German curator Ute Eskildsen (b. 1947) was born in Itzehoe (Schleswig-Holstein). After studying photography and working as an assistant in a fashion and portrait studio, she went on to study photography and the history of photography at the Folkwang School of Portraiture in Essen. A fellow in Visual Communication at the Essen University, she served as assistant to Otto Steinert in the field of photo-history exhibitions.

Consisting of 13 brief spots, Experience: Perception, Interpretation, Illusion features works by artists included in a Pasadena Armory exhibition. Curator Noel Korten explains that the artists in the show have all reached mid-career and are now less concerned with expanding the boundaries of contemporary art than on reflecting back on culture through their own perspectives. Artists include Karen Carsen, John Outterbridge, Michael C.

In collaboration with art historian Dore Bowen, a video recording of her phone interview with Yoko Ono during which a discussion of John Cage and chance operations intervene. Shot in 2002, this document was released in 2007.

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

"In the late 1980s, as violence continues in the north of Ireland, censorship is increasingly being enforced on British and Irish television. In response, broadcasters have entered into a blackout strike, occupying several stations and transmitting a programme bringing censored voices back onto the airwaves."

Southern California visual artist Jud Fine seeks to promote democracy in art—the idea that anyone can be an artist. This video presents the artist and his work in a style that reflects the multi-layered dimensions of his artwork.

Karen Finley is well known for her confrontational monologues, often performed in clubs and bars, which exploit the stereotype of the hysterical woman to address the sexual and political taboos associated with femininity. Using a variety of unusual props, such as Jello, chocolate syrup, stuffed animals, and glitter, Finley provokes her audience into thinking about a range of repressions and contradictions in contemporary society. She gained mainstream attention when Congress questioned her NEA funding in the early 1990s.

Interview by Tom Jaremba.

Reverend Howard Finster was a preacher-turned-folk artist. He created Paradise Gardens Park & Museum, a product of all his murals, drawings, sculptures, and mosaics—and Summerville, Georgia’s largest tourist attraction. He began Paradise Gardens around 1961; in 1976 he responded to a vision to paint sacred art. As this video begins, Finster is painting with his hands in his studio. Finster then embarks on his first visit to New York City and comments upon his exhibition at Phyllis Kind Gallery. He spins rhythmic narratives that turn into miniature sermons.

Eric Fischl's early works were large-scale abstract paintings. While teaching in Nova Scotia, Fischl began to shift from abstraction to smaller, image-oriented paintings, beginning with narrative works that investigated a fisherman's family. By the time Fischl left Halifax the narrative element was gone, but the subject of family melodrama remained. In the '80s Fischl's large figurative paintings, aggressive in their confrontation with the viewer, began to receive attention.

Louise Fishman (b.1939) is an abstract painter who uses knives rather than brushes to apply her undiluted colors. Her complex compositions place architectural shapes within other shapes.

“Almost everything is covered in my paintings. I go through numerous changes in them. I used to think that I was losing a lot of images. More recently I discovered that I was travelling through a process where an image would come back not exactly as it had been before. My unconscious memory is alive,” she says in this interview with Kate Horsfield.

Featuring Vito Acconci, Richard Serra, Willoughby Sharp, Keith Sonnier, and William Wegman

Audrey Flack uses an airbrush to produce large photorealistic paintings and works from slides for her precision. She selects subjects with great personal significance that also represent fragments of contemporary American life. The three paintings discussed in detail in this tape are from the Vanitas series.

“Every still-life painter has her bag of tricks. You have your prop closet and just pull them out,” Flack says in this interview with Kate Horsfield. “One of the beauties of being an artist is that no one can tell me what to paint.”

Joan Fontcuberta was born in Barcelona in 1955. His work has been widely exhibited internationally. Fontcuberta uses photography as a conceptual medium, often testing the limits of the image’s credibility. Fauna (1987) and Sputnik (1997) take advantage of photography’s documentary quality to pose elaborate hoaxes. In recent work, Fontcuberta explores and criticizes the image and its proliferating sources with works such as Orogensis/Landscapes Without Memory (2002) and Googlegrams (2005).

The later 1950s and early 1960s saw the development and proliferation of radically new forms of dance driven by a desire to understand the essentiality of movement divorced from traditional, balletic and modern syntaxes. At the forefront of this new wave of performance was Simone Forti, an artist with a hand in both improvisational techniques and choreographed task-maneuvers. This interview details her exploration of each – with a particular focus on her earliest investigations into movement, owing to time spent under the study of Anna Halprin.

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.

Richard Ross discusses his interest in photographing museums—their display of objects, frames, the entire context—in order to question our definitions of the museum. The video also covers his ongoing series of triptychs made using a child’s plastic camera, which Ross turns into “art historical soap operas” by playing off the interactions of the groupings.

Only available on the Fellows of Contemporary Art compilation.

In the 1960s and '70s, Hollis Frampton (1936-1984) emerged as one of the most important experimental filmmakers, creating structuralist works such as Zorns Lemma (1970), Poetic Justice (1972), and Nostalgia (1973).

The Videofreex conducted this interview with Fred Hampton, the Deputy Chairman of the Illinois chapter of the Black Panther Party, in October 1969, just over a month before he was killed by the Chicago police.

Interviewed by Colin Westerbeck.

A historical interview originally recorded in 1987.

Buckminster Fuller (1895-1983) was both a pioneer architect of the modern era and a global theorist. Fuller developed a system of geometry that he called “Energetic-Synergetic geometry,” the most famous example of which is the geodesic dome. His many designs for automobiles and living spaces were applications of a wider theory.

Coco Fusco is a Cuban-American artist and author who investigates race, gender, politics, and identity through installations, performances, video work, and writing. In her second On Art and Artists interview, Fusco discusses her recent works with Romi Crawford — an art historian at the School of the Art Institute of Chicago — and describes how she has evolved as a storyteller over her career.

Coco Fusco is a New York-based interdisciplinary artist and writer. She has performed, lectured, exhibited, and curated around the world since 1988. She is the author of English is Broken Here (The New Press,1995), The Bodies That Were Not Ours and Other Writings (Routledge/inIVA, 2001) and the editor of Corpus Delecti: Performance Art of the Americas (Routledge, 1999) and Only Skin Deep: Changing Visions of the American Self (Abrams, 2003).

Interview with David Klemm, professor of modern religious thought.

In collaboration with fellow camera operator Alan Gerberg, Freed visits George Segal at his North Brunswick, N.J studio in October 1972. While preparing a model Segal discusses Hebrew mystic spirituality in relation to abstract painting and defends his position as a long term figurative artist. He suggests that his work is an ongoing search for spirituality and while describing his influences, Segal muses on the use of form in art to propose that a deep, intimate feeling should preside over aesthetic judgements in the creation of art works.

In this 2002 interview, filmmaker Joe Gibbons (b.1953) discusses his early work and the path that led him to an interest in both narrative and experimental film. Gibbons recalls how exposure to P. Adams Sitney’s Visionary Film: The American Avant-Garde while at Antioch College would compel him to begin making his own structural films. Describing his appreciation for the directness and immediacy of experimental filmmaking, Gibbons discusses a subject’s relationship with the camera as one characterized by intense intimacy.

Allen Ginsberg (1926-1997) was a leading American poet who gained notoriety in the 1950s and ’60s through his association with the Beat Generation and the San Francisco Renaissance.  One of the most controversial poets of his time, his book Howl and Other Poems faced an obscenity trial in 1957 and became one of the most widely read poems of the 20th Century. In the '60s and '70s, Ginsberg studied under gurus and Zen masters.