A recent dream (with apologies to David Hockney!):

Working at the museum, being fully engaged, and then seeing two more names—David Hockney and another white male—hit the schedule three years out in one of those rarissime slots to which we devote hundreds of thousands in cash, not to mention all our collective labor, time and materials.

I am sickened, enraged, embittered, and cannot hide my disappointment from the two assistant curators in the room. What a waste: heaping more laurels on those already crowned! All my resistance to this enterprise in its self-perpetuating, self-congratulatory mode surfaces yet again. 

Not Shirin Neshat, but David Hockney. Even both would be all right, but the conspicuous absence of women, of non Euro-Americans, of contestataires, roils me deep inside—and makes me want to flee again.

I wake up with the thought: cf. the importance of Nancy's conference!

My talk will deal with the dominant narratives—determined by major exhibitions in the galleries—and new media as a space to propose counter-narrratives, born of opportunities offered by exceptions in the collection.

"New Media as Counter-Narrative and Corrective", 23 Sept 2011

Here we go perfect.  The video is here.  Give me one minute and I will be set up.  We are going to get to this slide this a little bit but not yet.

>> It's a pleasure to be here can everyone see that okay?  This is the museum I happen to work.  The san FRANCISCO museum of modern art.  This is the second building inhabited in 1995 the museums 60's anniversary everybody had been all the curators had been working long an hard in ULT installation crews to install the galleries to create a whole brand new museum that was on the scale two to three time it is size of the older building we had been in.  No one had any band withwhatsoever to pay any attention to me off on the sidelines off budgets doing this kind of quiet pilot project known as interactive educational technologies.  We didn't even know what to name it at the time.  As a result I was basically left on my own and they said sink or swim and do what you have been talking about this thing for years.  This opportunity to use multi media to try APBG late the space in which people can under stand the works an the collection.  I am about 20 volunteers we did this crazy Bing that brought three multi media programs to fruition in 7 months when the museum opened.  Basically the freedom I had was to operate on the margins of the institution and under the radar and as basically as I saw fit having already been a curator across department's ‑FPT when we opened in 1995 we graduated like our museum was like so many others.  We had commenced.  We commenced into the full fledged world class modern art museum in a way that we couldn't have been in our old facility.  That had everything to do with our ability to have permanent ongoing collection galleries an a ‑‑ told a story of modern art history this is not even the building is the monoyou mental new presence on the landscape an the cover of the yellow page an all of those things the new cultural institution and the Bona Fides they were entertaining.  Some of the ‑‑ in the back and the greet on the left we're not yet a ‑‑ the fountain.  We are not yet in the collection.  These came later as the discrepancy between the world class building and the gaps in our ability to tell the coknock ‑L story became flagrant.  One of our trustees wonderful and very inspired older women ‑‑ donor said well what do we need to fill the gaps.  Tell that story if that's what this ‑‑ galleries is going to do let's do it.  There we have a ‑‑ for instance.  So these were the this was in a sense these were the milestones ton I tin rare of the path of the galleries.  Right?  And there was one conspicuous exception we did have an early FRIDA self portrait with DIEGO which had been painted in san Fransisco.  And in other, other works by women artists obviously there were not the ones trumpet it had most as we portrayed ourselves to the outside world.  In solo exhibitions it was unfortunately the same story all of the artists on the left an right on that matter artists we devoted monographic exhibitions those special exhibitions we are talking about and the major monographic exhibitions we have done of women artists were I SR‑P done a complete systematic audit but these are the three that come to mind as I look over the past 15 years.  So where was the space in which women could live actually in their own terms?  And it was usually off in the margins in small Newark projects.  This quote from ‑‑ the central figure of art historical discourse is the artist, who is presented as an inEF fable ideal which complements the B O*RBGURGEOIS myths of a universal class less man.  A narrative that was made in our galleries not always but often.  So how to represent women artists in a world where the physicality of the museum is so heavily weighted in the direction of the male market stars, right?  Well I did tell you a little bit in 1995 when we were off in this marginal space an no one was paying attention everyone was obsessed on how the gallery was going to get installed.  It gave us a ‑‑ that would be a bad connotation.  Certainly it gave us room to breathe and room to think in our own terms, one of the ways we did that was through this early program which became a CD ROM.  Anybody remember CD ROM's?  Called voices of images of California art.  In which partly on purpose but really also by chance we ended up having more women artist than men artist.  And the only litmus test was the artist in our collection?  It didn't matter if they were dominant or prominant in the galleries.  Whether it was someone who was going to be view at some point?  As a matter of fact that CD ROM is still in print.  You can't play it on a Mack any more because we know longer have that operating system.  That's what happens when new media gets old.  It was remade for the web though years later when we saw when we realize id it had a limited shelf life.  It's on our website and I am going to go into a couple different moments of it.  It was really the opportunity was to open up a space of discovery that wasn't that wasn't the doctrine TPHAEUR story.  It was especially about living art.  I must plug in sound one second.  Where's the sound.  Here we go right here.  Okay let's go back.Er

