-
♪ ♪
-
In the mid 1970s, maybe a little earlier,
-
I had done a sculptural
painting of a man,
-
and a collector went to
a gallery and bought the work.
-
♪ ♪
-
I wanted to meet him,
-
but the gallery didn't
want me to meet him
-
'cause Lynn could
be either male or female.
-
Somehow, he found out
I was female
-
and he returned the work
because he said that women
-
weren't good investments.
-
Women artists
didn't make a good investment.
-
Um, he was wrong.
[laughs]
-
[calm electronic music]
-
I did start out doing
painting and drawing.
-
And then moved into sculpture.
-
Then sculpture with sound.
-
- ...Trying to remember
who we are.
-
Video,
-
film,
-
artificial intelligence,
-
and computer-based work.
-
To me, they're all the same.
-
You know, you take a number of
things and put them together.
-
♪ ♪
-
I do work that confronts where we are in society.
-
[sculpture whirs]
-
I came to the Bay Area
-
to go to graduate school
at Berkeley.
-
[rock 'n' roll music]
-
It was the era of the hippies, Allen Ginsberg, and that
-
kind of radical thought.
-
And being a girl from Orthodox Jewish family in Cleveland,
-
it was just really
opening your mind
-
to the fact that you don't
have to do what you're told.
-
[calm jazz music]
-
I think that
the early challenges
-
were getting
somebody to show my work.
-
I remember walking the streets of Berkeley during that time,
-
and I thought, "Well, who needs
a museum to tell you whether you're doing art?"
-
So with my friend Eleanor Coppola,
-
we opened up rooms in a hotel,
-
and people could check-in at the desk, get a key
-
Eleanor staged in her room
a man who lived there.
-
I created fictional characters
who might've lived there,
-
and bought props from around that
neighborhood to redefine who those
-
characters could have been.
-
And it was a way of creating art
in the world
-
that went beyond the walls that
existed
-
It lasted nearly a year,
-
and finally somebody,
went at two in the morning.
-
And I had wax body parts
in there,
-
and people thought that it could have
been a murder, and called the police.
-
The police came in
and took everything.
-
And that was the end of that.
-
Glasses from the '70s.
-
- [laughs]
- Big lenses.
-
- Here we go.
-
When I was in the room
at the Dante Hotel,
-
I had artifacts of somebody who
could have lived there
-
I thought,
Well, what if this woman,
-
this fictional character,
could be liberated,
-
live in real time
and real space?
-
And that was the beginning
of creating Roberta Breitmore.
-
So I would go out
and dress as Roberta,
-
with different kinds of makeup as a
blonde
-
and with a lot of things about her that
were very different from myself
-
[ambient music]
-
Roberta did things broke that any single broke woman would do.
-
And she came to San Francisco,
she needed a roommate to afford her rent,
-
so she put
ads in the local newspapers.
-
♪ ♪
-
Roberta went to a psychiatrist.
-
She had a particular walk.
She had particular gestures.
-
She had a language.
-
Roberta was able to get a bank account.
-
♪ ♪
-
She was able to get credit
cards, which I couldn't.
-
♪ ♪
-
She was much more real, had more of
a verifiable history than I did.
-
♪ ♪
-
I didn't think that Roberta would be a
long-term performance.
-
I don't even think performance
was a word in those days.
-
I don't know what she was.
-
She was an intervention
in real life, in society.
-
And she lasted almost ten years,
from 1972 to 1979.
-
♪ ♪
-
[film projector whirring]
-
I think if I had moved to New York
-
to become an artist as many people did,
-
I would not do the work I do now.
-
But because I live in the Bay Area,
where you breathe technology,
-
the digital landscape here
has changed the entire world.
-
And it's not insignificant
that television was invented here.
-
♪ ♪
-
I think that we've become kind of a society of--of screens,
-
of different layers that keep
us from knowing the truth,
-
as if the truth is, uh,
almost unbearable,
-
too much for us to, uh
to deal with,
-
just like our feelings.
-
So we deal with things
through replication,
-
and through copying,
-
through screens, through simulation
-
through facsimiles and through, uh, fiction
-
and through faction.
-
[experimental
electronic music]
-
I think that there is not a central
answer to whether technology is utopian
-
or dystopian I think it depends on
humans and how they use it.
