An interview of Peter Cramer and Jack Waters conducted 2007 September 6 and October 9, by Liza Kirwin, for the Archives of American Art, in conjunction with the Artists' Spaces Archives Project, at Allied Productions, Inc. Studio in New York, New York.
Cramer and Waters, former co-directors of ABC No Rio, speak of their family and educational backgrounds; dance studies; forming their own company POOL (Performance On One Leg) and their "umbrella" non-profit group Allied Productions; their performance "Seven Days of Creation" at ABC No Rio; "crisis management" of ABC No Rio's building at 156 Rivington Street; Colab [Collaborative Projects]; residents in the building including Bobby G and the Acosta family; programs located at ABC No Rio's including the Naked Eye Cinema, Open Mike, Z Club, hardcore Matinee (punk music), and others; seeking grants; incorporating as a non-profit organization; fostering a queer aesthetic; AIDS and the art community; ABC No Rio's traveling exhibitions and performances; gentrification on the Lower East Side; ongoing conflicts with New York City's Department of Housing, Preservation and Development (owner of the building); management of ABC No Rio's Board; community outreach; NEA funding and the "culture wars"; and the "burnout factor" of running ABC No Rio. They also recall Lou Acierno, Charas/El Bohio Cultural and Community Center, Christa Gamper, Carl George, Felix Gonzalez-Torres, Becky Howland, Joan Karlen, Michael Keane, George Kurtti, Alan Moore, The Pyramid Club, Arlene Schloss, Kiki Smith, Brad Taylor, Brian Taylor, and others.
Biographical / Historical:
Peter Cramer is an interactivist artist from New York, New York. Jack Waters is a media artist from New York, New York. Liza Kirwin is the curator of manuscripts at the Archives of American Art, Smithsonian Institution, Washington, D.C.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 22 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript is available on the Archives of American Art's website.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
Netherlands -- Amsterdam -- Description and Travel
New York (N.Y.) -- Description and Travel
Tanzania -- Description and Travel
Date:
2017 March 27-29
Scope and Contents:
An interview with Lyle Ashton Harris, conducted 2017 March 27 and 29, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Harris's studio and home in New York, New York.
Harris speaks of his childhood in the Bronx; his family's influence on his race-consciousness; living in Tanzania for two years as a child and the effects on his understanding of race and sexuality; his grandfather's extensive photographic archive; contact with the South African diaspora through his step-father; attending Wesleyan University; formative experiences in London, Amsterdam, and New York in the mid-1980s; his education and development as a photographer; attending CalArts and encountering West Coast AIDS activism; encountering systemic racism in Los Angeles; close friendships with Marlon Riggs and Essex Hemphill; exhibitions of his work in New York in the early 1990s; the production of his Ektachrome Archive and his impulse to photograph daily life; his work on the Black Community AIDS Research and Education (Black C.A.R.E.) project in Los Angeles; participating in the Whitney Museum's Independent Study Program; being diagnosed with HIV and remaining asymptomatic; attending the Dia Black Popular Culture Conference in 1992; photographing and mounting "The Good Life" in 1994 and "The Watering Hole" in 1996; issues of blackness and queerness in his photographic work; his residency at the American Academy in Rome in 2000; moving to Accra, Ghana for seven years in 2005; his pedagogy as an art professor; his thoughts on the lack of voices of color in the Visual Arts and the AIDS Epidemic Oral History Project and in the larger power structures of the art world; and his hope that his artistic legacy will be evaluated in its proper context. Harris also recalls Jackie and Robert O'Meally, Jay Seeley, Ellen O'Dench, Francesca Woodman, Jean-Michel Basquiat, Jim Collier, Robert Mapplethorpe, Allan Sekula, Hazel Carby, Isaac Julien, Catherine Lord, Millie Wilson, Todd Gray, John Grayson, Tommy Gear, Marlon Riggs, Essex Hemphill, Felix Gonzalez-Torres, Nancy Barton, Vickie Mays, Connie Butler, Greg Tate, Henry Louis Gates, Houston Baker, Nan Goldin, Jack Tilton, Simon Watson, and others.
Biographical / Historical:
Lyle Ashton Harris (1965- ) is an artist who works in video, photography, and performance in New York, New York. Alex Fialho (1989- ) is a curator and arts writer and works as Programs Director for Visual AIDS in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Performance artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Video artists -- New York (State) -- New York Search this
An interview with Julie Ault conducted 2017 November 14 and 16, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at a studio in Brooklyn, New York.