>> So the idea was rather than cod fying the particular narrative we were going to open up the space to the users of this site could actually make their own determinations we are going into the archive and we were going through a rich ore of material including at the archives of American art about many of the these artists then we pick out the thing that is we thought showed light.  The golden nuggets that would favor an understanding more readily than others.  This is an early self portrait.  Here are some of her pictorial list neo ‑‑ including the man who was going to be her husband and father of her children.  ‑‑ we are move ing into the F 64 sharp focus world.  Here 23 she's also SUR realism has already comed up already and we are looking at mirrors an her twins an then going into and you can see how she an ever are sharing concerns of formal and then sculptural qualities of in her case flowers an plants.  And nudes.  And then portraits and even elders like that.  Or G E R*RBGTRUDE Styne passing through on her book tour.  And her father at 90 and so on.  So then we also had in each one a photo album which was photos of artists to make them into a person or a presence and an embodied being of their own right moving through their life and that continuum as well.  This is a photo by ‑‑ of imaging.  With W‑RBGOEGEE I love that one.  Then with her PWRAOUD.  With an sell Adams or the title of honorary of west coast photographer in western beech in caramel an so on.  You begin to see the person and there's also a scrapbook and they're letters by the artist an correspondence between her an Georgia oh KAOEF and correspondence about the western ‑‑ I'm not going to go into detail on these, each of these by the way I can go in far enough that you can see that you can zoom in and handle the document and you can I will show you a transcript of it.  Then the scrapbook has something that I think is worth bringing to the attention of this group today.  There was an article by Cunningham called photography as a profession to women from her sorority journal of January 1913.  I think it was here we go we will move in on it and these are all readable.  I am going to the second paragraph.  Fortunately we have the long pause ‑‑ this is the first waive of feminism we are talking about here in the 1880 and 1920.  Fortunately we have long past the stage when there's any disgrace attach today work.  If a women wishes to work she's not regard today eccentric.  If she's obliged to it's not a misfortune.  Women have all fields of endeavor opting to them ‑‑ stand point of suitability or for the individual or the sex there's questions to be asked.  Why women for so many centuries so you have been supposed to be fitted into the arts or industry of the home are hard to understand that they have done the simple duties well an shown by the thousands of wonnerful embroideries an textiles of ‑‑ which men they have merely done with patience the task assigned.  Even this has been a training and who shall say that women are making every year in their professions they are unfitted for them they should be brought up with the only 3 K's and ‑‑ it's hardly probable that men if they have been deprived of personality an limited in opportunity as women we are making greater success in the arts and professions.  Go IMOGEN.  And then I think I want to go ahead to another page and I need to see ‑‑ here we go.  Women are not trying to out do the men by entering the professions they are simply trying to do something for themselves.  Anyway there's plenty more in here and they are photographs an so on.  So each of the artist ins this program has this range of material ranging from a minioverview retrospective of their art work to photographs of them to documentary about something salient in their lives.  I am going to go one moment in ‑‑ we are going to by pass the video which I also like.  I am not going there.  We are going to go to her relating to her subjects.  First I am going to say this was audio this is an old days of oral history when oral history was only made to get a transcript.  Often they then erased the tape.  It's just by chance that this interview from 1964 the last year of her life survived and wasn't erased to be taped over.  Someone asked her the interviewer asked her how she established such a repore with her subjects.  There's probably like a wall an the reel in a middle of a table and so there's noise all over the place and you can barely make it out and we did some treatment of it to try to improve the sound but you will hear lots of Doppler effects an all kinds of things we decided it was more important to have the voice in there than to not do it.  Here's dorothea on how she established the repore with her subjects.  It's that spirit of generosity that we can all strive to em you late.  I was reading another GRISELA's essay of in the early 1900's he was saying that the advent of the public museum TKUGS a disservice because hit strips away the content.  My argument is many of our museums do the same thing.  It is doubtful you transfer the net W‑RBG of ideas an relations that made the works alive with interest.  Their essential merit depended ton brief beliefs to created them.  On the ideas that which they were tied to the circumstances that explained the community of thought that is gave them their unity.  We find ourselves once again in a situation in modern an contemporary art museums where this is the case.  