Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form. Her work shows the formative influence of the natural sciences, history, art, and cultural studies that she encountered as a child. After majoring in English Literature at Vassar, Graves studied painting at Yale with Jack Tworkov, Alex Katz, and Al Held, among other artists and traveled extensively, spending time in Paris and Florence.

Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form.

In this interview she discusses her transition from a static form (sculpture) to a moving form (film), and finally, to painting.  “The making of it and the viewing of it are the areas with which I’m most concerned, because I’m an artist, not a philosopher,” Graves says in this interview with Kate Horsfield.

Best known for her carved wooden heads wrapped in black leather affixed with zippers, glass eyes, enamel noses, spikes and straps, Nancy Grossman (b.1940) is accomplished in draftsmanship, assemblage, and relief sculpture as well as carvings. After growing up on a farm in upstate New York, Grossman went to Pratt, where Richard Lindner’s emphasis on the figure and in the integrity of his personal syntax became an influence. In the 1960s her head sculptures brought her notoriety and five solo exhibitions before the age of thirty.

Best known for her carved wooden heads wrapped in black leather affixed with zippers, glass eyes, enamel noses, spikes and straps, Nancy Grossman (b.1940) is accomplished in draftsmanship, assemblage, and relief sculpture as well as carvings. After growing up on a farm in upstate New York, Grossman went to Pratt, where Richard Lindner’s emphasis on the figure and in the integrity of his personal syntax became an influence.

The Guerilla Girls are an anonymous activist group who refer to themselves as “the conscience of the art world” and whose stated goal is to combat racism and sexism. Through posters, magazine ads, exhibitions, and panels, they have educated and agitated the art world with statistics on the under-representation of women and minorities in galleries, museums, and the press. This interview is conducted with three Guerrilla Girls, who appear adorned in their trademark gorilla masks to ensure their anonymity.

Interview by Carole Tormollan.

Guerilla Girls are artist activists who have dedicated themselves to informing the public of the gender and racial inequalities that persists in the art world. Dressed in gorilla masks, they discuss their postering activities and their collaborative projects.

Interview by Lucy Lippard.

Conceptual artist Hans Haacke’s two most notorious works took unsavory Manhattan real-estate dealing as their subject, which triggered the cancellation of his exhibition Real Time Social System at the Guggenheim Museum in 1971. With the conscientiousness of an investigative reporter, Haacke continues to scrutinize the rough edges between art and life.

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.

Among the leading pioneers of the eco-art movement, the collaborative team of Newton and Helen Mayer Harrison (often referred to simply as “the Harrisons”) have worked for almost forty years with biologists, ecologists, architects, urban planners and other artists to initiate collaborative dialogues to uncover ideas and solutions which support biodiversity and community development.

Newton Harrison, born 1932, is one of the earliest and best known social practice and environmental artists. He and Helen Mayer Harrison collaborated under the name Harrison Studio for most of their lives, working in a variety of mediums in collaboration with scientists, political activists, and many others to start dialogues about community development and engagement. In conversation with Claire Pentecost, a writer and professor of photography at the School of the Art Institute of Chicago, Harrison discusses his expansive career, and offers advice for younger artists working today.

Robert Heineken (1931-2006) used technically sophisticated photographic methods to mingle erotic images with visuals from TV and advertising. The American artist was known for appropriating and re-processing images from magazines, product packaging or television. In the "Are You Real" series from 1964 to 1968, he created a portfolio of images filled with unexpected and sometimes surreal juxtapositions by placing a single magazine page on a light table, so that the resulting contact print picks up imagery from both sides of the page.

This husband and wife team has collaborated on numerous projects in the U.S.and abroad. Their approach to making art involves finding solutions to ecological problems. Both are emeritus professors in the department of visual arts at the University of California-San Diego. Interview by Michael Crane.

Eco-artists Helen and Newton Harrison define truth as a series of interactions that anyone may join. The Harrisons choose survivalist subjects because we have so encroached upon this environment, we must give it every advantage we can. Only available on the Fellows of Contemporary Art compilation.

