"My work is so much about breaking that cycle of trauma, abuse, violence, and disturbance. It brings it out into the open so we can have a dialogue."
Artist and filmmaker Beth B came into her own in the downtown New York arts scene of the early '80s, creating large-scale installations and Super-8 films. Since then, she has released numerous documentaries and features for screen and television. Her non-fiction feature, Exposed, premiered in the Panorama section at the 2013 Berlin Film Festival, and her most recent film, Call Her Applebroog, chronicles the life and work of her mother—renowned visual artist Ida Applebroog. It premiered at MOMA's Doc Fortnight in February 2016. Voyeur, an installation of her videos, photography, and sculpture, opens at Howl! Happening in New York on February 18, 2017. I've known Beth since the late 1970s, when we helped co-found the radical artist's collective Colab.
Beth B I've made over thirty films, some of them shorts, some features, some hour-long docs. I did eight-hour docs for television, then came back to independent filmmaking. I continue to move from one genre to another in film because the most important thing is the subject matter. I figure out what form it's going to take afterward. I approach studio art in much the same way, looking to the idea to dictate the medium. Sometimes the work is thematic and an installation may take on various mediums, like this exhibition at HOWL! Arts. I'm showing sculpture, photography, video, and publishing a book—Nudes. The show dislocates the concept of voyeurism, which has been described as a psychosexual disorder. But look at the world today. We're living at a time when boundaries surrounding privacy are questioned everyday, and so the show challenges the convention of this secret vantage point, allowing the viewer to choose their engagement.
Coleen Fitzgibbon Let's back up a bit. How did you start making films?
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