, tricksters, and warriors. She demonstrated this most famously in her series of black-and-white self portraits in which she drew and painted on nude photographs of herself posed atop boulders, in the woods, or in the undefined zone of a gallery space. By presenting herself so self-possessed and unapologetically unclothed, she hoped to help loosen the centuries-old grip that male artists held on the passive female body.
Another one of her tactics has been to re-present famous artworks collaged with the faces and bodies of women. In Some Living American Woman Artists/Last Supper (1972), for example, Edelson covered the faces of Da Vinci's Last Supper attendees with images of contemporary female artists, Jesus being represented here by Georgia O'Keeffe. As with many of her works, Edelson combined humor and gravity, aiming to create an atmosphere that was subversively assertive.
Edelson has also worked in collaborative and/or political environments, participating in the early exhibitions at A.I.R. Gallery (founded in 1972), taking part in the Heresies Collective, and helping to lead the Women's Action Coalition from 1992-94.
Carton 1, videotape 8A-8B

New York, NY; 2007-02-07

Format

Mini-DV (8A, 8B), Digital .mov files (2)
 

Howard Fox

Biography

Howard Fox is former Curator of Contemporary Art at the Los Angeles County Museum of Art. During his tenure there he documented developments in the art world of both international and local interest, often with commendably thorough treatment of women artists and their unique contributions. Avant-Garde in the Eighties (1987) was a broadly focused show that included the work of artists such as Laurie Anderson, Cindy Sherman, Sherrie Levine, and Susan Rothenberg. Los Angeles, 1955-1985: Birth of an Art Capital (2006), held at the Centre Pompidou, provided a sweeping, chronological look at the city's unique identity in the postmodern art world--including the central role its residents played in the advancement of the feminist art movement.
Carton 1, videotape 9A

Los Angeles, CA; 2004-07-07

Format

DVCAM (9A), Digital .mov file
 

Susan Grode

Carton 1, videotape 10A

Los Angeles, CA; 2004-07-07

Format

DVCAM (10A), Digital .mov file
 

Guerrilla Girls

Biography

Active in New York and elsewhere from 1985 to the present, the Guerrilla Girls are an anonymous group of artists, critics, and other art world participants who draw attention to disparities in treatment and pay between male and female artists and between white artists and their non-white peers. Members maintain their anonymity--important for keeping their messages broad and their professional identities safe--by the trademark donning of gorilla masks and by the adoption of female artist pseudonyms.
The distribution of posters across SoHo and the East Village was the Guerrilla Girls' first strategic action, soon followed by protests, speaking engagements, and surprise appearances. One poster (1988), for example, declared that "the advantages of being a woman artist" included "working without the pressure of success" and "not having to undergo the embarrassment of being called a genius." Another (1990) presented a pop quiz: "Q: If February is Black History Month and March is Women's History Month, what happens the rest of the year? A: Discrimination." Combining simple graphics, clear yet clever statements, and illustrative statistics, the posters were created in order to target the art system at its epicenter, New York City. The Guerrilla Girls have more recently expanded their focus to California, Spain, Mexico, China, and elsewhere.
Carton 1, videotapes 11B-copy, 11C-11E

New York, NY; 2006-05-13

Format

DVCAM (11B-copy), Mini-DV (11C, 11D, 11E), Digital .mov files (4)
 

Guerrilla Girls-Kathe Kollwitz

Carton 1, videotape 11A-copy

Santa Monica, CA; 2006-07-22

Format

DVCAM (11A-copy), Digital .mov file
 

Guerrilla Girls-Violette Leduc

 

New York, NY; 2008-02-15

Format

Digital .mov file
 

Harmony Hammond

 

New York, NY; 2008-02-17

Format

Digital .mov file
 

Alanna Heiss

Biography

Alanna Heiss (b. 1943) is the Director of AIR, Art International Radio, an Internet-based art radio station operating out of the Clocktower Gallery in New York. She founded and was the Director of P.S. 1 Contemporary Art Center from 1976-2008 and is one of the originators of the so-called alternative space movement. Heiss has curated and/or organized over seven hundred exhibitions at P.S.1 and elsewhere. Considered one of the most important curatorial figures in the art world, Heiss has been awarded numerous prizes, including the Chevalier of Arts and Letters in 1987.
 

