Julie Perini is endlessly curious. Her practice revolves around moving images, but utilizes a full quiver of strategies toward an equally far-ranging set of goals. The work–like Julie herself–is smart and funny, willing to try new things and thoughtfully self-aware. Even as she becomes more established in her role as a maker, organizer and writer, her curiosity and restlessness of form push her into new and challenging situations.
Graciously and unexpectedly, her responses in this interview touch upon several ideas I have been thinking through recently: the perceived mind/body split, the role of one’s hands in the realm of the digital and how to align the political, personal and aesthetic in ways that open up experience instead of closing it down.
Where do you come from? Specifically, how many parts of New York have you lived in and what initially keyed your interest in making art? Making videos in your basement? DIY shows in other people’s basements? An aggrieved political sense from infancy?
I moved around New York State from birth until age 29 in the following order: Poughkeepsie, Ithaca, Brooklyn, Buffalo, Oswego. There were brief stints in Florence, Italy and Juneau, Alaska in there too. I was a quiet kid and a voracious reader of books. As soon as I was able, I was writing my own stories and poems. I wanted to be a writer when I grew up. I was also a musician in various high school ensembles and in bands with friends and yes, the late 90s independent music phenomenon was a big eye-opener for a disaffected youth like me in the suburbs. What little interest I had in the type of music I was learning in school disappeared when I realized other kids like me were making music in their bedrooms with friends that didn’t have to be perfect and you could sing about stuff that was funny or actually mattered to you. I also made videos with friends using clunky VHS equipment my early adopter parents had, often for school assignments, like the hour-long docu-drama Nam: The Homefront, 1964-69.
Also I went to the public library often and took out VHS tapes of classic Hollywood films. I loved the clever banter between people like Katherine Hepburn and Spencer Tracey; those movies were so much better than the junk Hollywood was offering up in the 80s and 90s. I went off to college at age 18, wandered into a campus screening of The Red Shoes, had my socks knocked off, and keep going to see odd films at Cornell Cinema like work by Sadie Benning and Jennifer Reeves. I was hooked. At that time, Cornell only had two 16mm film classes that you had to sit on a wait list to get into, so I went to Ithaca’s public access station to learn how to use analog video editing equipment. I’ve been teaching myself how to use whatever equipment is available ever since.
You mention that some of your interest in engaging with community-oriented and more overtly political work stems from your own experiences with the FBI in Steve Kurtz of the Critical Art Ensemble‘s investigation. I know about this from reading things at the time and later seeing Lynn Hershman Leeson’s interesting film about the same. Can you detail your experiences a bit more and discuss how they impacted your making?
Lynn interviewed me for that film (Strange Culture) but I didn’t make the final cut. It’s a long story, but for now I can tell you this: In the summer of 2004 after my first year of graduate school at the University of Buffalo, the FBI issued me a subpoena to appear before a federal grand jury to testify as a witness for the bio-terrosism investigation of Steve Kurtz of Critical Art Ensemble (CAE). My part in this story is particularly amusing because the main reason that I can see the authorities called me in was because they found a note I’d written Steve that contained a line that said, “State smashers need to stick together.” So I explained what state smashers are to a Grand Jury. In an effort to understand why the community of artists around me in Buffalo was being scrutinized in this way, I read a lot of books about the history of the FBI, like Ward Churchill’s Agents of Repression, and this quickly led me to other resources about state repression of dissidents in the US. The FBI has been successful at halting the development of progressive groups like the Black Panther Party for Self-Defense and the American Indian Movement for example; these are facts that are well documented and well known. So this research provided me with a context for understanding why the government found CAE’s work so threatening. This wasn’t anything new.
At the time, this experience impacted my practice by making it difficult to focus on anything except the case and keeping my professor out of prison. In an effort to push past this creative block, I began shooting video with a small DV camera throughout the day in an unplanned, uncensored way. I followed most whims that I had and ended up making a lot of performance videos and diary material. I was inspired by people I’d been reading about from the Civil Rights Movement and resistance movements in the 60s and 70s like Assata Shakur, Fannie Lou Hamer, and so on. I figured that if they do what they did in their efforts to change their worlds (endure torture, ridicule, solitary confinement, etc.), I could push past my own personal boundaries and dance in public or whatever it was I had set my mind to do. After a few months, I reviewed a lot of this material and either used it to make finished short pieces or re-created some of what I had shot to make finished pieces. This became my graduate school thesis, Experiments in Immediacy. And this is still the main way that I make work — I follow whims, experiment a lot, and then review the resultant documentation and fashion it into finished works. I have an artist talk that I do called “Shoot First & Ask Questions Later” that discusses this approach.
