Installation

In 1988 the World Financial Center in lower Manhattan asked artists and architects to produce installations that centered on “the rapid development of the modern city and its enormous impact on how people live and work” for the New Urban Landscapes exhibition. MICA-TV produced profiles of the artists whose work was featured in the show, including Vito Acconci, Dennis Adams and Andrea Blum, Joel Otterson, Kawamata, Mierle Laderman Ukeles, Jon Kessler, Jean Nouvel, Stephen Willats, Martha Schwartz, and Haim Steinbach.

Stuart wanders through her influences coming from the California landscape and culture of her childhood through her encounter with the New York art world. Standing as an outsider to 'mainstream' art practice, Stuart focused on the natural world of quarries, waterfalls, and Indian mounds while revealing the cultural and geological history of these spaces, and how to trace these histories onto large paper scrolls and in books layered to parallel historical change.

Interview by Kate Horsfield.

A historical interview originally recorded in 1978. Re-edited in 2008.

For Shigeko Kubota the video image-making process is a cultural and personal experience. She has explored cross-cultural relationships in her video diaries, transient images captured by portable equipment while traveling—Kubota’s “comparative videology.” She has also combined fleeting video images with the “objecthood” of sculptural form in her series of video sculptures inspired by Duchamp.

Ree Morton (1936-77) was an American artist working with large-scale mixed media installations. Her mature career was brief—from 1971 to 1977. However, her output and growth during these years was unusually large. This was the first of two interviews Kate Horsfield and Lyn Blumenthal conducted with Morton; the second was for the journal Heresies in 1977. “You can see how I collect just junk—over there. I have things around, and then as I work, it’s almost a kind of drawing process.

Each year, more women undergo treatment at hospital emergency surgical services as a result of family violence than rapes, muggings, and car wrecks combined. This startling statistic is the basis for a series of site-specific installations on domestic violence, On The Edge Of Time. Underground, the first installation for the Pittsburgh Three Rivers Art Festival, used three wrecked cars strewn along a 180-foot section of railroad track to reference the history of Abolition and the Underground Railroad, and as metaphors for different aspects of abuse.