From: Jodie Mack (email suppressed)
Date: Mon Jan 22 2007 - 09:03:26 PST
Hello Frameworkers,
Apologies for missing the weekly posting, but please take note of the
exciting programs VDB and MOMA present (together) starting this Thursday and
running through Wednesday, 1/31!
MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM
THE ARCHIVE OF THE VIDEO DATA BANK
January 25–31, 2007
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art,
and Artist Interviews, an exhibition of video art and interviews with female
visual and moving-image artists drawn from the Chicago-based Video Data Bank
(VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta
Titus Theaters, on the occasion of the publication of Feedback, The Video
Data Bank Catalog of Video Art and Artist Interviews and the presentation of
MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven
programs of short and longer-form works are included, including interviews
with artists such as Lee Krasner and Louise Bourgeois, as well as with
critics, academics, and other commentators. The exhibition is organized by
Sally Berger, Assistant Curator, Department of Film, The Museum of Modern
Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists
collection, Video Data Bank.
The Video Data Bank was established in 1976 at the School of The Art
Institute of Chicago as a collection of student productions and interviews
with visiting artists. During the same period in the mid-1970s, VDB
codirectors Lyn Blumenthal and Kate Horsfield began conducting their own
interviews with women artists who they felt were underrepresented critically
in the art world. These interviews became part of the VDB's archive and are
a significant resource on women’s art history today. In 1980 VDB began
distributing video art in response to the growth of the media art field.
Video artists such as Laurie Anderson, Sadie Benning, Joan Jonas, Miranda
July, and Yvonne Rainer, whose early work was supported and distributed by
VDB, are represented in this series.
Both collections have grown over the past 30 years and they are annotated in
the organization’s newly published catalog. For this presentation,
interviews and videotapes were chosen to reflect women’s art making and the
evolution of feminist theory since the mid-1970s. Interviews are by Kate
Horsfield and Lyn Blumenthal, and the videos are produced in the U.S. unless
otherwise noted.
SCREENING SCHEDULE
FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS
Thursday, January 25
6:00 Program 1
Excerpted interviews by women artists, curators, and writers show issues
that have influenced the development of feminist thought from the 1960s to
the present. Interviewees include Marcia Tucker, Joan Mitchell, and Lee
Krasner. Program includes the New York DVD premiere of Trio A by Yvonne
Rainer. Program 70 min.
Introduced with commentary by Kate Horsfield
Friday, January 26
6:15 Program 2
Louise Bourgeois: An Interview. 1975/re-edited 2002.
Bourgeois’s remarkable career spans the modern and postmodern eras. Her
early sculptures are pioneering examples of American surrealism, and her
later explorations of female identity have profoundly shaped contemporary
art. 31 min.
Alice Neel: An Interview. 1975/re-edited 2003.
Known for her portrait paintings of well-known persons and eccentric New
York street types, Neel worked as a figurative painter throughout the
decades of WPA realism, postwar Abstract Expressionism, Pop, and Minimalism.
30 min.
7:30 Program 3
Lee Krasner: An Interview. 1980/re-edited 2004.
Krasner, one of a few women who played a major role in the transition from
modernist painting in the 1930s to Abstract Expressionism, launched the New
York School after WWII with her husband, painter Jackson Pollock. 42 min.
Elizabeth Murray: An Interview. 1982/re-edited 2003.
Murray’s groundbreaking three-dimensional paintings influenced many. She
discusses her interest in taking the “beautiful potential of abstraction and
making it into something very personal.” 48 min.
Saturday, January 27
6:00 Program 4
Judy Chicago: An Interview. 1974/re-edited 2004. Excerpt.
Feminist artist, author, and intellectual Chicago created the monumental
installation The Dinner Party (1974–79). 5 min.
Miriam Schapiro: An Interview. 1976/re-edited 2006. Excerpt.
A driving force behind the feminist art movement. 5 min.
Arlene Raven: An Interview. 1979.
Feminist theoretician and art historian Raven founded the Los Angeles
Women’s House and Chrysalis magazine. 40 min.
Nun and Deviant. 1976. Nancy Angelo, Candace Compton.
Classic feminist performance video explores paradoxical, restrictive women’s
roles. 20 min.
Learn Where the Meat Comes From. 1976. Suzanne Lacy.
A Julia Child–cooking-lesson parody. 14 min. Program 84 min.