In a conversation with one of the Hells Angels at a party the motorcycle gang has thrown in Manhattan, the interviewee introduces “Kenny, from the Videofreex” to his friends, commenting (presumably explaining the Videofreex project): “like low class society type shit.” At the Hells Angels party, the Videofreex exemplify their position as a documentarian group for alternative media, navigating the cramped space of the party to conduct interviews with members of the highly controversial Hells Angels group.

Louis Henderson’s work focuses on anti-colonialism and criticizing the neocolonialisation of cyberspace.  Born in England in 1983, he graduated from London College of Communication and Le Fresnoy - Studio national des arts contemporains. He recently finished a post-diplôme at the European School of Visual Arts.

Elizabeth Hess addresses issues of censorship, AIDS, war, feminism, and politics in general. She has written extensively on women’s issues, contributes to The Village Voice, and is co-author of Re-Making Love: The Feminization of Sex (1986). Interview by Lucy Lippard.

Hokey Sapp Does SPEW features Kate Schechter performing her invented media personality Hokey Sapp interviewing some of the luminaries at SPEW: The Homographic Convergence, a queer zine convention hosted by Randolph Street Gallery in Chicago in May, 1991. SPEW brought together artists, writers, editors of zines, performers, video-makers, activists, and bands from throughout the US and Canada, and marked the explosion of queercore subcultures through unabashed fashion, outrageous politics, humor, and joy.

Douglas Hollis (b.1948) was born in Ann Arbor, Michigan and continued to live there throughout the years of his college education at the University of Michigan. From an early age he had a deep interest in Native American culture. His experiences traveling in Oklahoma to live with Indian families has strongly influenced his life and his art ever since. Hollis began working with natural phenomena and responsive environment structures in the later part of the 1960's. At that time he completed several projects with musicians, dancers, film makers, engineers, and physicists.

Taped shortly after the creation of the Air Gallery, this conversation between painter Howardena Pindell and Hermine Freed concerns the women’s independent gallery and its role in the feminist movement. Pindell also discusses the development of her work and the relation between black artists and the art world.

Documentarian and independent film producer Warrington Hudlin co-founded the Black Filmmaker Foundation in the late-1970s to help develop and promote emerging artists. More recently, he has been involved in DV Republic, a web-based alternative media site that is “socially concerned, entertainment driven,” and the screening series World Cinema Showcase, hosted by the American Museum of the Moving Image. 

Interview by Shelley Shepard.

A historical interview originally recorded in 1983. 

Juliana Huxtable was born in Texas and studied at Bard College, NY. An artist working across video, photography, poetry, and music, her practice demands a reexamination of the canon of art history in order to break the cycle of misrepresentation and under-representation in the contemporary art world.

Robert Irwin (b. 1928, Long Beach, California)  followed in the Abstract Expressionist tradition until he shifted his focus onto installation projects that play upon site-specific uses of light. Since the 1980s, he has created large-scale public space designs that use natural light, plants, and garden architecture.

Miyoko Ito was known as an “abstract surrealist.” Her paintings are landscape-based abstractions of very intense subtleties of structure and color.  Ito was born to Japanese parents in Berkeley, CA in 1918. She studied art at the University of California at Berkeley for a short time until she was imprisoned in a Japanese-American camp after the bombing of Pearl Harbor. Ito continued her education in prison, after which she attended Smith College. She was then given a scholarship to attend the School of the Art Institute of Chicago. It was in Chicago that Ito's career as an artist flourished, where she explored cubism and latent abstraction in her works. Ito remained in Chicago until her death in 1983.

The 1970s witnessed unprecedented artistic development of non-traditional media – chief among them were textiles and fabrics. Diane Itter was at the forefront of this boom in craft-oriented art making, designing colorful, geometric and exceedingly intricate fiber works that demanded near countless hours of time to execute. In this interview she discusses her practice, as well as the pitfalls that are encountered while working in what was – at the time of the interview – a still largely marginalized art form.

Alfredo Jaar is a politically motivated artist whose work includes installation, photography and film.  Born in Chile and now living in the U.S., Jaar’s socio-critical installations explore global political issues, frequently focusing on the Third World and the relationship between consumption and power.  A 1988 installation in a subway station in New York involved dramatic photographs of impoverished gold miners n Brazil interspersed with quotations of current gold prices, drawing an unexpected parallel between the material desires that motivate people in both poverty-stricken Br