Interview

Jackie Winsor: What Follows...

Sculptor Jackie Winsor creates large-scale constructions in wood, fiber, twine, and wire. Recent works are subjected to explosions and fire. Winsor lives and works in New York City. Interview by Kay Miller and Albert Alhadeff.

Jack Goldstein: What Follows...

Painter and multi-media artist Jack Goldstein lived and worked in New York City. His airbrushed paintings of lightning and night skies are shown here accompanied by synthetic music, which the artist also composed. Goldstein committed suicide in 2003.

Interviewed by Jim Johnson.

Ingrid Sischy

Ingrid Sischy was editor of Artforum in the 1980s and has been editor-in-chief of Interview magazine since the 1990s. In this interview with Robin White, Sischy discusses Artforum’s priorities, purpose, and goals. “It’s an intricate history where painting, sculpture, performance, video, and photography are extremely connected to each other. As the editor of Artforum, I would feel at great fault to not include the best and the most interesting questions of each because they affect each other, and artists’ choices are not made in a vacuum.”

Ingrid Pollard: An Interview

Ingrid Pollard is a photographer living in London. Her photographic works, generally of people and landscape, serve to provide a human context for issues of transmigration and “fleeting” identity. Combining personal photographs with traditional views of the English countryside, Pollard questions as well as reconstructs the concept of “Britishness.” In doing so, Pollard also scrutinizes the location of the “other,” and contrasts actual physical similarity or material likeness of people and places with perceived or socially constructed difference.

Pat Ward Williams: An Interview

Pat Ward Williams’s socially charged works confront issues of race, often dealing specifically with African-American history and identity. Using a variety of photographic processes, video, audio tapes, assemblage and text, Williams layers meanings and images. Her subjects range from the autobiographical to the public, often combining documentary techniques with personal responses. “When I make photos about my family, I think my family is not a lot different than other peoples’ families, so that is a way people can access my work...

Pat Steir 1980: An Interview

Pat Steir is an American painter and printmaker, whose work has resisted artworld currents and factions for decades while expanding its reach and maintaining enthusiastic critical support. She graduated from Pratt in 1962 and in 1964 was included in the show Drawing at the Museum of Modern Art in New York and had her first solo exhibition at the Terry Dintenfass Gallery, New York.

Pat Steir 1993: An Interview

Pat Steir is an American painter and printmaker, whose work has resisted artworld currents and factions for decades while expanding its reach and maintaining enthusiastic critical support. She graduated from Pratt in 1962 and in 1964 was included in the show Drawing at the Museum of Modern Art in New York and had her first solo exhibition at the Terry Dintenfass Gallery, New York.

Pat Steir 1975: An Interview

Pat Steir is an American painter and printmaker, whose work has resisted artworld currents and factions for decades while expanding its reach and maintaining enthusiastic critical support. She graduated from Pratt in 1962 and in 1964 was included in the show Drawing at the Museum of Modern Art in New York and had her first solo exhibition at the Terry Dintenfass Gallery, New York.

A historical interview originally recorded in 1983.

Participation

Shortly after they arrived in the United States from Prague in 1965, Steina and Woody Vasulka began documenting New York City's underground theater and music scenes with a portapak. Steina has remarked that she learned the craft of camerawork as documentarian of these celebratory, countercultural scenes of the "sexual avant-garde." These excerpts from Participation feature a performance by an anonymous rhythm & blues group led by a young, charismatic singer, a pulsing light show projection at the Fillmore East, and a scene from Off-Broadway drag theater.

Parry Teasdale: An Interview

Parry Teasdale is a founding member of the early alternative media group Videofreex and its off-shoot Media Bus. More recently, he published a historical memoir, Videofreex: America’s First Pirate TV Station and the Catskills Collective That Turned It On (1999). Interview by Kate Horsfield

Orlan: An Interview

French performance artist Orlan uses her own body as a sculptural medium. Since 1990, she has worked on La Reincarnation de Sainte-Orlan, a process of plastic surgeries that she “performs,” making elaborate spectacles with surgeons dressed in sci-fi costumes and broadcasting the operations live via satellite to galleries worldwide. By exploring a total transformation of self, Orlan delves into issues of identity and the malleability of the flesh. She lives and works in Paris, exhibiting and performing internationally.

Olafur Eliasson: An Interview

Berlin-based Danish artist Olafur Eliasson complicates and simulates perception through his installations, sculptures, and photographs. He has created disorienting artificial illuminations and reproduced natural phenomena such as clouds, glaciers and the sun through large-scale, high-tech installations.

Nathan Lyons: An Interview

Nathan Lyons has contributed to the field of photography as a critic, author, curator, educator, and photographer. He has published several books and catalogs, including Photographers on Photography (1966), Photography in the 20th Century (1967), Towards a Social Landscape (1967), Persistence of Vision (1968), and Notations in Passing (1974).

Interview by Alex Sweetman.

A historical interview originally recorded in 1978 and re-edited in 2007.

Nathaniel Dorsky: And Interview

Nathaniel Dorsky’s films are precise articulations of cinematic qualities: the surprise of an edit, the composition of framing, and the flash of the image. Dubbed the “filmmaker’s filmmaker”, Dorsky’s work captures the fleeting moments of everyday life in its poetic chaos in such films as Pneuma (1976-82), Triste (1974-96), Alaya (1976-87), and Variations (1992-98). Using a spring-wound Bolex and 16mm reversal stock film, Dorsky’s films operate in the realm of the purely visual.

Interview by Jeffrey Skoller.