But, many complain, that’s about all you can do, except for shop. City Island, the apartment comp... more But, many complain, that’s about all you can do, except for shop. City Island, the apartment complex where I live, is an artificial community surrounded by a construction site and an exemplary piece of brutalist architecture (set to be torn down). City Island’s 404 flats are 5% owner occupied and built by a ‘‘Palestinian’’ developer with a company called ‘Mayfair’. I understand the story, possibly apocryphal, of the Middle-Eastern businessman to be an explanation for the shoddy construction and the many broken promises, such as the bridge that was to create a relationship between the flats and the city centre, which never got built. The lacunae in management have been so serious that one resident started a web site, and it reads like a property owner’s cry in the wilderness, full of anger, can-do attitude, and pitting the good residents parallax, 2007, vol. 13, no. 1, 9–19
"The subject for the publication is taken from Bruce Boone’s short text My Walk with Bob, a docum... more "The subject for the publication is taken from Bruce Boone’s short text My Walk with Bob, a document of a casual yet revelatory walk through San Francisco by two friends, Boone and Robert Glück (Bob), in the late 1970s. The book was formative in defining New Narrative writing in San Francisco, which strives for the wandering, porous observational stance and lyrical detachment of the flâneur. It is also wedded to a queer aesthetic of dissident erotic and emotional possibilities. Bringing together intergenerational conversations between writers, artists and filmmakers, Anarchic sexual desires of plain unmarried schoolteachers continues Boone’s walk by embracing the unacknowledged, often contradictory currencies, that determine friendships and their legacies." Chris McCormack
I've decided to address the questions posed by Mira and Susan with what I'm thinking about now. I... more I've decided to address the questions posed by Mira and Susan with what I'm thinking about now. I was in Judy Chicago's first feminist art program (Fresno, CA) and then studied with Sheila Levrant de Bretteville at CalArts, and both Judy and Sheila were formative and life-changing mentors. But I'm in the middle of a conversation, mostly with myself, about what women's lives have to teach us about feminism, actually. I remember in John Berger's book about Pablo Picasso, he suggests that the Communist Party, of whom Picasso was a card-carrying member, didn't provide a capacious enough aesthetic space for Picasso to contribute in the ways in which he possibly could have. The party, with its rigid and oppressive ideas of what could be and what couldn't be art, failed him and therefore us. It's not that I think this is true for feminism, but I'm wondering how women's lives get lost -or if they really doin the middle of feminism, as feminists. These questions aren't active in my imagination, really, for myself. I am indebted to the feminist movement, or, rather, the women who fought it into existence. The junk, the psychological debris of relatedness, when it doesn't work or hold, I chalk up to social systems that impoverish, deprive, etc.
Feedback: The Video Data Bank Catalog of Video Art and Artist Interviews
On my way to and from classes when I was a student at California Institute of the Arts in the ear... more On my way to and from classes when I was a student at California Institute of the Arts in the early 1970s, I always passed the video editing rooms, and I always saw only men at the stations, and they were always making electronic paintings. This quotidian scene occurred during the seismic shifts of the civil rights movement, women's liberation, black liberation, and impassioned resistance to the war in Vietnam. I, like so many women
As colleagues at the School of the Art Institute of Chicago, Horsfield and I often spoke of the s... more As colleagues at the School of the Art Institute of Chicago, Horsfield and I often spoke of the set of interviews that she and Lyn Blumenthal conducted with artists as varied as Vito Acconci, Alice Neel, and Joan Mitchell, all of which were and are available at the Video Data Bank. Working there as a professor in what was then the Video Department, I had an unlimited opportunity to view those interviews. Many stand out, but it was the Agnes Martin video, and Horsfield’s description of her encounter with Martin in Cuba, New Mexico, that has continued to linger in my imagination, as well to set out some instructions to myself as an artist.
But, many complain, that’s about all you can do, except for shop. City Island, the apartment comp... more But, many complain, that’s about all you can do, except for shop. City Island, the apartment complex where I live, is an artificial community surrounded by a construction site and an exemplary piece of brutalist architecture (set to be torn down). City Island’s 404 flats are 5% owner occupied and built by a ‘‘Palestinian’’ developer with a company called ‘Mayfair’. I understand the story, possibly apocryphal, of the Middle-Eastern businessman to be an explanation for the shoddy construction and the many broken promises, such as the bridge that was to create a relationship between the flats and the city centre, which never got built. The lacunae in management have been so serious that one resident started a web site, and it reads like a property owner’s cry in the wilderness, full of anger, can-do attitude, and pitting the good residents parallax, 2007, vol. 13, no. 1, 9–19
"The subject for the publication is taken from Bruce Boone’s short text My Walk with Bob, a docum... more "The subject for the publication is taken from Bruce Boone’s short text My Walk with Bob, a document of a casual yet revelatory walk through San Francisco by two friends, Boone and Robert Glück (Bob), in the late 1970s. The book was formative in defining New Narrative writing in San Francisco, which strives for the wandering, porous observational stance and lyrical detachment of the flâneur. It is also wedded to a queer aesthetic of dissident erotic and emotional possibilities. Bringing together intergenerational conversations between writers, artists and filmmakers, Anarchic sexual desires of plain unmarried schoolteachers continues Boone’s walk by embracing the unacknowledged, often contradictory currencies, that determine friendships and their legacies." Chris McCormack
I've decided to address the questions posed by Mira and Susan with what I'm thinking about now. I... more I've decided to address the questions posed by Mira and Susan with what I'm thinking about now. I was in Judy Chicago's first feminist art program (Fresno, CA) and then studied with Sheila Levrant de Bretteville at CalArts, and both Judy and Sheila were formative and life-changing mentors. But I'm in the middle of a conversation, mostly with myself, about what women's lives have to teach us about feminism, actually. I remember in John Berger's book about Pablo Picasso, he suggests that the Communist Party, of whom Picasso was a card-carrying member, didn't provide a capacious enough aesthetic space for Picasso to contribute in the ways in which he possibly could have. The party, with its rigid and oppressive ideas of what could be and what couldn't be art, failed him and therefore us. It's not that I think this is true for feminism, but I'm wondering how women's lives get lost -or if they really doin the middle of feminism, as feminists. These questions aren't active in my imagination, really, for myself. I am indebted to the feminist movement, or, rather, the women who fought it into existence. The junk, the psychological debris of relatedness, when it doesn't work or hold, I chalk up to social systems that impoverish, deprive, etc.
Feedback: The Video Data Bank Catalog of Video Art and Artist Interviews
On my way to and from classes when I was a student at California Institute of the Arts in the ear... more On my way to and from classes when I was a student at California Institute of the Arts in the early 1970s, I always passed the video editing rooms, and I always saw only men at the stations, and they were always making electronic paintings. This quotidian scene occurred during the seismic shifts of the civil rights movement, women's liberation, black liberation, and impassioned resistance to the war in Vietnam. I, like so many women
As colleagues at the School of the Art Institute of Chicago, Horsfield and I often spoke of the s... more As colleagues at the School of the Art Institute of Chicago, Horsfield and I often spoke of the set of interviews that she and Lyn Blumenthal conducted with artists as varied as Vito Acconci, Alice Neel, and Joan Mitchell, all of which were and are available at the Video Data Bank. Working there as a professor in what was then the Video Department, I had an unlimited opportunity to view those interviews. Many stand out, but it was the Agnes Martin video, and Horsfield’s description of her encounter with Martin in Cuba, New Mexico, that has continued to linger in my imagination, as well to set out some instructions to myself as an artist.
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