Oral History Interview with Dara Birnbaum, 2017 May 30-31

Total Page:16

File Type:pdf, Size:1020Kb

Oral History Interview with Dara Birnbaum, 2017 May 30-31 Oral history interview with Dara Birnbaum, 2017 May 30-31 Funded by the Pollock-Krasner Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Dara Birnbaum on May 30 and 31, 2017. The interview took place at Birnbaum's studio in New York, NY, and was conducted by Linda Yablonsky for the Archives of American Art, Smithsonian Institution. This transcript has been reviewed by Linda Yablonsky and Dara Birnbaum, and lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview LINDA YABLONSKY: This is Linda Yablonsky interviewing the artist Dara Birnbaum in her home studio in New York City—it is May 30, 2017—for the Archives of American Art, Smithsonian Institution. Hi, Dara. DARA BIRNBAUM: Hi. LINDA YABLONSKY: Thank you for doing this. I’ve always been interested in your work, and this is quite a great opportunity for me. You were born in 1946, so that makes you 71 now? DARA BIRNBAUM: I’m 70. LINDA YABLONSKY: Seventy? DARA BIRNBAUM: Yeah. [Laughs.] LINDA YABLONSKY: Okay, so we are more or less the same age. So we have something of a shared history, but you grew up in New York City, is that right? DARA BIRNBAUM: Yes, I did. LINDA YABLONSKY: In what kind of family? I mean, did you have siblings? DARA BIRNBAUM: I have one sibling. I have a brother. LINDA YABLONSKY: Older or younger? DARA BIRNBAUM: He is younger, but he acts older. [They laugh.] LINDA YABLONSKY: What does that mean? [They laugh.] DARA BIRNBAUM: That’s what I always say about him. He is six and a half years younger, and he acts as if he’s the older one. LINDA YABLONSKY: Because he bossed you around when you were kids? DARA BIRNBAUM: No, because he is very controlled, in a way, and acts the adult all the time. [They laugh.] LINDA YABLONSKY: What about your parents? DARA BIRNBAUM: Well, my father—the heritage is that his parents came from Austria. Either Vienna, he always said, directly, or that vicinity, and they came over rather young. LINDA YABLONSKY: So before the war? DARA BIRNBAUM: Oh, yeah, before the war. And my father was one of [00:02:00] the first to be born here in New York, in the Bronx. The family seemed to be dirt poor, and I think that had a great effect on my father. And my mother’s family seemingly came from Russia, around Leningrad, and she was born here in New Jersey. They seemed to do a little bit better than the kind of utter poverty of my father and— LINDA YABLONSKY: What did your father do for work? DARA BIRNBAUM: My father was an architect. LINDA YABLONSKY: Oh, really? DARA BIRNBAUM: Yes. LINDA YABLONSKY: And you— DARA BIRNBAUM: And I— LINDA YABLONSKY: —began to follow in his footsteps. DARA BIRNBAUM: I did. Well, what I did is, I was so young when I graduated high school—relatively young, let’s say 16, and he— LINDA YABLONSKY: Is that because you’re super smart? DARA BIRNBAUM: I wanted to get through as fast as I could [they laugh], so I skipped two different grades along the way. My father was kind of against it, because he thought I won’t mature in a certain way and be ready, you know, to go away. And we were a very protective family. LINDA YABLONSKY: Of each other you mean? DARA BIRNBAUM: They were of me, let’s say. You know, growing up rather strict rather than loose. Like, be good; don’t kiss boys [laughs]. LINDA YABLONSKY: What did you do for fun? You grew up in New York City. The world is at your feet. DARA BIRNBAUM: We grew up in Queens. I went to the same high school as the Ramones and— LINDA YABLONSKY: But earlier? DARA BIRNBAUM: Earlier, and [00:04:00] Garfunkel, Simon and Garfunkel. Maybe—God knows when. And for fun we—I don’t know, I think I was a little bit of a tomboy maybe. LINDA YABLONSKY: Did you watch TV? DARA BIRNBAUM: I did watch TV. I did. I never thought I would be doing work about TV, but I did watch TV. LINDA YABLONSKY: What TV? TV was mostly live when we were children, so different than now. DARA BIRNBAUM: Yeah. Not all of it. LINDA YABLONSKY: Not all of it, but mostly, in the beginning. I mean, people called it the Golden Age of Television, although now they call this the Golden Age of Television, but whatever. [Laughs.] DARA BIRNBAUM: Yes. LINDA YABLONSKY: We wouldn’t have