8:00 Program 5
Laura Mulvey: An Interview. 1992. Interviewed by Laurie Milner.
Mulvey’s “Visual Pleasure and Narrative Cinema” (1975) became an extremely
influential essay in film theory, discussing spectatorship through
psychoanalytic methodology. 30 min.
Vertical Roll. 1972. Joan Jonas.
The electronic roll of an unstable television signal represents the
fractured identity of a female figure. 20 min.
Technology/Transformation: Wonder Woman. 1978. Dara Birnbaum.
The transformation of the television product unmasked. 7 min.
The Amateurist. 1998. Miranda July.
A woman on the brink of technologically driven madness. 14 min.
Program 71 min.
Sunday, January 28
2:00 Program 6
Lucy Lippard 1979: An Interview. 1979/re-edited 2003.
Curator and art writer Lippard set new standards of art exhibition and
writing and created Heresies: A Feminist Publication on Art and Politics. 63
min.
Guerrilla Girls: An Interview. 1989. Interview by Carole Tormollan.
This anonymous activist group formed in the 1970s in order to combat racism
and sexism using posters, magazine ads, exhibitions, and panels intended to
educate and agitate the art world. 35 min.
4:00 Program 7
Martha Rosler: An Interview. 1984/re-edited 2005. Rosler created seminal
works in photography, performance, video, criticism, and theory. Committed
to art that engages a public beyond the art world, Rosler’s work looks at
the impact of socioeconomic realities and political ideologies in everyday
life. 45 min.
Vital Statistics of a Citizen, Simply Obtained. 1977. Martha Rosler. Taking
aim at social standards enforced on women’s bodies, Rosler critiques the
politics of objectification and colonization of women. 39 min.
Presented by Rosler
Monday, January 29
6:00 Program 8
Rainer Variations. 2002. Charlie Atlas.
A collection of interviews, rehearsals, films, and performance fragments of
dancer and filmmaker Yvonne Rainer, with reenactments by Richard Move and
Kathleen Chalfont. Rainer, trained as a modern dancer and choreographer in
New York, also directs films that interweave reality and fiction, the
personal and the political, and concrete and abstract themes. 42 min.
Trio A. 1978. Yvonne Rainer. 11 min. Silent.
Trio Film. 1968. Yvonne Rainer. 13 min. Silent.
Line. 1968. Yvonne Rainer. 10 min. Silent.
Program 76 min.
8:00 Program 9
Ana Mendieta: Fuego de Terra. 1987. Kate Horsfield, Nereida Garcia-Ferraz,
Branda Miller.
Cuban-born performance artist and sculptor Mendieta worked with natural
materials and an emotionally charged vision. 49 min.
Coco Fusco: An Interview. 2004. Excerpt.
Art writer, theoretician, and performance artist Fusco discusses her work,
including The Couple in the Cage, a series of performances by Fusco and
Guillermo Gomez-Pena, who appeared as “undiscovered Amerindians” dressed in
primitive costumes and locked in a cage. 35 min.
Wednesday, January 31
6:30 Program 10
Female Sensibility. 1973. Lynda Benglis. Two women direct each other in a
comment on the male gaze and the sexual politics of viewing and
role-playing. 13 min.
Art Herstory. 1974. Hermine Freed.
Freed restages art history, putting herself in the model’s role. 22 min.
What You Mean We. 1986. Laurie Anderson.
Anderson creates a male clone in this spoof of the rise and fall of the
1980s art star. 20 min.
A Perfect Pair. 1987. Valie Export.
Export demonstrates how the body of the consumer is co-opted. 14 min.
Program 70 min.
8:00 Program 11
It Wasn’t Love. 1992. Sadie Benning.
A “bad girl” illustrated through Hollywood stereotypes. 20 min.
German Song. 1995. Sadie Benning.
This lyrical short follows a disengaged youth. 5 min.
Shulie. 1997. Elisabeth Subrin.
The resurrection of a 1967 documentary portrait of a Chicago art student who
became a notable feminist. 37 min.
El Diablo en la piel (Devil in the Flesh). 1998. Mexico. Ximena Cuevas.
Fabricated emotions, everyday melodramas. 5 min.
Screen: Saddle Sores: A Blue Western. 1999. Vanalyne Green.
Green’s unlucky encounter with a “Marlboro Man” turns cherished stereotypes
about romance upside down. 20 min.
Program 86 min.
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