- HERSCHMAN Lynn, Roberta Breitmore, 1970-79.
— Jack Chipman, « Lynn Lester Hershmann/An Interview, » Artweek, v.3, July 1, 1972, p. 2. An interview with Hershman about her ideas on art and her use of multi-media. Extrait:
« J.C.: Are you a multi-media artist?
L.H.: I don’t know, I use whatever means I have access to to get my message across. I like idea of having freedom and flexibility in terms of different way of working. I don’t like to be limited to only one means of expression. I’d like to use all the types of media eventually, including video tape. It’s a vocabulary. It’s like learning a different language – once you have the facility, you can say what you want without any problem…
J.C.: It sounds like you’re into conceptual art. Will you ultimately abandon the object?
L.H.: No, I think objects are important. Besides there are objects in conceptual art. They’re part of the documentation process. But, I don’t consider myself a conceptual artist. »
— Lynn Hershmann, « Roberta Breitmore: An Alchemical Portrait Begun in 1975 », La Mamelle Magazine: Art Contemporary, no.5, 1976, pp.24-27. Text and photo documentation regarding the identity of Roberta Breitmore. Excerpt:
« Brief statement
ROBERTA BREITMORE is a portrait of alienation and loneliness. Her performance takes on the form of a real life drama based on real life., in real time. Her alteration is kept to a minimum. As Roberta becomes more real, the people she meets become fictionized types. The identities of the people Roberta meets are never revealed.She operates as would a sociologist, interviewing and noting reactions of the people who respond to her. She is, in effect, a mirror-magnet for a sector of San Francisco’s community. »