gotten to now without then. So did you have favorite shows? DARA BIRNBAUM: Well, while you’re talking, I’m remembering that—I did, I did. When I was about four, I did like Howdy Doody​. LINDA YABLONSKY: Yes. DARA BIRNBAUM: And actually, when you’re talking about live television, there were only a few shows like that, and in the neighborhood—let’s say that we were around five, seven years old—we would watch and realize it was almost like a window onto something, because one time we had a neighbor go onto the show. LINDA YABLONSKY: Onto Howdy Doody? DARA BIRNBAUM: Onto Howdy Doody, in the Peanut Gallery, and we were ecstatic and jealous, our little group, you know, and asked our parents if we could get on, and actually I made it onto the Peanut Gallery. LINDA YABLONSKY: You did? DARA BIRNBAUM: Yeah. [They laugh.] LINDA YABLONSKY: I’m so jealous! [Laughs.] I used to watch that show religiously. DARA BIRNBAUM: So I think that was a real breakthrough, you know, of watching—and actually now I’m thinking, I loved Winky Dink, [00:06:00] I think. LINDA YABLONSKY: Oh, yeah, Winky Dink. You had to draw on the screen. DARA BIRNBAUM: Is that the one where you draw? I loved that. LINDA YABLONSKY: Yeah. [Laughs.] DARA BIRNBAUM: I really loved that. LINDA YABLONSKY: That was brilliant, actually. DARA BIRNBAUM: And then my father loved Martin—who would be Dean Martin, not Steve Martin—who drank a lot, Dean Martin. LINDA YABLONSKY: Oh. DARA BIRNBAUM: And I didn’t like that he liked that. That, I didn’t like, but he would watch it. And I loved watching—with my parents—they’d let me stay up to watch Alfred Hitchcock. And I’d drive them nuts—my father nuts—because I’d always say, "What’s going to happen? What’s going to happen? What’s going to happen?" And so he taught me—like he said, "Relax, it’s going to be solved. There’s only 10 minutes to go, so they’re going to resolve it." So I remember that. I did like cowboy programs a lot, like— LINDA YABLONSKY: The Lone Ranger? DARA BIRNBAUM: —The Long Ranger and— LINDA YABLONSKY: Long John Silver, Lone Ranger. DARA BIRNBAUM: Thank you. [They laugh.] Lone Ranger. I feel like a lone ranger. And Rogers—Dale Evans and — LINDA YABLONSKY: Oh, yeah, Roy Rogers. DARA BIRNBAUM: —Roy Rogers. And then, to be very open and honest, my parents had trouble over the years. There was a lot of fighting in our home. LINDA YABLONSKY: Oh. DARA BIRNBAUM: And so if you want me to be openly honest, around the age of four was a kind of pivotal spot of trouble, I guess. I was too young to really know, but what I do know is my mother asked, "If you wanted another father, who would he be?" LINDA YABLONSKY: Wow. DARA BIRNBAUM: "Who would he be?" and I said, "Roy Rogers, but I prefer he not bring Dale." [They laugh.] LINDA YABLONSKY: Did they [00:08:00] divorce? DARA BIRNBAUM: They went through divorce about six times and then got back together again. LINDA YABLONSKY: But you did watch TV as a family, so it— DARA BIRNBAUM: Yeah. LINDA YABLONSKY: —was somewhat a shared experience. Not the kids' shows, I’d imagine. DARA BIRNBAUM: No, I think that was—but like the babysitter, you know. LINDA YABLONSKY: Yes. DARA BIRNBAUM: And it was very effective. LINDA YABLONSKY: Effective? DARA BIRNBAUM: In the way of Winky Dink or something; I thought that was a great show, is what you are saying. LINDA YABLONSKY: Mm-hmm. [Affirmative.] DARA BIRNBAUM: It was something to learn from and to interact with early on. LINDA YABLONSKY: It was kind of an Etch-a-Sketch thing. DARA BIRNBAUM: Yes. LINDA YABLONSKY: On some kind of piece of celluloid or something. Plastic that attaches. You could draw and erase. DARA BIRNBAUM: Yes, and I remember one time they had you draw, like, the steering wheel of a car, and they’d show you how you’re going down the street. You’d have the steering wheel. It was a very good show. LINDA YABLONSKY: Did you go to museums, or did you have any art education when you were a kid? DARA BIRNBAUM: Yeah. I loved going to—basically, I would say the Met. I grew up in Forest Hills and Rego Park, and a little in Manhattan, and one of my favorite things would be to try to finally get to the public library. That was a big thing for me. And the other thing was— LINDA YABLONSKY: —the Manhattan public library? DARA BIRNBAUM: Yeah, the Manhattan one.
