We spoke to pioneering artist Ulysses Jenkins about how he changed the way we look at video and performance art:
When I was painting a mural in Venice,, I got asked by a good friend of mine, Michael Zingale [if I would] be interested in his video workshop on the boardwalk in Venice. At first, I said, Well, what do I need that for? But my curiosity got the best of me, so I went down and started checking out that workshop and got something we figuratively called the “Video Jones”—getting attached to the equipment and technology.
, that I was actually already doing the griot. The griot was a storyteller for culture, for family events, religious events. In Africa, it was the person who came to the village and spread the news. So once I understood that, I realized that if I was going to keep doing performance, I needed a character. I needed a character that I could not only be proud of, but [that] could be representative.
[With Betye], the whole idea was, How do you perceive our culture from [an internal] point of view? Not many, if any, people were teaching that. To that extent, Betye was espousing that kind of expression in her work, and asking if you can identify with your own culture via the rituals that she’s presenting in her work. I think that’s the power you get spending time with her work.video, there’s a piece of Betye’s that’s in the exhibition section.
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