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
2010
Stanford University Libraries
557 Escondido Mall
Stanford, California, 94305-6064
Repository email: speccollref@stanford.edu
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-
[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.
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.
Purchased September, 2008; Accession 2008-242.
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
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).
Janine Antoni
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.
Judith Baca
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
Judith Baca and Suzanne Lacy
Judith Brodsky
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.
Cornelia (Connie) Butler
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.
Judy Chicago
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
Beatriz da Costa
DISBAND performance
Mary Beth Edelson
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.
Howard Fox
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.
Susan Grode
Guerrilla Girls
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
Guerrilla Girls-Kathe Kollwitz
Carton 1, videotape 11A-copy
Guerrilla Girls-Violette Leduc
Harmony Hammond
Alanna Heiss
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.
Lynn Hershman Leeson
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.
Miranda July
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
Yael Kanarek
Carton 1, videotape 14A
Mike Kelley
Joyce Kozloff
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.
Robert Kushner
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."
Suzanne Lacy
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
Sheila Levrant de Bretteville
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
Lucy Lippard
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
Howardena Pindell
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.
Yvonne Rainer
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
Maura Reilly
B. Ruby Rich
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
Faith Ringgold
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.
Rachel Rosenthal
Carton 1, videotape 25A, Carton 2, videotape 25B, 25C
Martha Rosler
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.
Moira Roth
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
Elizabeth Sackler
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.
Miriam Schapiro
Carton 2, videotape 30A-30B
Carton 2, videotape 30E
Miriam Schapiro and Faith Wilding
Carton 2, videotape 30C-30D
Carolee Schneemann
Lowery Stokes Sims
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.
Sylvia Sleigh
Nancy Spero
Marcia Tucker
Camille Utterback
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.
Cecilia Vicuña
WACK! P.S. 1 Opening
Faith Wilding
Martha Wilson
Transcripts 1990-2008
Language of Material:
English
Physical Description:
53.0 Items
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