Part of what would seem to distinguish Relational Filmmaking from other filmmaking practices is an emphasis on process over the final product. I think this is a commonality throughout your work: you are very overt in your direct communication with viewers. You speak and write directly to the viewer in many of your pieces and the way your materially-invested films are titled and presented very plainly addresses the process of their making at the outset. I’m hoping you might talk a bit about whether you conceive of these works as, on some level, being documents of the process of their making and about the relative directness of your speech/text throughout your work. Is clarity an important condition of Relational Filmmaking? Of politically-engaged art more broadly?
I am glad you picked up on this and asked about it. All of my work tries to strike a balance between process and product. Sometimes I feel like I hit a sweet spot with that balance and at other times I feel like things lean bit too much to one side. So I wouldn’t say that I prioritize the process over the product since I am invested in creating careful and considered experiences for viewers as well as designing meaningful processes. Yes, I do conceive of much of my work as being a document of its own making, or a record of its own making (thanks Peter Gidal). The handmade films in particular seem like records of what happened to them as they came into being. And yet, much of the processes that made those films are not recorded; a viewer wouldn’t know for how long I’d left Collaboration with the Earth in the ground, for example. This leads us to the titles and text. I decided to use text to tell quick stories at the beginning of each film, narrating the process behind each production. I think of this way of presenting material as a kind of Joseph Kosuth or Martha Rosler move, where I show viewers the same process in two different representational systems. This phase I’m describing is where one of the great joys of moving-image-making lies for me: looking at the results from experiments and figuring out how to shape them into something for someone else to view. I have to make decisions about the extent to which I let people in on the process and the extent to which I allow narrative or formal considerations to influence the final piece. I rely on text a lot to do that but I am always trying to find new ways strike that balance. Installation is pretty exciting to me right now because objects and materials communicate in an entirely different way from verbal language.
In terms of direct address, that partly comes from some of my earliest experiments with 16mm film in the late 90s. At that time what I thought was the most fascinating thing about film was that it could make a viewer feel something physically or even do something unconsciously. Horror films for example, make me cover my eyes with my hands during super scary parts; I can’t control it. Some really gross films make me vomit a tiny bit in my mouth. Amazing. So in the 90s I made short horror films, usually about people who had a vexed relationship to food. For example, in one film food inappropriately comes out of a character’s body parts like his ears and nipples. I am still interested in creating a sense of reaching out through the screen and directly touching a viewer. A lot of documentary filmmaking does that and so does advertising. I think of my use of direct address, which is mainly through text/titles and sometimes through a subject talking directly to the camera (usually me), as a way to openly acknowledge the relationship between the art object (the video, the film) and the viewer. Mainly to acknowledge that the relationship is there, it’s happening. There is something immediately funny to me about being this explicit.
Who are other Relational Filmmakers? Do you feel that this constitutes a “movement” or is the purpose of your manifesto a way to clarify your thinking on your own work?
The purpose of the manifesto was mainly to clarify my own way of working. I do not think it’s a movement although I bet we could find enough makers out there whose work isn’t adequately described by Bill Nichols to write an essay that argues there’s a trend towards relational work. Lately I have wanted to keep the tenets of the manifesto but change the name. The “relational” term seems to float fine in filmmaking circles but other types of artists and art people recoil; it seems to carry with it a lot of late 90s baggage that I don’t really need. I’ll get back to you when I find a better name.
What can Social Practitioners teach filmmakers and vice versa?
Good question. Filmmakers can teach social practitioners what they’ve learned over the past 100+ years about the ethics of working with human subjects as well as some techniques for effectively assembling and presenting visual/audio documentation of events. Social practitioners can remind filmmakers about the importance of being present and aware when creating an artwork with other people.
