Since the mid1970s, James Casebere has been making photographs of tabletop models which he builds in his studio. The subject of his work ranges from suburban interiors to institutional structures, inspired by political events and social issues. In his photographs, these models often give the impression of reality. Each image transports viewers into ambiguous environment, evoking a sense of emotional place.
Company Line is a film about one of the first predominately Black neighborhoods in Mansfield Ohio. The title, Company Line, refers to the name historically used by residents to describe their neighborhood, located on the north side of town close to the old steel mill. The Company Line began during the post–war migration of Blacks from the south to the north in the late 1940’s. The neighborhood was purchased in the early 1970’s and its residents were scattered throughout Mansfield.
Kevin Jerome Everson’s prolific body of work is grounded in formalism and combines scripted and documentary elements. The subject matter is the gestures or tasks caused by certain conditions in the lives of African-Americans and people of African descent, often working class. The conditions are usually physical, social and economic circumstances, or weather. His films suggest the relentlessness of everyday life--along with its beauty--and present oblique metaphors for art making.
For the past 20 years Alexis Smith's mixed media work has explored primal American myths: the open road, the bad/good guy/gal, the quest for romance, and the search for paradise. This portrait of the artist explores the roots of her thought and work, and was produced in conjunction with her exhibition at the Whitney Museum of American Art, held in November 1991.
A philosopher and intermedia artist, Adrian Piper focuses on xenophobia, racism, and racial stereotyping
“As a black woman who can 'pass' and a Professor of Philosophy who leads a double life as an avant-garde artist, Piper has understandably focused on self-analysis and social boundaries. Over the years her work in performance, texts, newspaper, unannounced street events, videos, and photographs has developed an increasingly politicized and universalized image of what the self can mean.”—Lucy Lippard, Issue: Social Strategies for Women Artists (London: ICA, 1980)
Fred Tomaselli’s mosaics and collages compose patterns and images that suggest ancient global influences. His materials, however, are products of modern consumption, addiction, bodily abuse, and pleasure: pills, nicotine patches, bandages, and the like. The surfaces are coated with a lacquered veneer, making these mundane sources of highs or healing gleam. Interview by James Rondeau. A historical interview originally recorded in 1999 and re-edited in 2007.
Luis Cruz Azaceta’s paintings and mixed media works use the recurring theme of the displaced individual. Marked by his own exile from Cuba—he was born there in 1942 and emigrated to the U.S. in 1960, in the wake of Castro’s take-over—the artist realized that home is something he carries with him from place to place. Through his piercing expressionism, Azaceta depicts the frailty of human existence in a world full of social anarchy, historically mandated violence, and natural chaos.
Interview by Bob Loescher.
A historical interview originally recorded in 1989.
This surreal, free-form autobiography is concerned with childhood and adult rituals, and the longing for meaning and connection during the often wildly absurd events of early life. Obsessive Becoming returns to Reeves’s early exploration of personal narrative forms, poetry, and his interest in creating a more spontaneous and direct fusion between language and video. Words and images of the expectations and disappointments of coming of age break down the boundaries of both mediums.
Best known for her drawings and prints, Nancy Spero has worked as an oil painter on both paper and canvas and with installations. She has been active in many radical groups including WAR (Women Artists and Revolution) and AIR (Artists in Residence), the first women’s cooperative gallery in New York. A historical interview originally recorded in 1982 and re-edited in 2003.
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.
Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works. Three years after this tape was produced, her son was shot to death, and she spent the next three years producing 87 works in a variety of media.