Thursday, July 9, 2015

Thank you Scott Siegling for posting this quote on FB:

I found a very interesting essay on early Intermedia practice by Al Hurwitz from March, 1970:
No one should embark in any role in intermedia if he is unsympathetic to the apparently antisocial conduct of youth or if he is easily threatened by seemingly bizarre and egocentric behavior. Avoid interermedia if you see yourself as an "authority" figure or if you don't know how to listen. Don't get involved if you are afraid of criticism of outsiders, if you need a blue print for the future, and if you place no trust in the unknown. Intermedia, like any art form, is not for the timid, nor is it to be undertaken lightly.

Wednesday, July 1, 2015

The Feminist Origins

The Feminist Origins:VDB’s On Art and Artists Interview Collection

"In April 1974, Video Data Bank co-founders Lyn Blumenthal and Kate Horsfield conducted their first interview, an in-depth conversation with art historian and curator Marcia Tucker. During the remainder of that year, Blumenthal and Horsfield went on to interview four more notable art world women: Joan Mitchell, Lucy Lippard, Agnes Martin and Ree Morton.
Seen together, these five interviews mark a seminal moment in the history of 20th Century art, a moment in which women artists were increasingly being asked to define and position their practice within the growing feminist movement. Blumenthal and Horsfield’s interviews with these remarkable women each touch on the question of gender and the role it played in shaping their aesthetics and career trajectories in a male dominated art world. Through these conversations, Lippard, Mitchell, Morton, Tucker, and Martin each personally define their experience as women artists, and talk about the influence of feminism on their own life. With self-awareness and considerable thought, these artists each embrace (or dismiss) an artistic vision aligned with femininity. Four decades later, these important conversations shed light on an exceptional period in which a new awareness of oppressive social constraints and gender inequality was matched by an exuberant sense of excitement and potential about what “women’s work” in the field of art might truly be." VDB