Will you talk a bit about 34 Years of Whiteness: Race & Ethnicity in the Work of Julie Perini? Why whiteness instead of womanness? Why whiteness instead of educatedness? Why whiteness instead of Americanness? Does whiteness in this context convey all those other types of privilege?
The Whiteness talk is a lecture I did a few months ago at the close of a show I had up at Place Gallery in Portland. It was inspired by an artist talk I had been at this past fall by a Native American woman. She talked about the use of family stories, tribal traditions, and indigenous language in her painting, sculpture, and installation. She both explained what motivated her to make work in the first place — preserving and celebrating her heritage — and she unpacked the symbols that recur throughout the work. I had this aha moment while I was sitting there: “Why don’t I ever give a talk like this? One where I talk about the influence of my family, my race, etc.? I give artist talks all the time and they are usually about some new process I’ve developed or some formal boundary I’m pushing here or there.” Then it all started to flood quickly into my consciousness, what a talk about race in my work would look like. In a moment I pretty much reviewed my entire creative output and reframed it through a racial lens. It was a big moment.
Think about it — the reason I had never given a talk about race in my work the way this Native American artist was doing was simple: I am a member of the dominant racial group in the US. Here, white people are just people: we are the standard, the norm, the universal. Our race is invisible. The lecture was an attempt to make whiteness more visible by pointing out the ways that my previous work constructed images of whiteness, of white people, of the white race, of white privilege. Since whiteness is invisible, particularly to white people, I needed a lot of help to see it and several friends of mine who are people of color graciously helped me out. You can imagine how awkward, beautiful, and hilarious these conversations were. “So, um, I am sure that this video I made shows some stuff about what it means to be white but I’m not sure exactly how it does it. Would you mind looking at this for me…?” I believe that our identity is expressed in all of the work we make, whether we intend it to be there or not. Art does more than merely express identity, but identity is in there every time.
The Whiteness talk was one of the best things I have done in years. The audience who came was filled with people interested in talking about identity in and around art. We had a great conversation. People want to talk about things like race; there just aren’t a whole lot of spaces where it seems safe to do that. All of my work is about heightening my own awareness in some way and now this Whiteness lecture is helping me to be more aware of myself as a white person. And while I am certainly informed about and interested in ideas about intersectionality, right now I have a lot of work to do to understand the more nuanced histories of white people and white art in the United States. I think it would be great to have a whole series of talks like you mention in your question — Gender in the Work of Julie Perini, Nationality in the Work of Julie Perini, Class… Ability… and someday: All Axes of Identity in the Work of Julie Perini. Great idea!
Your day job is as an Assistant Professor at Portland State University. Can you talk a bit about how teaching has impacted your practice?
When I’ve got a good group, an awesome class meeting makes me want to run out into the street, or home, or to my studio, to make stuff.
You have a new project your raising funds for now. I’m hoping (first) you might take this moment of pixel megaphone, blog soap box to turn readers into donors and (second) I’m wondering if you have any thoughts about crowdsourced fund-raising. Will Kickstarter endure or will we joke about it in five years? Is it a key component of new relational art? Should we resent the middlemen? What is this project about?
Sure! The Gentleman Bank Robber: The Life Story of Rita Bo Brown is going to be a short portrait documentary of Bo Brown, one of the members of the George Jackson Brigade. The GJB was a revolutionary group from Seattle in the 1970s that carried out a lot of militant actions —ie; bombings — to protest the Vietnam war, to show solidarity with workers on strike, and so on. The group often robbed banks to fund their activities, and Bo became known as “The Gentleman Bank Robber” because she demanded funds from bank tellers in a polite manner. She dressed so butch that the authorities were looking for a man for a long time before they figured out they should be looking for Bo. Eventually the GJB all did prison time for their actions but now they are all out. The GJB were like The Weather Underground but unlike the Weatherman who were mostly white, the GJB was a mixed sexuality, mixed race, and mixed gender group. I met Bo through a friend of mine here in Portland, Lydia Bartholow. Lydia has wanted to record Bo’s life story for a long time, to have more documentation of radical history from working class butch dykes like Bo. I am more than happy to help out with that project, so here we are. Our friend Erin McNamara is also working on the project. We are running a kickstarter campaign right now to raise money to fund our travel to Oakland, CA where Bo lives. We want to spend a week with her, interviewing her and her friends, documenting her life, and so on. I can’t say right now what the final product will look like but it may be more straightforward than most of my other work. Bo is so awesome, super down-to-earth and sweet but also hard as nails and brilliant, that I am psyched to be able to spend a week with her like this. We are about halfway to our fundraising goal â€“ please feel free to support The Gentleman Bank Robber!