Recommended publications
  • Dlkj;Fdslk ;Lkfdj
    MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— 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.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • William Anastasi
    WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum
    [Show full text]
  • Light Energy
    CURRICULUM GUIDE FOR Light Energy (This kit also includes the Catch it! CSDE Embedded Task) Additional Resources for this unit can be found on Wallingford’s W Drive: W:\SCIENCE - ELEMENTARY\Light Energy gr 5 Wallingford Public Schools 5th Grade Science The initial draft of this material was developed by the CT Center for Science Inquiry Teaching and Learning, is based upon work supported by the Connecticut State Department of Higher Education through the No Child Left Behind Act of 2001, Title II, Part A, Subpart 3, Improving Teacher Quality State Grant Funds; CFDA#84.367B This unit was developed based on the scope and sequence approved by Wallingford Board of Education June 13, 2007. Table of Contents Section 1 UNIT OBJECTIVES Stage one of Understanding by Design identifies the desired results of the unit including the related state science content standards and expected performances, enduring understandings, essential questions, knowledge and skills. What should students understand, know, and be able to do? The knowledge and skills in this section have been extracted from Wallingford’s K-5 Science Scope and Sequence. Page 3 Section 2 ASSESSMENTS Stage two of Understanding by Design identifies the acceptable evidence that students have acquired the understandings, knowledge, and skills identified in stage one. How will we know if students have achieved the desired results and met the content standards? How will we know that students really understand? Page 7 Section 3 LESSON IDEAS What will need to be taught and coached, and how should it best be taught, in light of the performance goals in stage one? How will we make learning both engaging and effective, given the goals (stage 1) and needed evidence (stage 2)? Stage 3 of Understanding by Design helps teachers plan learning experiences that align with stage one and enables students to be successful in stage two.
    [Show full text]
  • Newsletter 2009
    NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists.
    [Show full text]
  • Dara Birnbaum
    DARA BIRNBAUM 8 NOVEMBER 201 8 – 12 JANUARY, 2019 OPENING RECEPTION: THURSDAY 8 NOVEMBER 2018 , 6– 8pm “Her use of video and found footage, her editing and image processing are groundbreaking…. This is our visual language.” -Eva Respini, Barbara Lee Chief Curator, ICA, Boston Marian Goodman Gallery London is delighted to present an exhibition of works by Dara Birnbaum, with special focus on her large-scale video installations from the 1990s. The exhibition will open on 8 November 2018, running until 12 January 2019. Birnbaum’s practice has long been concerned with the lexicon of broadcasting and communication and the way ‘truths’ are delivered to the viewer. An early proponent of video art, Birnbaum began by isolating imagery from television, recontextualising it in an attempt to understand its true meaning. For the first time since her major 2009/2010 travelling retrospective, The Dark Matter of Media Light, the three works Tiananmen Square: Break-In Transmission, 1990, Transmission Tower: Sentinel, 1992 and Hostage, 1994, will be shown Transmission Tower: Sentinel, 1992. Installation view, together. All three pieces were made in response to major political events in the latter part of Documenta IX commission, Kassel, Germany, 1992. the 20th century, as a way to uncover the complex relationship between the media, the events covered and the way in which those events are presented to the public. On view in the side galleries will be a selection of two-dimensional works focusing on the anonymous street posters from the May 68 protests in France, as well as the series Lesson Plans (To Keep the Revolution Alive), 1977, which formed the basis of the artist’s first exhibition, at Artists Space in New York in 1977.
