Tessa Hughes Freeland

Tessa Hughes-Freeland is a British-born experimental film maker and writer living in New York City. Her films have screened internationally in North America, Europe and Australia and in prominent museums and galleries, including the Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, the New Museum of Contemporary Art in New York, and the KW Institute of Contemporary Art in Berlin. She has collaborated on live multi-media projects with musicians like John Zorn and J. G. Thirlwell. The co-founder of the New York Film Festival Downtown in 1984 and its co-director until 1990, she later served as President of the Board of Directors of the Film-Makers Co-Operative in New York City from 1998-2001. Hughes-Freeland has published articles in numerous books, including “Naked Lens: Beat Cinema” and “No Focus: Punk Film,” and in periodicals including PAPER Magazine, Filmmaker magazine, GQ, the East Village Eye, and Film Threat.

Hughes-Freeland works in a variety of formats and mediums, and her films have been shown in diverse venues, ranging from internationally prominent museums to seedy bars in gritty neighborhoods. Her work frequently confronts acceptable normality in transgressive and sometimes provocative ways. Hughes-Freeland's website describes her work as "confrontational, transgressive, provocative and poetic". The critic Jack Sargeant wrote that Hughes-Freeland "approaches filmmaking in a multiplicity of styles, ranging from classic narrative to experimental 'performances' and even a documentary."

Hughes-Freeland was part of the No Wave Cinema movement that began in the mid-1970s on New York City's Lower East Side, which included Scott B and Beth B, Richard Kern, Nick Zedd, Jim Jarmusch, Tom DiCillo, Steve Buscemi, and Vincent Gallo. In the 1980s, this morphed into the Cinema of Transgression, in which she and other Lower East Side artists and filmmakers created no-budget films and art that contravened prevailing conventions of American society and challenged established, "correct" cultural norms. Among the earliest admirers of her work were the controversial, celebrated late artist and activist David Wojnarowicz, who bought her a super 8 camera for her filmmaking, and the writer, critic and curator Carlo McCormick, whom she later married.

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