I would say the gallery completely mimics that.  Modern art as we know as anyone who is an art historian or someone involved in museum practice has physical aspects and it has a process of making it.  It has relationships to it's original maker to the ideas to that maker and the time to other works by that maker an by that maker's peers, to document journals ‑RBG letters after sketches that an art historian might devil into an archaeological way to unearth what the concerned were when that art was made an per happens to the media that was created around that artist if that artist is a 20th century artist or to at least or 21st century artist, to a whole concept of methods of approach and understanding.  All of these things are help, are how we situate and create and evoke the narratives an the potentials an the meanings of a given art work.  If you think about the gallery we strip away the process of it's making because that's not visible in any form unless you know something about it and relationships to it's maker and it's time are only really evident in a monographic survey of a single artist exhibition or to the extent that a collection has rich representation of other art or art works from the same period or same context.  It can contextualize that per happen that is can become clear.  It's even if you put a ‑‑ next to a ‑‑ next to a they are each so different in their approach to image making that they really don't provide a context for each other unless you come in there understanding what abstract expressionism was an what was motivating these artists.  Documents are obviously invisible in the gallery and media are with held for the most part, and even methods of approach and understanding are usually reduced to if you are lucky two to three sentence or one paragraph or two paragraph label.  Often tombstone label artist media and do nor date.  We are left with physical aspects as in this context that our visitors are confronted with you know with what David calls sometimes wall obstructions an what we call works of art.  So there are there's a continuum between experts an novices the differences is an expert brings with him or herself that world of that con STAlations of ‑‑ and the novice doesn't have it.  And somewhere along the line we have to move in there and restore some context not in an exhaustive or patronizing or over determining way and say this is what this means.  It can mean like an open way like in the voices an images.  Here's some images an here's some letters an archive and make the sense of a person.  The other way we have done is it has been in the program of making sense of modern art.  What I often wanted to call making sense of modern art not so much to kill it.  The operative idea was to make it multi vocal.  Instead of having the single label having three different ways of approaching an art work to show to imply that by extension if there are three ways there might be five or six or ten or 20.  We are not going to go into the program if depth.  I am going to show you a few screen from it.  This is a screen about the sculpture the nest.  There are three did I have friend questions you can clip on the image and the center an go into the zoom of the art work so you can bring it up close and personal incase you are accessing it from off site this relates to some of the conversations we had about websites an how you can have perhaps some kind of aer PEUF any experience and that also to use the idea of interrogate to use the interOGtive I think ‑‑ something we definitely used why a spider why would they be interest ed in a spider as a form?  Is PW‑RBG O*RBGURGEOIS a feminist?  Different perspectives on that.  We were talking about that last night.  On the one hand she's clearly a feminist on the other hand she's classify herself as a feminist and she talks in disparaging ways about women who don't cook they, and I don't know how you say ‑‑ in English I'm not sure and so on.  We go into depth by artists where we go into reproducing in‑depth books that are in our library and collages and montages.  And we do have Judy Chicago because her dinner party was shown for the first time at S F M MoMA on the bet.  I think the director WEBT to her studio and saw the activity in LA and said if you ever finish it we will show it at SF MoMA and Judy Chicago called him on that and said it's done.  We interviewed her when she was coming in to san Fransisco she talked about that.  She talked about the rejection an we have her talking about that.  Whit any Chad wick talking about women in SUR realism.  Then we have and the other thing that we do is we actually do not restrict ourselves as art historians we welcome art historians we welcome outsiders an poets an musicians an guest tapes an pod casts an reflect OPBG the art work with their own creative responses and then we also when ever we have a practice of when ever possible if an artist is in our collection and they come to town we sit down and we interview them.  Here is Doris installation that shows it's very hard to see installation view because what you see is these little niche ins a white wall an behind those niches are shoes but we are going to learn more about that in a minute.  We are going to have her an then we have questions around this whose shoes are these?  What kind of memorial is this?  We are trying to keep this open ended but we do want to give the artist an opportunity to speak.

