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Journal Article
Camera Obscura (2021) 36 (3 (108)): 145–151.
Published: 01 December 2021
... Press 2021 Barbara Hammer Florrie Burke experimental film art estates and archives queer and feminist cultural history Figure 1. Barbara Hammer and Florrie Burke at an Aurora Pictures event honoring Hammer's work. Photographer unknown. Figure 1. Barbara Hammer and Florrie Burke...
FIGURES
Journal Article
Camera Obscura (2021) 36 (3 (108)): 137–139.
Published: 01 December 2021
.... Hammer's mission—to make it easier for self-identified lesbian experimental filmmakers to make work—has been upheld by Queer|Art with the generous support of Florrie Burke and the Hammer estate. Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 Barbara Hammer lesbian...
FIGURES
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
...Linda Liu Many US horror films made within the last thirty years feature haunted real estate narratives involving histories of land usurpation, territorial displacement, and other violence inflicted on socially marginalized groups. Insofar as the aftereffects of these histories recurrently manifest...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 227–265.
Published: 01 December 2001
... profile describes her thus: “She wears peculiarly characteristic clothes, and contends that she has succeeded in reducing the dress problem to a fine art,” and it goes on to enumerate the items of her wardrobe. A similar litany is repeated in almost all...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
... (1998) and Agnès Varda’s filmLes glaneurs et la gla- neuse (The Gleaners and I, France, 2000).1 Despite their stylistic dif- ferences, these multimedia texts can be traced back to what Hal Foster has identified as the “archival impulse” presently at work in international art, a mode of production...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...Alicia Kozma This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... their frustration with their intractable star, and they attempted several strategies to curtail her presence behind and in front of the camera. Yet throughout this archived struggle, Jones, like Betsy, was the perfect counterpart of the man in the gray annel suit, the Organization Woman, literally...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... commitment to women and film into a vocation. This is a distillation of our conversations in late summer 2012, as Zimmerman juggled real-­estate issues, negotiations with a Camera Obscura 82, Volume 28, Number 1 doi 10.1215/02705346-2016996 © 2013 by Camera Obscura Published by Duke...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 9–39.
Published: 01 May 2021
... in Californialand , Los Angeles County Museum of Art, www.lacma.org/art/exhibition/agnes-varda-californialand (accessed 2 February 2020). 38. Quoted in Gow, “Underground River,” 42. 39. Quoted in Stroman, Art and Life of Jean Varda , 4, 31. 34. See Sandy Flitterman-Lewis, “The Gleaner...
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Journal Article
Camera Obscura (1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
... 100,000 films, videotapes, kinescopes and radio transcriptions, the Archive is second only to the Library of Congress in the size and scope of its collection. The Archive's television collection was founded in 1965 under the joint auspices of the Academy of Television Arts and Sciences...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... to such prominent venues as Anthology Film Archives in New York, the Roxie Cinema in San Francisco, and the Prince Music Theater in Philadelphia. Ironi- cally, the publicity for the Illegal Art show ran the disclaimer “Used without permission” at the end of its Superstar blurb, a note that did not appear...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 112–147.
Published: 01 September 1985
...Abigail Solomon-Godeau Reconstructing Documentary: Connie Hatch’s Representational Resistance AbzguiZ Solomon- Godeuzl Above my desk, affixed to my bulletin board is a poster from an exhibition entitled Photo Politic which took place five years ago at P.S. 1 (The Institute for Art...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... and were contexts wherein thrift and pleasing and feeding family members were paramount. Lucas was unconventional in her exhortations, adamantly advocating that the traditional female province of cooking be embraced as an art and an outlet for creative expression. In this way, she exhibited unusually...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
... to federal funding for the arts had been draconian. In this regard, one could say that Daughters ofthe Dust is less a product of its time than a product in spite of its time. Yet, while it is accurate to characterize the climate surrounding most federally-funded arts work so bleakly, it is erroneous...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
...-bin, eds., The Handmaiden Archive Book (Seoul: Thatbook, 2016), 170. 2. Kim and Kim, The Handmaiden Archive Book , 170. 3. Park Chan-wook, interview by Ian Buruma, “Mr. Vengeance,” New York Times Magazine , 9 April 2006, www.nytimes.com/2006/04/09/magazine/mr-vengeance.html...
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Journal Article
Camera Obscura (1996) 13 (1 (37)): 187–237.
Published: 01 January 1996
... Industrial Complex) is to be applauded by progressive critics everywhere-and on NBC no less! When not pack- aging excellent sitcoms (Seinfeld, Frazier) and insipid news broadcasts (The NBC Nightly News with Tom Brokaw, which features, some would argue, a state of the art animatron itself...
Journal Article
Camera Obscura (1992) 10 (2 (29)): 91–129.
Published: 01 May 1992
... to information about their own sexuality and reproduction. The End ofthe Road was, in this regard, a dead end. NOTES I wish to thank the Museum of Modern Art and Dr. Byron Ruskin for access to The End of the Road; Lisa Cartwright for generously providing me with archival materials; Paula Treichler...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
...) and is currently working on a book project on Josephine Baker and the crisis of modern visuality. Paul Colin lithograph. Courtesy Estate of Paul Colin/Artists Rights Society (ARS), New York/ADAGP Skin Deep: Josephine Baker and the Colonial Fetish Anne Anlin Cheng In his 1898 essay...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... with classical art theory so that they are better prepared to “judge human form in three dimensions, evaluate all aspects of the deformity, visu- alize the finished product, and plan the approach that will produce an optimal result.”12 Codifying the aspects of such an ‘‘aesthetic sense...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... LLC, Hendrix’s official estate. Vivid so firmly stands behind its claim that the tape indeed shows Hendrix that it has offered a challenge of $100,000 to the Hendrix estate to prove otherwise. If the tape’s legitimacy is veiled in a mist of purple haze, so too is the story...