    [Show full text]
  • E the New American Filmmakers Series
    • ,r:·~· ,.~· ).r !'J1useu.m of 1\merican Art 14 e The NewAmerican Filmmakers Series EXHIBITIONS OF INDEPENDENT FILM AND VIDEO Dara Birnbaum February 4-March 4, 1984 PM Magazine, 1982. Video installation Gallery Talk, Thursday, February 9, at 2:00 On view continuously 12:00-6:00, Tuesdays until8:00 Dara Birnbaum will be present C redits: Video post-production: C MX editors- Mark Bement, Stev·m Rob­ inson, California Institute of the Arts; Matt Danowski, Electronic Arts Intermix; Joseph Leonardi, the Annex, Long Beach Museum of Art. Music collaboration: Dara Birnbaum, Simeon Soffer. Post­ production sound editor/mixer: Simeon Soffer. Musical assistance: vocals-Shauna D'Larson; drums/rhythm-James Dougherty, Jon Norton (L.A. Woman); guitar- David Dowse (L. A. Woman) , Mark Norris; synthesizer -Simeon Soffer. Design consultation and ex­ ecution: Dan HilL John Salmen .. The artist wishes to thank Nancy Hoyt, who made the original in­ stallation of PM Magazine possible at The Hudson River Museum, Yonkers, New York, and Coosje Van Bruggen, who made the instal­ lation possible at "Documenta 7," Kassel, West Germany. The art of Dara Birnbaum has established an aesthetic dis­ course predicated on both a formal and ideological inves­ tigation of commercial broadcast television. In her video­ tapes she refashions television's popular images through a PM Magazine, 1982. Video installation at The Hudson River Museum, Yonkers, New York. Photograph by Dara Birnbaum. variety of editing and image-processing strategies that ex­ pose the hidden meanings within narrative and commercial women and the sexual roles of the office worker and con­ programs. sumer by replaying them on monitors that are placed with­ In a series of short videotapes Birnbaum began to exam­ in three enlarged photographic panels.
    [Show full text]
  • Winter 1982-83
    POETRY gJ NORTHWEST EDITOR David Wagoner VOLUSIE TsVENTY-THREE NUXIBEII FOL(R WINTER 1982883 EDITORIAL CONS ULTAXTs Nelson Bentley, TVIIBam H. Nlutchett, William hlattbews RODNEYJONES Four Poems . EDrronlst. AssoctATEs VVILLIASI STAFFoRD Joan Manzer, Robin Scyfried Two Poems CAROLYN REYN(ILDS MILLER Four Po(ms . 10 Jt! LIA MISHEIN COVER DEsiCN Two Poems Allen Auvil BRIAN SsvANN Su Shc Can See 16 PHILIP RAISON Coperfrnm 0 Fhnto nf Iree-(Ja(entraf/ic Tsvo Poems . 17 nn lnterstale.5. Seattle. SUSAN STE'(VART Three Poems JoYCE QUICK BOARD OF ADVISERS Poet's Holdup Lt(onie Adams, Robert Fitzgerald, Robert B. Heilman, WILLIAM CHAMBERLAIN Stanley Kunitz, Arnold Stein The IVife LANCE LEE What She Takes from Me POETRY NORTHWEST W INTER 1962-63 VOLUME XXIII, NUMBER 4 ALEX STEVENS Two Poems . 26 Published quarterly by the University uf AVushingtun. Subscriptiuus aud manas«ries should Ir«s«ut tu Poetry Blur(la«est. 404$ Bruukbn Av«(ui«NF., University uf SVssbing­ ROBERT FAR)(SWORTH tun,!iesttle, Washing(un 98105. Nut r«spuusibl« fur uasuli«it«d usunu«r(pts; sB submis­ Seven Stanzasin Praise of Patience sions umst he a(sun(psnicd lry s stamped sc If-addressed envelup«. Subscription rst«u EDWARD KLEINSCH>(IDT U. S.. $8.00 per year, sing)» ((spies $2.(g); Foreign»nd Canadian. $(BOO(U.S.) p«r yer(r, . 30 sing)««epics $2. 25 (U. S.). Fonr Poems . DANIEL HOFFMAN Twu Poems 33 Second class pustagc psirl at S«attic VVsshiagton Pos'rsmwmu Send sddrrss ci(sages to Pu«tr) Northwest, St!SAN DONNELLY 4048 Br««lian Asssue NF., Uui«crs i(y uf IVsd(iug(un,!i cur( i«, ')VA98105.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Selected New York Seens