Ault speaks of the nature of memory and giving an oral history; her skepticism of linear narratives; leaving rural Maine for Washington, DC at age 17; her family history; her interest in popular culture and commercial culture as a teenager; disco and nightclubs in Washington and New York in the late 1970's; working a variety of day jobs in New York, including a telephone answering service; meeting Tim Rollins for the first time in Maine; her interest in conversation; her relationship to questions; the formation of Group Material in 1979; her relationship with Andres Serrano; Group Material's collaborative dynamic, and its effect on her personal development; the complexities of trying to write or tell history; the shifting configurations and contexts of Group Material over 17 years of activity; mounting, and thinking critically about, individual exhibitions after Group Material; the first AIDS Timeline in 1989; the ephemerality of the Timeline; book projects as a means of depositing personal memories; her first memories of the AIDS crisis beginning in 1983; Group Material's Democracy and AIDS series at Dia in 1988; investigating the tension between art and activism in the context of HIV/AIDS; Karen Ramspacher's entry and contributions to Group Material; the initial decision to employ the form of a timeline and four arenas of research; different audience relationships and reactions to the Timeline; the collaborative process of creating the Timeline; losing NEA funding after the Timeline, amid the early '90s culture wars; Group Material's second exhibition of AIDS Timeline in 1990; her friendship with Felix Gonzalez-Torres; Group Material's third exhibition of AIDS Timeline in 1991; the Macho Man, Tell It To My Heart exhibition; and an acknowledgement of topics that could not be covered in the interview. Ault also recalls Doug Ashford, Vikky Alexander, Yolanda Hawkins, Mundy McLaughlin, Sarat Maharaj, Gertrud Sandqvist, Marybeth Nelson, Patrick Brennan, Hannah Alderfer, Peter Szypula, Sabrina Locks, Larry Rinder, Richard Meyer, Bill Olander, Marcia Tucker, Gary Garrels, Charles Wright, Frank Wagner, Martin Beck, Nayland Blake, Anne Pasternak, Mary Anne Staniszewski, John Lindell, Tom Kalin, Donald Moffett, Marlene McCarty, Jochen Klein, Lisa Phillips, Andrea Miller-Keller, Steven Evans, and others.
Biographical / Historical:
Julie Ault (1957- ) is an artist, writer, and curator in New York, New York. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Authors -- New York (State) -- New York Search this
Curators -- New York (State) -- New York Search this
Oral history interview with Jim Hodges, conducted 2017 March 9 and May 25, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Hodges' studio in Queens, New York.
Hodges speaks of his childhood in Spokane, Washington; exposure to art-making in high school and at Fort Wright College; attending Pratt Institute in 1983; his first New York gallery job in 1984; discovering his sexuality and becoming interested in queer life and history; the early years of the AIDS crisis; taking a studio with the Dannheisser Foundation; his body of work in mixed media; his gallery exhibitions in the late 1980s and early '90s; becoming sober in 1990; and the influence of the AIDS crisis on his artwork and art-making process. Hodges also recalls Karen Kaiser, Scott Smith, Marnie Fuller, Davie Nyzio, Lynn McCarty, Robert Vallenciano, Bob Morris, Linda Montano, Joseph Nechvatal, Rhys Chatham, Nancy Hoffman, Hunter Reynolds, Tony Feher, Bill Arning, Felix Gonzalez-Torres, Doug Safranek, and others.
Biographical / Historical:
Jim Hodges (1957- ) is an installation artist in New York, New York. Cynthia Carr (1950- ) is a writer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Felix Gonzalez-Torres / herausgegeben von Neue Gesellschaft für Bildende Kunst, Berlin, NGBK ; [Konzeption für Ausstellung und Katalog, Projektleitung, Frank Wagner]
Entropie : über das Verschwinden des Werkes = Entropia : il dissolvimento dell'opera = Entropy : on the vanishing work : Bas Jan Ader, Fiona Banner, Marcel Broodthaers, Chris Burden, Sam Easterson, Dora Garcia, Felix Gonzalez-Torres, Job Koelewijn, Jonathan Monk, Ilona Ruegg, Joëlle Tuerlinckx / [curator, Moritz Küng ; text, Franz Xaver Baier, Moritz Küng]
