Interview

Eddie Chambers: An Interview

One of the most uncompromising voices of the art establishment, Eddie Chambers is a curator and a regular contributor to Art Monthly and two European journals on contemporary art. His writings were collected in Run Through the Jungle (1999). He lives and works in Bristol, U.K.

Interview by Andrea Barnwell and Audrey Colby.

A historical interview originally recorded in 2000.

Dorothy and Herbert Vogel

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.

Between the Frames, Chapter 5: The Docents

Between the Frames is a series that offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.

DJ Spooky: An Interview

Paul D. Miller is a conceptual artist, writer, and musician better known as DJ Spooky. A popular and prolific recording artist, he has collaborated with Ryuichi Sakamoto, Butch Morris, Yoko Ono, Thurston Moore (of Sonic Youth), Kool Keith, and Killa Priest (of Wu Tang Clan). Spooky’s work uses a wide variety of digitally created music as a form of postmodern sculpture.

Dennis Oppenheim was a prominent figure in various art developments throughout the ’70s. Oppenheim moved through body/performance art and related video work to earthworks to his current large-scale “factories.” In all of his work, the transference of energy is an underlying concern.

Dennis Adams: An Interview

Dennis Adams began as a painter, but by 18 he had become decidedly interested in relief space and then architectural space. By the time he was 20, Adams had become fascinated with family photographs and films. Adams was interested in the societal implications of images in general. A conceptual artist whose work includes photography, text, and installation, he is best known for his projects involving structures placed in urban bus shelters, uncompromisingly inserted into the public sphere.

DeeDee Halleck and Bob Hercules: An Interview

Dee Dee Halleck is a media activist, one of the founders of Paper Tiger Television and the Deep Dish Satellite Network, and was a professor in the Department of Communication at the University of California-San Diego. Her first film, Children Make Movies (1961), was about a filmmaking project at the Lillian Wald Settlement in Lower Manhattan. She has led media workshops with elementary school children, reform school youth, and migrant farmers.

David Dunlap

Painter/mixed media artist David Dunlap creates installations and performances that draw from the notebooks he has kept since the mid-’70s—giving three-dimensional, public form to his intimate thoughts and diaries. He lives and works in Iowa City, where he is a professor of art at the University of Iowa.

David Wilson: An Interview

David Wilson is the founder and curator of the Museum of Jurassic Technology in Los Angeles. His collection of found and contributed objects provides an astonishing array of materials derived from craft and nature. Interview by Rachel Weiss. A historical interview originally recorded in 1998.

Daoud Kuttab: An Interview

Daoud Kuttab, one of the best-known Palestinian journalists, has fought for a free media in Palestine under both the Israeli occupation and the Palestinian Authority. Throughout his career, his creative initiatives have helped drive the development of an independent Palestinian press.

Interview by Sharif Youssef.

A historical interview originally recorded in 2002.

Dan Sandin: An Interview

Dan Sandin designed the Image Processor that, partly because of his decision to give away his plans, has effected an energetic and aesthetic investigation of the technological structures of electronic media. He sees the Image Processor as both an event and an environment for artists to explore and experience. During the interview, Sandin spontaneously synthesizes his own image. Interview by John Manning and shot by Christine DeLignieres.

A historical interview originally recorded in 1980.

Danny Tisdale: An Interview

Danny Tisdale is a performance artist from New York City. His performances challenge prevailing ideas of race, assimilation, appropriation and success by offering passers-by the chance to racially change their appearance as a means to achieve greater financial success. The mimicry of museological practices of cataloguing and preservation, display and presentation provides one of a range of rhetorical frameworks upon which Danny Tisdale hangs his practice of social critique.

Cyrille Phipps: An Interview

Media artist Cyrille Phipps has been involved with numerous alternative media and lesbian activist projects, including Dyke TV and the Gay and Lesbian Emergency Media Campaign. Her video projects include Respect Is Due (1991), Black Women, Sexual Politics and the Revolution (with Not Channel Zero, 1992), Our House: Gays and Lesbians in the Hood (with Not Channel Zero, 1992), Sacred Lives, Civil Truths (with Catherine Saalfield, 1993), Dreaming Ourselves...

Coco Fusco: An Interview

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).

Claire Zeisler: Fiber Artist

Fiber artist Claire Zeisler discusses her techniques, ideas on art, and training; the conversation is inter-cut with images from her 1979 retrospective at the Art Institute of Chicago. “I... realized I cannot change my techniques too often. I would rather use techniques that I know and keep on perfecting them because I feel that in keeping on and perfecting them, I’m going to find something else to say,” Zeisler says in this interview with Rhona Hoffman.