>> Waiting for more of these to come that was a miscaptioning there.  So similarly we have been able to one second ‑‑ interview other artists like Ann Hamilton an her inspiration inTKEU go blue.  ‑‑ significance was not their object hood but their capacity to incite meaning and activate thought.  Very much with the case with the installations with Ann Hamilton and the process of laboring and ‑‑ a person actively sitting in the galler erasing pages out of a book all day long while the visitors go by in front of this pyramid of blue ‑‑ bring the voice of museum to the archiving of incidents and actions subversive of the museums own paradigm.  An artist in our collection who's work has TPOT been shown at the time of the museum.  It's acquired, it's in storage HELENA she was in san FRANCISCO.  She's in the collection.  We interviewed her and we were able to create and insert her narratives including on when we had an art cast on virgin American airlines we did wall drawings and Richard Sarah splash pieces and Matthew bar any an carry james marshall and I'm going to show you the video of the HELENE breaking here's speaking about it in the conservation studio.  Let me click on that and I will end with that.

>> I felt that there were millions of artists who were making their Marks and I sort of felt that the after tract expressionist said it all with abstract art in a way.  I felt it didn't matter if the yellow was put in the one corner or top corner or bottom corner.  I didn't think it mattered that much.  I liked a lot of artists.  A lot of it seemed ‑‑ to me.  I wanted to see what would happen if I was the artist who did not let me make my Mark.  I let them tell me something I did not know.  I pour it had oil in a straight line.  I made these rules for myself.  It must be one an a half gallons of oil for each six foot by eight foot piece.  They are on the floor I must try to do it in a straight line.  I wanted to see who would happen with each one and so in this one there it is it's all very centered and it broke in the center and you can see how it's falling down how it's sort of dripping down.  There was like a square of wood, open square put ton floor and then this big paper attached to flex S*EU glass was put on top and that weight of the oil made the oil more ‑‑ in one spot.  When it was lifted up by four people after many months it would be lifted up because the skin on the outer layer was dry but underneath there was more oil in the center so if you lifted it up all the wet oil would be cascading down until it got contained in it's oil sack and it could be like an am knee yachtic sack.  It was extremely messy.  It was at the time of conceptual art.  This very very messy kind of oil would gush out.  I would invite people to the breakings almost like the birthing where they came to see it.  It was extremely female.  I felt like my work was feminist in a very subtle way.  It was a matter of not being the master of making the masterpiece or the mistress making the mistress piece.  It was a matter of letting something else an giving up control.  I felt it was a feminist act actually.  I was just invite people to come to a breaking to midwife the image.  And I use those words which perhaps caused some people to shudder owe my god and some people say I want a midwife in an image.  I tried to ‑‑ sometimes it would break all of a sudden and they would be disaPOEUPed of course they would remark about that.  Other times it lingered and they would wait and be out of breath owe my god when is it going to break and they would hope it would linger it was very sensual I must say.

>> So I look forward to the time when we actually will show her breakings at the museum.  Thank you.

Respondents Nicky Bird and Nancy Proctor

>> We want to thank michael who is going to make it possible to stay in here later so we can have a final conversation about peters presentation.  I am going to be joined by ‑‑

>> Well, so I am just sitting there thinking about both of you have been involved with ‑‑ representation of born digital art and we worked on an early piece of her called head herrings which was in part it was a photographic installation an also ‑‑ how many ways when I think about those early websites that we built the early interactives how innovative the interfaces were and there were no rules yet and there was no best practice an we tried all sorts of stuff and NIKKI AO*ERBGS site had no navigation bars you had the figure the thing out.  It was a game and it was you had to figure out what questions to ask and you explored and you found things by surprise.  And I was just thinking you know I'm not sure we were work anything 14 K dial up modems then.  We have gone beyond that and have regressed a little bit as the rule haves been put in place.  I am curious to hear both of you reflect on that and again kind of with your feminist intervention NIST perspective on what is that mean?  Going back to Catharine's the new media not yet an old boys club.

>> What does that mean?

>> Yes?