New York, NY; 2008-05-01

Format

Digital .mov file
 

Lynn Hershman Leeson

Biography

Lynn Hershman Leeson (b. 1941) is a performance artist and filmmaker who, in various media, has investigated the idea of selfhood and what establishes an individual as a sentient, gendered, unique person. Between the years of 1974 and 1978, Hershman Leeson spent much of her time performing as an alter ego, the character Roberta Breitmore. Much of the work--drawings, photographs, clothing, medical records, letters, etc.--Hershman Leeson produced during the Breitmore years related to the character's emotional and practical existences. Hershman Leeson seemed to be demonstrating that the two existences could and should not be easily separated--nor should the artist herself be easily separated from the character she created.
Hershman Leeson's work in film, video, and new media has been equally focused toward exploring the ways that bodies interact and define themselves. Lorna (1983-84), described by the artist as "the first interactive video art disc," allowed the viewer to experience the emotions of the title character while also, at key points, making important decisions for her. The viewer was both entwined with and removed from Lorna's life.
In the 1980s and 90s, Hershman continued to focus on new media, expanding her work in video and creating online environments that incorporated artificial intelligence. Concurrently, she began to direct feature films; her first film, Conceiving Ada (1997), situated the nineteenth-century computer science innovator Ada Lovelace in juxtaposition with the twentieth-century computer reality that she helped to create.
A winner of numerous awards and honors for her contributions to art practice, Hershman Leeson is currently Chair of the Film Department at the San Francisco Art Institute. She is Professor Emerita at the University of California, Davis, and an A.D. White Professor at large at Cornell University. !Women Art Revolution reflects years of interviews that Hershman Leeson has compiled in order to tell the story of the feminist art movement in the artists' own words.
Carton 1, videotape 12A

Davis, CA; 2005-03-04

Format

Mini-DV (12A), Digital .mov file
 

San Francisco, CA; 2006-10-24

Format

Digital .mov file

Existence and Location of Originals note

The 2006 Lynn Hershman interview begins at 00:06:33 in the B. Ruby Rich part 2 interview digital video file.
 

Miranda July

Biography

Miranda July (b. 1974) is a video and performance artist, filmmaker, and author who has attracted audiences in venues ranging from mainstream movie theaters ( Me and You and Everyone We Know (2005)) to the Venice Biennale ( Eleven Heavy Things (2009)). Though the themes around which she creates her work are varied--childhood, friendship, surveillance, love, control--one particularly unifying element is July's attention to her audience, real or imagined. In Things We Don't Understand and Definitely Are Not Going to Talk About (2006- ), for example, members of the audience take active part in the performance. More subtly, Getting Stronger Every Day (2001), a seven-minute video piece, relates the deeply personal experiences of the fictional characters while also generating a quiet mood of memory and loss that resonates with any viewer. July's writing, which includes short stories and personal essays, continues this inclusive strategy. Most notable are No One Belongs Here More Than You (2007) and Learning to Love You More (2007), the titles themselves implying the participation and importance of an unknown individual(s), their accompanying Web sites inviting interaction of a different sort.
July's relationship to the feminist artists of the previous generation is indirect yet distinct. The issues of politics and power that infuse many of her works are informed by the spirit of radical protest that surrounded her in Berkeley, where she spent her youth and began her career as an artist.
Carton 1, videotape 11A-copy

Santa Monica, CA; 2006-07-27

Format

DVCAM (11A-copy), Digital .mov file

Existence and Location of Originals note

This interview is on the same videotape and in the same digital video file as the Guerrilla Girl "Kathe Kollwitz" interview. Miranda July interview begins at approximately 00:39:17.
 

