Berlin-based Danish artist Olafur Eliasson complicates and simulates perception through his installations, sculptures, and photographs. He has created disorienting artificial illuminations and reproduced natural phenomena such as clouds, glaciers and the sun through large-scale, high-tech installations.
Spanish painter Chema Cobo discusses his early years of studying and creating art in Southern Spain. His career began in the mid-1970s, exhibiting at the Buades and Vandrés galleries, along with a generation of now-established artists. His work began showing outside of Spain in the ’80s. Cobo also talks about the ways that his Spanish background and identity have informed his work.
A historical interview originally recorded in 1994.
Alphabetically Sorted is a scrolling list of 644 keywords downloaded from CompuServe and spoken by “Victoria: High Quality,” a speech synthesis program.
This title is only available on e-(d)entity.
Paint drips and body fluids ooze in this "tell all" and "hide nothing" documentary about two San Francisco males.
Joan Mitchell (1925-1992) was a "second generation" abstract expressionist painter and printmaker. She was an essential member of the American Abstract expressionist movement, and one of the few female painters to gain critical and public acclaim in the era.
This video features California artists: drawer and painter Deanne Belinoff, sculptor and poet Sana Krusoe, wood relief carver and painter Palema Holmes, and New York-based video artist Shirley Clarke.
The Artists: Part 1 was produced in concert with the exhibition Four Solo Exhibitions at the Long Beach Museum of Art in 1988. The artists are introduced by LBMA’s senior curator Josine Ianco-Starrels. The video presents and contrasts the diverse styles, media, and personalities of these four women artists.
Elizabeth Murray (1940-2007) was an American painter, printmaker and draughtsman. She studied at the Art Institute of Chicago (1958–62) and at Mills College, Oakland, CA (1962–4). Elizabeth Murray’s paintings have been referred to as “dandyish abstraction.” Her work is distinctive in its use of color, shape, and surface to evoke human characteristics, personalities or humor.
Conceptual artist Hans Haacke’s two most notorious works took unsavory Manhattan real-estate dealing as their subject, which triggered the cancellation of his exhibition Real Time Social System at the Guggenheim Museum in 1971. With the conscientiousness of an investigative reporter, Haacke continues to scrutinize the rough edges between art and life.
Following the premise that water will always find its level, the term Communicating Vessels describes the way liquid moves between conjoined containers: gravity and pressure conspire to keep the surfaces aligned, pulling the shared liquid back and forth until the separate vessels come into balance. Like the relationship between a mother and a child or fluid passed from mouth to mouth, meaning, intention and understanding constantly flow back and forth between us.
Originally from Canada, Agnes Martin (1912-2004) moved to the U.S. in 1931. Martin lived in Taos, New Mexico from 1954 to 1957 and then moved to New York, where she established her name as an important minimalist painter. Her work differed conceptually from the minimalist movement in that it was anti-intellectual and intensely spiritual, and her grids represented meditative reflections on Taoism.
The secret history of hobo and railworker graffiti. Shot on freight trips across the western US over a period of 16 years, Who is Bozo Texino? chronicles the search for the source of a ubiquitous rail graffiti--a simple sketch of a character with an infinity-shaped hat and the scrawled moniker, "Bozo Texino"--a drawing seen on railcars for over 80 years.
Since the early 1970s, Rackstraw Downes has committed himself to painting from observation, on site, from start to finish. He has painted both urban and rural landscapes, as well as interior spaces, in New York, Texas, and Maine. Although he paints exactly what he sees, through his labor ordinary sites become transformed into extraordinary scenes.
Charles Simonds (b.1945) majored in art at the University of California at Berkeley. There he discovered an area of clay pits that had once provided the raw material for some of Manhattan's older buildings. He literally immersed himself in the subject, burying himself in a pool of wet clay to get a feel for the material. Simonds's sculptures are enchanting architectural minatures. Most are landforms with small chambers and towers; some are abstract organic shapes. Carefully built brick by tiny brick, Simonds's sculptures engage the child in everyone.
This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist. The work produced in these two spaces forms the basis of the New Museum of Contemporary Art’s 1981 exhibition Alternatives in Retrospect: An Overview 1969-1975. Curator Jacki Apple, who produced the video, assembled documentation from the galleries and reconstructed artworks for the exhibition.
