Interview

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.

Freed intercuts still color imagery of Roy Lichtenstein’s paintings with a close quarters interview conducted in Southampton, N.Y in Summer 1972.  Lichtenstein discusses the creation of his work, points of inspiration and his recurring aesthetic choices. Freed interrogates Lichtenstein’s overt references to the work of other artists in his painting, questioning his intentional evocation of cliche as he tried to define the genesis of this particular approach.

A philosopher and intermedia artist, Adrian Piper focuses on xenophobia, racism, and racial stereotyping

“As a black woman who can 'pass' and a Professor of Philosophy who leads a double life as an avant-garde artist, Piper has understandably focused on self-analysis and social boundaries. Over the years her work in performance, texts, newspaper, unannounced street events, videos, and photographs has developed an increasingly politicized and universalized image of what the self can mean.”

Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement-based, interdisciplinary artist. She worked for more than 40 years as Eiko & Koma, but since 2014 has been working on her own projects. Her works often investigate themes of death and dying, history, and the persistence of collective memory. Eiko has also broadened her collaborative practice to create interdisciplinary work with artists from different backgrounds and disciplines, both alive and deceased.

As two heavily made-up women take turns directing each other and submitting to each other's kisses and caresses, it becomes increasingly obvious that the camera is their main point of focus. Read against feminist film theory of the "male gaze", the action becomes a highly charged statement of the sexual politics of viewing and role-playing; and, as such, is a crucial text in the development of early feminist video.

This tape profiles mother and daughter artists Betye and Alison Saar. Both artists work with sculpture and installation, frequently using found objects, wood, and sheet metal to evoke sacred African-American rituals and images. Similar Differences was produced in concert with their first collaborative exhibition in a decade, Secrets, Dialogues, Revelations, which opened at UCLA’s Wight Gallery in January 1990 and toured nationally in 1992.

Part of the Long Beach Museum of Art’s Collectors of the Seventies series, this tape enters the home and art collection of Dorothy and Herbert Vogel. The Vogels live in a nondescript high-rise in the Yorkville section of New York City’s East Side. Their three and a half rooms serve as their museum for Larry Poons, Robert Morris, Philip Pearlstein, Robert Mangold, Sylvia Mangold, Dennis Oppenheim, Richard Nonas, John Tuttle, Sol Lewitt, Dan Graham, Richard Nonas, John Chamberlain, Christo, Donald Judd, Carl Andre, and Robert Ryman.

Interview by Douglas Davis.

John Arthur Clark (1943-1989) was born in Yorkshire, England. He attended Hull College of Art, receiving a National Diploma in Art and Design (N.D.D.) in painting. From 1966 to 1968 he attended Indiana University, receving an M.F.A. in painting. From 1968 to 1978 he was a lecturer in Fine Art and Art History at Hull College of Art and Newcastle Polytechnic. He emigrated to Canada in 1978 and became coordinator of painting and drawing at the Nova Scotia College of Art and Design.

American figurative artist Alex Katz (b.1927) has produced a remarkable and impressive body of work but is best known for his large-scale, flat, yet realistic portraits of friends and family notable for their relaxed attitudes and uncomplicated bearing. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces.Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called "a new and distinctive type

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco. I could not understand the writing, which can seem difficult and unwieldy to a reader unaccustomed to language poetry, and understood less the more I tried. After a certain point in the reading I stopped trying to figure it out and I let the words seep in. My reward was an effortless understanding of how her poetry works.

Marcia Tucker (1940-2006) was a curator, writer and art historian, known for founding the New Museum of Contemporary Art after her dismissal from her curatorial post at the Whitney Museum of American Art, due to creative disagreements.  Tucker served as the visionary director of the New Museum from 1977 to 1999, during which time she organized major exhibitions like The Time of Our Lives (1999), A Labor of Love (1996), and Bad Girls (1994), and edited the series Documentary Sources in Contemporary Art.

Northern Irish artist Willie Doherty (b. 1959) works in photography and video installation. Since the late 1980s, his work has responded to the urban setting and rural outskirts of his hometown of Derry, Northern Ireland. Doherty’s artworks tend to begin as responses to specific terrains (most often mysterious isolated settings; places, we suspect, with a troubled past) and evolve as complex reflections on how we look at such locations — or on what stories might be told about their hidden histories.

In this interview with Carl Bogner, Sky Hopinka (b. 1984) discusses his process of becoming a video artist and his personal approach to documenting Indigenous landscapes and cultures. Hopinka is a member of the Ho-Chunk Nation of Wisconsin, and he is also an educator in Chinuk Wawa, a language indigenous to the Lower Columbia River Basin. Hopinka’s practice involves experiments within the cinematic language of documentary.