>> I don't know I thought that to end this day with you has been it's been a fantastic day an fantastic set of journeys an questions about judgments an having made those judgments and REESA say wag other question K‑S we ask the technology that's available.  And I was when you were doing this demonstrations of the called the interactive educational type of things thinking about what kind of conversations happened after this content ‑FPT it was in the artist voice coming out this way and finding it with an artist voice on you tube who has been collected by major institutions that is not available to the public to end on that quandary.  I am going back to ‑‑ we see strange use of new media now.  You realize when you talk about something that's new media we are already battling.  You were talking about having to consider now those are ‑‑ CD ROM's thinking about that god yes no one is going to access those in a few years time as it becomes another kind of dilemma about what that work is when it's in technologies and they move on and go forth.  The questions that obsolescence in how access to information an access to kind of intervention and can be shut off by technology in tear own decisions of not gettings and all of those things.  It's also that kind of thing about play and experimentation and it not being a kind of heavily regulated or interested field at certain point which was what you were talking about.  You got get buildings to get on with and then in the meantime looking at these other ways of how do we get this information across where it's not just dependent on with a you enter in on the gallery wall.

>> In fact it's not just the women artists missing it's the information that's the content that's the worlds from which all of these art works originated.  Beit male or female for the experience that don't carry that with them.  To go back to your question a little bit nancy I think that the one place where that kind of innovation and in experimentation with the interTPAEUGS continues in France in R E E S A ‑‑ exhibition when site you see how the American websites are more blogged based.  There's the counter to that when you get INNOVATIVE like that then often they are not accessible.  That the blog based sites are far more accessible and so there's a trade off there and also there's also a longevity factor the more long the ‑‑ the more likely they are pain TAEUPBed over time.  The exhibition an the archive of the exhibition will be able to be consulted 15 years from now an it won't be locked out like CD ROM's have been.  There's a total trade off there.  I mean I too miss the you know the graphical innovation and artistry of so many of those early CD ROM's where you were kind of create ago new KOZ PHO for each one or the website that is are more experimental before things are cod fied.  I also see the trade off with the greater accessibility what's ironic is of course that your story of how when the museums in the web you tried the make it a criteria for the best of the web category that they be accessible an inspite of the lack of the imagination and only two websites qualified.  It's not like we are actually getting the benefit of that gain.  The idea of moving in a direction where more voices can be accommodated an where a user ‑‑ the installation shop that is REESA raised the installation views.  Websites in the past we are finished just the way the exhibition was finished the day you turn the lights on and open it to the public ‑PL obviously the installation views happened after the exhibition opened.  One can imagine for installations to be added in time even potentially after the exhibition goes down.  I mean it dozen even have to be up, there might be people still afraid as ‑‑ they are if they see it all on‑line they aren't going to see the show.  Obviously that's an argument that's been flogged for many years now.  We have proven that's not the case it creates curiosity.  If people have a problem with it with can observe the moment of posting until after the show is over and still build that into the site architecture for later on.  I think we would all benefit from that.

>> On the subject of exhibition installation and about REESA is talking about this is history and certain practice a very practical note is that thing where when you are in conversations of artists an emerging artists how is this object displayed?  How is it displayed so you can see a good documentation of the art work.  You are not always again, that kind of missing context about what is the view the bodily relationship with this piece of work in a particular space that's why it's fascinating that thing about the exhibitions shifting the gays an having that different experience from venue to venue.  The decision that is were made, but also for artist that is came out how were these works displayed because that's also generated some of those kinds of debates, the debate that is have had with the audience which obviously you don't, you won't get that fully with and not to replace the websites to replace those things.  It seems that that's another kind of Marker are saying this is how the audience experiences this work and series of works an how the shapes the kind of meaning as well.

>> The installation defines the gallery.  As you give views of installation especially if you can give views of it.  Look at the limitations you can't see a thing in that installation without doing zoom views.  ‑‑ you can get a sense of like what it's in that gallery.  It's just confined to it's frame or that spot you don't know how it was installed and what it's next too and what the relationships were and the constellations an meanings that were installed alongside it in terms of any, there's the web is a different space.  It's a different thing.

>> I am wondering what you both think the role of voice is in that space in a more literal audio sense.  You know I love the way that really thanks to your efforts peter SF MoMA has built up this amazings video archive now in high DEF of artist interviews.  If your museum is not out there video every TKAG gone artist walking through the door you are make ago mistake.  I am wondering what you are thinking the role of sound is going to be like as we move forward in these digital spaces on‑line and you know as soon as I say that I also think about I supposed the back of my mind the questions peter about creating experiences, spaces for experiences in communities and if audio voice has some role in that what options or have you seen any strategies or good models for parallelling that for people who won't be able to physically hear that voice?