In regards to crowd-sourced fundraising, this is the first online fundraising campaign I have ever done. It seems like it is good for a few reasons: (1) you can raise funds very quickly, (2) you generate excitement about your project and build a community around it before you even make it, and (3) you can get funds from people who don’t live near you. The first two were true before the internet and the third was true but more cumbersome to pull off. The main drawback seems to be that itâ€™s just plain annoying; I probably receive several kickstarter requests every week. I do not know what the future holds for crowdsourcing like this. I think we should ask Canadians what they think. Artists there seem to have an easier time accessing state funding to support their work. I heard that Kickstarter now channels more funding to the arts in the United States than the NEA does. That is not a good sign.
This relates as much to your own practice as it does to my interest in how artists conceive of their careers and the infrastructures they use to bolster their work. You’ve recently gone through a number of residencies (and have just begun another at Yaddo). How do these specific spaces and contexts inform your work? Does the Relational Filmmaker’s Manifesto dictate this kind of site-specificity?
In one way, this relates to your teaching question. I have a humanities/social science background, so teaching in art departments and art schools for the past several years has been like going to school all over again. I did not recognize it at the time, but during my undergraduate years there was this subtle idea in the air that thinking was what was difficult, important, and valuable; that’s what we did at school. Making was this base thing that happened someplace else. It was a manifestation of the unfortunate but common mind/body split we see everywhere in our culture. I’ve been unlearning that lesson slowly. And after several residencies where I’ve been able to have some heart-to-hearts with people who work with clay, paint, textiles, language, sound, and so on, my respect for artists and appreciation for what all artists do has grown tremendously. Artists practice fusing their minds and bodies so that they can act in creative, expressive, and investigative ways with materials, tools, forms, and ideas. Incredible.
I want you to talk about your (recent) interest in the materiality of film. This seems like a relatively late discovery considering how long you’ve been making images move. I’m interested in howÂ this more hands-on, process-engaged work has opened you up to new ideas. Part of what’s also interesting is that you bruise and beat the film such that–correct me if I’m wrong–the only time it’s ever actually projected, as such, is when it’s being transferred to a digital copy. How does film–as a physical thing–come to bear in other parts of your practice? What does it mean to be engaged in this specific form at this point in history? Have you taken an interest in the “materiality” of digital video, in its ones and zeroes?
Mingling with painters and sculptors for the past several years has made me way more open to both (1) working with materials with my hands and (2) seriously exploring formal elements. I learned about handmade film techniques through a workshop Pam Minty teaches at the Northwest Film Center and I immediately started to wonder what my usual repertoire of questions and strategies would look like as cameraless films.
I have taken an interest in the materiality of digital video, and analog video for that matter. I am constantly aware that these are all very different media created and transmitted through completely different means. I have not yet taken that fact to be the subject of a work but I appreciate that other folks like Evan Meaney are doing that, although he is doing that and much more.
What is the difference between creative activism (falling into something like living and acting politically as form) and political art? To me, one of the fundamental issues surrounding political art as well as documentary as a broader practice. How important are clarity, succinctness and overtness to communicating political ideas? Is there room for genuinely innovative and formally expressive work that is still oriented toward conveying a political idea? Compare, say, Frontline documentaries with those ofÂ Jackie Goss or Craig Baldwin or even Ken Jacobs, if the goal of a politically-engaged film is to convey a political idea, maybe formal innovation can get in the way? And if creating a complicated space in which a multiplicity of ideas and feelings and interpretations can flourish is a goal of much of contemporary practice, how does this muddle political meanings?
These are all useful questions you’re hitting on here, ones that have been considered for a long time either consciously or unconsciously by people with power and by people who want power. I think that Jen-Luc Godard quote makes sense here: “The problem is not to make political films, but to make films politically.”
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