The artwork on trial is Richard Serra's public sculpture, Tilted Arc, commissioned and installed by the U.S. government in 1981. Four years later, a public hearing was held to consider the removal of the sculpture from its site in Federal Plaza in New York City. In documenting the climatic General Services Administration hearing, The Trial Of Tilted Arc is a thought-provoking indictment of the state of the arts.
California-based painterJoan Brown (1938-1990) attended the California School of Fine Arts (now the San Francisco Art Institute). Brown has long been recognized as one of the most important artists to emerge from the creative milieu of the San Francisco Bay Area of the late 1950s. She created a body of work distinguished by its breadth and personal vision. Brown’s style incorporated abstract expressionism and figurative painting. One of California's pre-eminent figurative artists, she died in at the age of 52, in India.
This video reveals John Baldessari's thoughts and intentions for his work over the course of his career, providing clues to the understanding of his paintings, books, and photos. What emerges is a portrait of a rebellious artist who attempts to undermine the catagories and dogmas of the art world--with the full realization that in the long run, some catagory or other will be named to label his work.
Through her performances and videotapes, Eleanor Antin (b. 1935) creates characters (King, Ballerina, Black Movie Star, and Nurse) while spinning tales that blur fiction and history. She avoids good taste and flaunts concealed intentions, forcing one to stretch all possible associations to the breaking point.
“I believe interesting art has always been conceptual... that it appeals to the mind. That does not mean that it cannot seduce and attract through the eye,” Antin says in this interview with Nancy Bowen.
Hal Foster is Professor of Modern Art at Princeton University, and has written and edited numerous influential books on postmodernism, art, and culture. His books include Recodings: Art, Spectacle, Cultural Politics (1985); The Return of the Real: The Avant-Garde at the End of the Century (1996); and, as editor, The Anti-Aesthetic: Essays on Postmodern Culture (1983); Vision and Visuality (1988); and Richard Serra (2000).
Interview by David Raskin.
A historical interview originally recorded in 2001 and re-edited in 2008.
Following the premise that water will always find its level, the term Communicating Vessels describes the way liquid moves between conjoined containers: gravity and pressure conspire to keep the surfaces aligned, pulling the shared liquid back and forth until the separate vessels come into balance. Like the relationship between a mother and a child or fluid passed from mouth to mouth, meaning, intention and understanding constantly flow back and forth between us.
J. Morgan Puett is an internationally renowned artist living on a 95-acre compound in the deciduous forests of northeastern Pennsylvania. Touching on ideas of creative domestication, radical pedagogy, and a critical engagement with one’s environment, Ms. Puett describes her unique home, which she calls Mildred’s Lane.
“It (J. Morgan Puett: A Practice of Be(e)ing) tells a unique story of an important artist that truly lives her art. It’s an exclusive biography of a woman who is widely known to the art world but, as yet, undiscovered by our culture.”
—Roderick Angle
Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production. Anderson plays both parts, pitting the chain-smoking, productive male half against the laid-back female half. In the end, one highly successful clone begets another clone, a situation spoofing the rise and fall of the '80s art star.
Steve Reinke has long been lauded for his irreverent, philosophical, and often acerbic works, which typically adopt the form of personal essays to wryly bend and reread wide-ranging topics, from pop culture, to sex, to theories of visual perception and beyond. Reinke’s video, included in the 2014 Biennial, Rib Gets in the Way, is narrated in the first person by Reinke, and addresses mortality, the body, the archive, and the embodiment of a life’s work.
Sculptor Jackie Winsor creates large-scale constructions in wood, fiber, twine, and wire. Recent works are subjected to explosions and fire. Winsor lives and works in New York City. Interview by Kay Miller and Albert Alhadeff.
Arlene Raven (1944-2006) was a feminist historian, theoretician, poet, and art historian who has published numerous books on contemporary art and written criticism for The Village Voice and a variety of other newspapers, art magazines, exhibition catalogues, and scholarly journals since 1969. She is a pioneer in progressive education and was an architect of the educational programs of the Feminist Studio Workshop, an independent school. She is also the founder of the Women’s Caucus for Art, the Los Angeles Woman’s Building, and Chrysalis magazine.