Yael Kanarek

Carton 1, videotape 14A

New York, NY; 2006-05-12

Physical Description: 1.0 Items

Format

Mini-DV (14A)
 

Mike Kelley

Carton 1, videotape 15A

Los Angeles, CA; 2006-07-27

Format

Mini-DV (15A), Digital .mov files (2)
 

Joyce Kozloff

Biography

Born in 1942, Joyce Kozloff was a co-founder of the Pattern and Decoration movement of the 1970s. Her early paintings and collages draw on colors and designs from Islamic, North African and Southwest American Indian cultures. Kozloff's interest in decorative arts and "craft" or "ornament" aligned with the feminist movement and provided a stark alternative to the minimalist "high art" being produced mainly by men during this period. Her later large-scale public art commissions incorporate ceramic tile installations which reflect her continuing interest in color, pattern, and design from other parts of the world. Her latest cartographic works incorporate images of maps and continue to explore the themes of place, gender and power.
Carton 1, videotape 16A

New York, NY; 2006-05-11

Format

Mini-DV (16A), Digital .mov file
 

Robert Kushner

Biography

Painter and sculptor Robert Kushner (b. 1949) is one of the few American decorative painters of our era, producing colorful, florally embellished work since 1971. Kushner is also one of the few men who had a key role in the Pattern and Decoration Movement. Originating in New York in the mid-1970s, the movement was one aspect of the reaction against the stark impersonality of Minimal art and also represented a defense of the idea that decorative art is a humanizing influence that should not be regarded as inferior to "fine" art. Many of the artists involved in the movement were women who were interested in exploring how the decorative crafts that have traditionally carried feminine associations could bear renewed, progressive meanings. Notable artists in this group include Joyce Kozloff and Miriam Schapiro. Kushner continues to work in this mode; on the occasion of his twenty-five year retrospective at the New Jersey Center for Visual Arts he noted, "I really believe the public deserves something beautiful."
Carton 1, videotape 17A-copy

New York, NY; 2006-05-12

Format

DVCAM (17A-copy), Digital .mov file
 

Suzanne Lacy

Biography

Suzanne Lacy (b. 1945) is an activist and performance artist whose work includes installations, videos and large-scale performances on social themes and urban issues. She often collaborates with other artists to produce works about women's issues. Her first large-scale public work, Three Weeks in May (1977), dramatized the high incidence of rape in Los Angeles. One of her best-known works to date is The Crystal Quilt (Minneapolis, 1987) a performance which included 430 older women and aired live on PBS. She is currently the Chair of Fine Arts at the Otis College of Art and Design in Los Angeles.
Carton 1, videotape 18A-18B

San Francisco, CA; 1990-05-09

Format

U-matic (18A, 18B), Digital .mov files (2)
Carton 1, videotape 18C

Unknown Location; Unknown Date

Format

U-matic (18C), Digital .mov file
 

Sheila Levrant de Bretteville

Biography

As an artist and arts educator Sheila Levrant de Bretteville (b. 1940) holds a pivotal role in the history of feminist art. She founded the Women's Design Program at the California Institute of the Arts in 1971, co-founded the first independent feminist art school in the United States, the Feminist Studio Workshop in Los Angeles in 1973 (with Judy Chicago and Arlene Raven), and there created the Women's Graphic Center. In 1980 de Bretteville established the Department of Communication Design at the Otis Art Institute, and in 1990 became the first woman to receive tenure at the Yale University School of Art.
Throughout her career de Bretteville has continually focused on the social implications of design and worked to establish the means by which women artists could collaborate to address and publicize feminist concerns as part of the design process.
Carton 1, videotape 7A-7C

Los Angeles, CA; 1990

Format

U-matic (7A, 7B), DVCAM (7C-copy), Digital .mov files (3)
Carton 1, videotape 7 D

New York, NY; 2008-02-15

Format

Mini-DV (7D), Digital .mov file
 

Lucy Lippard

Biography

First gaining notoriety as a chronicler of the Postminimal and Conceptual Art movements, Lucy Lippard (b. 1937) has curated and written art criticism since the early 1960s. After publishing the book-length, chronological bibliography Six Years: The Dematerialization of the Art Object in 1973, Lippard narrowed her focus more specifically to art by women. From the Center: Feminist Essays on Women's Art (1976) collects much of her work from the early 1970s; The Pink Glass Swan: Selected Essays on Feminist Art (1995) is a more recent anthology. She has also published monographs on specific artists, such as Judy Chicago and Eva Hesse.
In her work as a curator, Lippard has pushed the boundaries of the exhibition space, presenting innovatively irregular sculptures in Eccentric Abstraction (1966) and obviating the need for a physical space altogether in 955,000 (1970). In recent years, Lippard has continued to support feminist art and has also turned her attention to issues of climate and place.
Carton 2, videotape 19B