    SELECTED NEW YORK SEENS 1979 opened with a whoop, holler, and focus on the "New" sound/slides/improvisation in "Homerunrnuse" by Carolee and "Old": "New Image Painting" at the Whitney Museum Schneemam. An informal documentation slide showing of centered on ten painters using isolated images in new con- Fandango's history was screened, dong with original broad- texts, simplifying recognizable objects placed on non-associ- side issues of their earliest editions. ative grounds, transforming scale and color to yield "new" "New" style spectacles of "old" favorites were presented meanings. Artists included Nicholas Africano, Jennifer Bart- at the newly-refurbi~hedEntermedia Theatre in the Nova lett, Denise Greene (also showing drawings and paintings at Convention, a gathering of artists, writers, fhmakers, thin- Max Protetch), Michael Hurson, Neil Jenney, Lois Lane, kers, and the like, dedicated to the writings and ideas of Robert Moskowitz, Susan Rothenberg, David True, Joe Zuc- William ~~~o~ghs:readings and performances by Allen ker. Other museum and gallery exhibitions of new works Ginsberg, JO~Cage, Merce Cunningham, Anne WaIdman, Ed included two by Robert Rauschenberg (Sonnabend), wall Sanders, Tim teary, Les Levine, theatrical events with Bel- works by Rosemary Mayer (55 Mercer), metal reliefs by gium's Le Plan K, Frank Zappa reading Burroughs, and Frank Stella (Leo Castelli), photoworks by Al Souza (O.K. Laurie Anderson and Julia Heyward presenting a new audio- Harris), acrylicjskrim paintings by Chris Darton (Mary distortion story. A second event celebrated the New Year in Boone), "new Wave" collage by Henry Benvenuti (Monson), a benefit for the recently burnt-out St.
    [Show full text]
  • Confrontation, Simulation, Admiration
    Confrontation, Simulation, Admiration The Wooster Group’s Poor Theater Kermit Dunkelberg The punning title of The Wooster Group’s Poor Theater, shown as a work-in- progress in the spring and late fall of at the Performing Garage on Wooster Street in New York, invites many interpretations. Does it suggest the- atre that is: Poorly executed? Poorly funded? To be lamented? All of the above? Is this the Wooster Group’s retort to Grotowski’s “poor theatre” of reduced means and monastic discipline (Grotowski ), or their own version of it? The Wooster Group’s self-mocking, reverent/irreverent, high-tech/low-tech, nostalgic/derisive production questions the state of contemporary performance by trying on the styles of a vanished group (the Polish Laboratory Theatre, dis- solved in ) and a vanishing one (the Ballett Frankfurt, disbanded in August —half a year after Poor Theater had its first showing). My focus in this article is on the sections of Poor Theater that deal with Grotowski’s Polish Laboratory Theatre (–). I see the Wooster Group’s production in light of the history of reception/rejection/appropriation of Grotowski’s work in the United States. In the wake of Grotowski’s first American workshop at New York University in , Richard Schechner founded The Performance Group. In the mid-s, the Wooster Group grew out of The Performance Group, be- coming an independent entity in . Poor Theater is in part a confrontation with an ancestor. In the spring program, “The Director” noted the importance of ancestors: The writers, the great writers of the past, have been very important to me, even if I have struggled against them.
    [Show full text]
  • La Mamelle and the Pic
    1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson
    [Show full text]