>> Well, classically what we have done with our video clips is close captioned them and that's what we did with the DOROTHE audio clips we put closed captions in.  It's not the case with the you tube clip we saw.  I think at this point I think we are back onto that track.  In terms of audio I mean when you talk about the audio voice and spaces of experience an audio experience I think in particularly in the galleries I think on‑line in the galleries video is no longer a preferred medium because you want people to be able to look at the art and not be looking at their screen.  So the augmented reality most ‑‑ can they be something other than purely TKEU TKABGT tick.  Can they be something on the one hand there's something to be said for providing guidance to looking at content.  You want to be able to complicate that also and open it up in more expressive ways perhaps by other artistic creative intervention that is come in an angle an reflect an art work in added dimensions to it that's not, not to look at everything for a formal list lens or historical lens and say these are the only ways in which these objects mean something.  Of course this is where you should be talking about ‑‑ and space and how do you create space effective where by other visitors can be primed to add a voice that actually augments rather than dilutes.  The experience that you are having in the moment in the presence of an art work.

>> That's really interesting thank you for bringing that up.  You are right it's an example and just for those of you who might not be familiar with it.  There's an app in I tunes called SKAEUPs.  In fact we have been working with him recently.  He just started a Smithsonian fellowship here.  He worked with us to reskin that application for our Smithsonian museums on main streets traveling exhibition programs.  These are exhibition that is go all around the U.S. to small towns to taking the Smithsonian to where ever people are.  They want today collect oral histories from the people who live in these small towns for what it's like to life there.  His platform is open source and he helped us reskin it ander it's being featured if I tune this is week.

>> That means someone will actually find it and down load it.  I hope you will be among those.

>> End of commercial.  It's called stories from main street.  And that use was actually inspired by Beth who came to me asking about ‑‑ museum and objects through the Smithsonian on‑line and making them available in other ways and what was the best way to approach that.  The Smithsonian has something around that's hard to count and it's hard to know how you count.  So we worn going to be able to hire a team ‑‑ ‑‑ through his installation how you could create a scaffolded experience with questions beautifully question that inspired people meaningful generated content.  So what I love about that whole story is that it started with an artist and it was inspired by this accessibility need and where we have arrived at is something that serves everybody because I think everyone's going to find it fascinating to hear how other visitors to the Smithsonian are experiencing an seeing the objects here.  Although the new media world is visually heavily that the audio components is still incredibly important.  That's kind of why I was asking about that role of the audio per SE in digital experiences from your points of view.

>> What this makes me want to do is actually invite an artist so go through our collection and all the place that is we have a mobile multi media tour stop or other places as well have them formulate questions about art works in the collection.  You know the way they put out poetic questions in a way in a ‑‑ so it's not us asking you know what do you think's going on here or this or that or the other.  Some silly education type question.  

Bio

Peter Samis is Associate Curator of Interpretative Media at the San Francisco Museum of Modern Art (SFMOMA). In the early 1990s, he served as art historian/content expert for the first CD-ROM on modern art, and then spearheaded development of multimedia programs for SFMOMA's new building. Since that time, he has participated in each new wave of interactive publishing, from broadband websites to podcasts, from video interviews to mobile apps. He is currently embarked on a research project focused on best practices in museum interpretation (including analog, digital, pluri-vocal, participatory, and social).

Samis holds a BA in Religion from Columbia College in New York, and an MA in the History of Art from the University of California, Berkeley.

Relevant links

Voices & Images of California Art

Dorothea Lange: http://www.sfmoma.org/explore/multimedia/interactive_features/14

Jay DeFeo: http://www.sfmoma.org/explore/multimedia/interactive_features/8 

Joan Brown: http://www.sfmoma.org/explore/multimedia/interactive_features/6 

Betye Saar: http://www.sfmoma.org/explore/multimedia/interactive_features/19 

Imogen Cunningham: http://www.sfmoma.org/explore/multimedia/interactive_features/7 

Making Sense of Modern Art

Judy Chicago: http://www.sfmoma.org/explore/multimedia/interactive_features/69 

Doris Salcedo: http://www.sfmoma.org/explore/multimedia/interactive_features/68

Kara Walker: http://www.sfmoma.org/explore/multimedia/interactive_features/70 

YouTube

Helène Aylon: http://www.youtube.com/watch?v=oNoNOdqJC0I