San Francisco, CA; Unknown Date

Format

Betacam SP (19B), Digital .mov file

Paper in Container

Folded permissory note in container: "This is to confirm I will let Lynn Hershman use my interview on videotape for her tape on women artists and the Feminist Movement - Lucy R. Lippard, 10/18/93"
 

Howardena Pindell

Biography

Howardena Pindell (b. 1943), painter and mixed media artist, curator and educator, is known for the wide variety of techniques and materials used in her artwork. She has created abstract paintings, collages, "video drawings," and "process art." Many of her pieces engage in deconstruction and reconstruction. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the issues of racism, feminism, violence, slavery, and exploitation. Her work is also autobiographical, particularly in the years after a 1979 car accident in which she suffered a concussion and memory loss.
In 1990 Pindell received the Most Distinguished Body of Work or Performance Award from the College Art Association. Her work is in the collection of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Yale University Art Gallery, the Harvard University Art Museums and the Rhode Island School of Design Museum, among many others.
Carton 1, videotape 20A

New York, NY; 2006-05-09

Format

DVCAM (20A), Digital .mov file
 

Yvonne Rainer

Biography

Yvonne Rainer (b. 1934) is a dancer, choreographer, filmmaker, and co-founder, in 1962, of the highly influential Judson Dance Theater in New York. After studying at the Martha Graham School and with Merce Cunningham, she began to choreograph works through which she could challenge traditional notions of dance performance. Most notably in Trio A (first performed in 1968 as part of the larger work The Mind is a Muscle), Rainer utilized a flow of mundane movements to complicate the performer/audience relationship and to draw attention to the body as a functional object--a strategy that finds its parallels in Minimalism. Her work in the 1970s, increasingly film-based, became more oriented toward content and context while still maintaining a focus upon form. Her Film About A Woman Who... (1974) drew attention to the place of women in a male-dominated society. Later films, such as Privilege (1990), have continued this theme, with treatments of menopause and aging, breast cancer, and homosexuality. They repeatedly demonstrate Rainer's belief in the importance of presenting the female body and the female voice through the critical and self-identifying eye of the female artist.
Carton 1, videotape 21A-21B, 21B-copy

Berkeley, CA; 1990-09-12

Format

U-matic (21A, 21B), DVCAM (21B-copy), Digital .mov files (2)
 

San Francisco, CA; 2006-10-24

Format

Digital .mov file
 

Maura Reilly

Carton 1, videotape 22A

New York, NY; 2007-02-06

Format

Mini-DV (22A), Digital .mov file
 

B. Ruby Rich

Biography

B. Ruby Rich (b. 1949?), a film critic, film festival programmer, cultural theorist, and professor is perhaps best known for her work in feminist film criticism and the creation of the term "New Queer Cinema." In recent years, Rich has written for The Guardian (UK), the SF Bay Guardian, and sf360.org. Previously she was a contributor to Sight and Sound, The Nation, The Village Voice, The New York Times, Cinema Journal, and many other popular and scholarly journals. The author of Chick Flicks: Theories and Memories of the Feminist Film Movement, Rich now teaches in the Social Documentation Program at the University of California, Santa Cruz, where she's currently chair of the Community Studies Department.
Carton 1, videotape 23A-23B

San Francisco, CA; 2006-10-24

Format

Mini-DV (23A, 23B), Digital .mov files (2)
 

Faith Ringgold

Biography

Faith Ringgold (b.1930), a writer, painter, sculptor, printmaker and performance artist, is perhaps best known for her painted story quilts which incorporate African American images and narratives. Ringgold's art has redefined black and feminist ideals and is rooted in the strength of African American culture, family, mother-daughter relationships, marriage, sexuality, and female self-expression. Ringgold's interest in story-telling naturally led to the production of several award-winning children's books with African American themes including Tar Beach, Aunt Harriet's Underground Railroad in the Sky, Dinner at Aunt Connie's House and Bonjour Lonnie. Her web site includes material geared for children and young people. The topic of race is never far away.
Carton 1, videotape 24A