-
[echoing chatter]
-
A lot of my work
is interactive
-
in that it implicates viewers
into making choices.
-
Interactivity in these pieces meant
dealing with the possibilities in
-
technology that existed at the time.
-
So when "Lorna" was made, I
used an interactive LaserDisc.
-
[water bubbling]
-
- I was afraid of everything.
-
- So you think
you know her story.
-
Well, good luck.
'Cause you're all wrong.
-
Lorna's agoraphobic, she's afraid to go out
-
The reason she's afraid is because
media projects all kinds of images of fear.
-
And all she does
is watch television.
-
♪ ♪
-
And you control what you see,
-
and in doing so, you
become implicated in
-
Lorna's life and control her future
-
[foreboding music]
-
Do you wanna put
the hat down by the side?
-
Yeah, good.
-
- Do you want me leaning
in any way, or just
-
- No.
Just watching.
-
- In terms of drama, I'll just shoot something
- Okay
-
This work, "VertiGhost,"
uses, in fact,
-
much of my history.
-
- That looks beautiful.
- It looks more like it.
-
The premise was to do something that had
to do with the Fine Arts Museum
-
and I I remember that Alfred Hitchcock
shot a major scene from "Vertigo" there.
-
In the original film, the character
Madeleine would go to the museum and
-
look at the portrait of Carlotta who was
a distant relative of hers,
-
who had died and who
suffered from mental illness
-
♪ ♪
-
- Okay, Yuli, you can come.
-
♪ ♪
-
You know, they're both
stories of compulsion
-
about identity,
-
and copies,
and copies of copies,
-
and not knowing who you are.
-
♪ ♪
-
Now I'm gonna have you walk
around the bench
-
and sit exactly opposite
than you are now.
-
♪ ♪
-
And in mine, it tells
kind of the haunting story
-
of that history.
-
And telling
the history releases
-
the ghost that we keep hidden.
-
- Camera, please.
And action.
-
Putting the exhibition
together for "VertiGhost"
-
was a total act of trust,
-
and improvising
what we would do
-
- Three and four.
-
I like to collaborate.
-
I have this joke in my studio that I'm
kind of like the idiot savant,
-
'cause I can't do anything.
-
So I come with an idea,
-
and then everybody else knows
how to do certain parts of it.
-
And eventually it gets done.
-
- [laughs]
-
- So, um,
this has been printed
-
on the back of this,
and it's Plexiglas.
-
And we took the original image
of Carlotta
-
and we're gonna put the camera
on the wall
-
in back of the eyes
-
so that it picks up anybody
walking through the room.
-
[Claudia] I'm sure it's gonna
be quite startling.
-
- It's so bizarre.
- It really is.
-
[laughs]
-
- [laughs]
But are you happy with it?
-
- I am. Thank God.
- Oh, good.
-
That's the most
important thing.
-
- You know, you never know
if these things are gonna work.
-
[chuckles]
-
♪ ♪
-
This is the way it works. Somebody sits on the bench.
-
There's a bouquet of flowers that has sensors in it.
-
That turns the camera on in the painting
-
The painting captures the
image of the person who's looking at the painting
-
puts them in the 3D box to the de Young Museum which is at a different location
-
which is at
a different location.
-
it's in Golden Gate Park and inserts the
viewer there.
-
So it kind of ties all of them together, almost like a double helix
-
between the two buildings.
-
♪ ♪
-
I think that I'm asking
viewers to consider
-
what it real, what isn't real
-
why we need to imitate something,
-
and the credibility of the things around us.
-
♪ ♪
-
I think it's great that finally my work
has become part of a cultural history.
-
That finally I'm not in debt.
[laughs]
-
For the first time ever.
-
I think I'm really lucky. I got a lot of
freedom from being unknown,
-
where I could do anything
I wanted to.
-
And now it's too late
to change.
-
[laughs]
-
To learn more about Art21 and our
-
educational resources please visit us
online at pbs.org/art21
-
[Music]
art in the 21st century season 9 is
-
available on DVD
to order visit
-
shop.tbs.org or call 1-800 play PBS
this program is also available for
-
download on iTunes
[Music]