New York, NY; 1991-09-03

Format

Hi-8 (24A), Digital .mov file
Carton 1, videotape 24B

New York, NY; 2006-05-10

Format

Mini-DV (24B), Digital .mov file
 

Rachel Rosenthal

Carton 1, videotape 25A, Carton 2, videotape 25B, 25C

Los Angeles, CA; 1990-07-27

Format

Hi-8 (25A), U-matic (25B, 25C)
Carton 2, videotape 25D

Unknown Location; 1992-10-03

Format

U-matic (25D), Digital .mov file
 

Martha Rosler

Biography

Martha Rosler (b. 1943) is a performance artist, video artist, and photographer whose practice has focused upon issues of politics, class, and gender. Her series Bringing the War Home, begun in 1967, was a set of photomontages that juxtaposed suburban interiors with photographs from the war in Vietnam; it was an early example of the activist content with which she imbued her primarily Conceptual work. The Bowery in two inadequate descriptive systems (1974-75), a spiralbound photobook containing images of the decrepit street placed opposite words indicative of drunken homelessness, was a career-defining work. After it came works of a more explicitly feminist bent: the six-minute video Semiotics of the Kitchen (1975), which drew attention to women's prescribed domestic roles, and Vital Statistics of a Citizen, Simply Obtained (1977), a video documenting a woman's reduction to her basic physical measurements. Since the 1980s she has returned her focus to more general concepts of social justice: housing, pollution, labor, globalization.
Rosler is also a critic, and her writing has often intersected with her own creative interests. She has explored the issues surrounding the art market, truth in photography, censorship, the birth of video art, and feminism's place in the art world.
Carton 1, videotape 26A

New York, NY; 2006-05-12

Format

Mini-DV (26A), Digital .mov file
Carton 1, videotape 26B

New York, NY; 2008-02-15

Format

Mini-DV (26B), Digital .mov file
 

Moira Roth

Biography

Moira Roth (b. 1933), English-born and American-based critic, art historian and writer of fictional plays, poems, and narratives is an expert on Marcel Duchamp. She has become increasingly interested in cross-cultural connections and has traveled extensively in Southeast Asia. She has written about women and performance art in California and is currently teaching at Mills College in Oakland, California.
Carton 1, videotape 27A-27B

San Francisco, CA; 2005-03-04

Format

Mini-DV (27A, 27B), Digital .mov files (2)
 

Elizabeth Sackler

Biography

Elizabeth A. Sackler (b. 1948) is a public historian, arts activist, and American Indian advocate who has been for many years a key figure in arts education and philanthropy. She has served on the National Advisory Board of the National Museum of Women in the Arts as well as on the Board of the Brooklyn Museum and is the founder and president of the American Indian Ritual Object Reparation Foundation. She is currently President and CEO of the Arthur M. Sackler Foundation and the founding president of the Friends of the Freer and Sackler Galleries of the Smithsonian Institution in Washington, D.C. As President of the Elizabeth A. Sackler Foundation, Dr. Sackler is responsible for the gift of Judy Chicago's The Dinner Party to the Brooklyn Museum, where it is permanently installed in the Elizabeth A. Sackler Center for Feminist Art.
The recipient of numerous awards for her service and patronage, Dr. Sackler is published in scholarly journals, book and magazines and lectures on a variety of topics, from ethics in the art market to gender and art.
Carton 1, videotape 28A

Brooklyn, NY; 2007-02-06

Format

Mini-DV (28A), Digital .mov file
 

Miriam Schapiro

Carton 2, videotape 30A-30B

New York, NY; 1990-05-30

Format

U-matic (30A, 30B), Digital .mov files (2)

Paper on Container

Orange post-it stuck to face of container:
"Problems w/ Master"
Carton 2, videotape 30E

New York, NY; 1990-07-02

Format

Betacam (30E)

Paper in Container

Manufacturer Information and sticker labels
Carton 2, videotape 30 F

Los Angeles, CA; 1992-09-03

Format

Hi-8 (30F), Digital .mov file
 

Miriam Schapiro and Faith Wilding

Carton 2, videotape 30C-30D

New York, NY; 1990-05-30

Format

U-matic (30C, 30D), Digital .mov files (2)
 

Carolee Schneemann

Carton 2, videotape 29A

Copenhagen, Denmark; 1990

Format

U-matic (29A)
Carton 2, videotape 29B-29D

New York, NY; 1991-03-08

Format

U-matic (29B, 29C, 29D)
Carton 2, videotape 29E - 29F

San Francisco, CA; 1991-10-05

Format

U-matic (29E, 29F)
 

New York, NY; 2008-02-28

Format

Digital .mov file

Existence and Location of Originals note

The Carolee Schneemann interview starts at 00:04:04 and ends at 00:06:36 on the PS 1 digital file.
 

Lowery Stokes Sims

Biography

Lowery Stokes Sims (b. 1949) is Curator at the Museum of Arts and Design in New York. From 2000-2007 she was president and curator of the Studio Museum in Harlem and from 1972-1999 was on the educational and curatorial staff of the Modern Art department at the Metropolitan Museum of Art. While at the Metropolitan, Sims curated over forty exhibitions, many reflecting an interest in African American and women artists. She has written extensively on African, Latino/a, Native and Asian American artists and taught art history, curatorship, and art criticism at Bard College and Queens College, among others. She is a noted specialist in the field of Euro-American African Art, with particular emphasis on the work of Wilfredo Lam. In addition to authoring numerous significant catalog essays for the Metropolitan, she has been a frequent contributor to such periodicals as Artforum and Arts Magazine.
Carton 1, videotape 31A

New York, NY; 2006-05-12

Format

DVCAM (31A)
 

Sylvia Sleigh

 

New York, NY; 2008-02-28

Existence and Location of Originals note

The Sylvia Sleigh interview begins at 00:24:08 and ends at 00:27:54 in the WACK! PS1 digital file.

Format

Digital .mov file
 

Nancy Spero

 

New York, NY; 2008-02-18

Format

Digital .mov file
 

Marcia Tucker

Carton 1, videotape 32A

Santa Barbara, CA; 2006-07-26

Format

Mini-DV (32A), Digital .mov file
 

Camille Utterback

Biography

Camille Utterback (b. 1970) is an artist and programmer in the field of interactive installation. As she states on her Web site, "My work is an attempt to bridge the conceptual and the corporeal." Utterback's work has been exhibited at galleries, museums and festivals both nationally and internationally. In addition to her own artwork, Utterback heads her own company, Creative Nerve Inc., which develops long term and permanent installations for commercial and museum settings.
Utterback's awards include a 2009 MacArthur Foundation Fellowship, the Transmediale International Media Art Festival Award (2005), a Rockefeller Foundation New Media Fellowship (2002), and a commission from the Whitney Museum for the CODeDOC project on the Museum's Artport Web site (2002). Utterback holds a U.S. patent for a video tracking system she developed while working as a research fellow at New York University (2004). Her work has been featured in Art in America, Wired Magazine, The New York Times, ARTnews, and many other publications. It is also included in the 2003 publication Digital Art (2003) by Christiane Paul.
 

Unknown Location; 06-2008

Format

Digital .mov file
 

Cecilia Vicuña

 

New York, NY; 2008-05-01

Existence and Location of Originals note

The Cecilia Vicuña interview begins at 00:18:58 in the Judith Brodsky digital file.

Format

Digital .mov files (2)
 

WACK! P.S. 1 Opening

 

New York, NY; 2008-02-28

Format

Digital .mov file

Scope and Contents note

This digital file also includes interviews with Carolee Schneemann and Sylvia Sleigh as well as the DISBAND performance.
 

Faith Wilding

Carton 2, videotape 33A

New York, NY; 1990-05-30

Format

U-matic (33A), Digital .mov file
 

Martha Wilson

Carton 1, videotape 34A

New York, NY; 2006-05-12

Format

Mini-DV (34A), Digital .mov file
Carton 1, videotape 34B

New York, NY, 2008-02-15

Format

Mini-DV (34B), Digital .mov file
 

Transcripts 1990-2008

Language of Material: English
Physical Description: 53.0 Items

Scope and Contents note

This series includes transcripts for most videos in the collection except:
Judith Brodsky
Cornelia Butler 2008
Beatriz da Costa
DISBAND performance
Guerrilla Girls 2008
Harmony Hammond
Alanna Heiss
Yael Kanarek
Sheila Levrant de Bretteville 2008
Lucy Lippard
Rachel Rosenthal
Martha Rosler 2008
Carolee Schneeman
Sylvia Sleigh
Nancy Spero
Camille Utterback
Cecilia Vicuna
WACK! PS1 Opening
Martha Wilson 2008