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feminist art

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Journal Article

Modernist Logic in Feminist Histories of Art

Amelia Jones
Camera Obscura (1991) 9 (3 (27)): 148–165.
DOI: https://doi.org/10.1215/02705346-9-3_27-148
Published: 01 September 1991
... Untitled (It’s our pleasure to disgust you) (Barbara Kruger, 1990) Modernist Logic in Feminist Histories of Art Amelia Jones Vision and Difference: Femininity, Feminism and the Histories of Art, Griselda Pollock. London and New York: Routledge, 1988. Visual and Other Pleasures, Laura...
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Journal Article

An Editing Room of One's Own: Vidding as Women's Work

Francesca Coppa
Camera Obscura (2011) 26 (2 (77)): 123–130.
DOI: https://doi.org/10.1215/02705346-1301557
Published: 01 September 2011
...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...
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Journal Article

How to Suppress Women's Remix

Francesca Coppa, Rebecca Tushnet
Camera Obscura (2011) 26 (2 (77)): 131–138.
DOI: https://doi.org/10.1215/02705346-1301566
Published: 01 September 2011
...Francesca Coppa; Rebecca Tushnet Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
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Journal Article

Scholarly Critiques and Critiques of Scholarship: The Uses of Remix Video

Kristina Busse, Alexis Lothian
Camera Obscura (2011) 26 (2 (77)): 139–146.
DOI: https://doi.org/10.1215/02705346-1301575
Published: 01 September 2011
...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
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Journal Article

Photography, the Archive, and the Question of Feminist Form: A Conversation with Zoe Leonard

Huey Copeland
Camera Obscura (2013) 28 (2 (83)): 177–189.
DOI: https://doi.org/10.1215/02705346-2209952
Published: 01 September 2013
... lens, Leonard works from an implicitly queer and feminist perspective that puts pressure on both hegemonic modes of seeing and our ways of narrating them. Such concerns have similarly animated the work of art historian Huey Copeland, whose writing explores the ways in which forms of cultural difference...
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Journal Article

The Ins and Outs of Female Sensibility : A 1973 Video by Lynda Benglis

Susan Richmond
Camera Obscura (2008) 23 (3 (69)): 81–109.
DOI: https://doi.org/10.1215/02705346-2008-008
Published: 01 December 2008
... the historical and contextual significance of these questions, I situate Benglis' video at the intersection of three visual histories in the US: that of early video art, seventies feminist art, and mass culture pornography. Although Benglis is primarily a sculptor, she turned increasingly to video in the early...
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Journal Article

Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann

Soyoung Yoon
Camera Obscura (2021) 36 (2 (107)): 175–183.
DOI: https://doi.org/10.1215/02705346-9052914
Published: 01 September 2021
... fantasies” in Schneemann's work, the essay proposes a shift in feminist art historiography and its projections on Schneemann the artist. The essay asserts Schneemann's tale as a cautionary and self-reflexive one for those who come after, the would-be-daughters, who would negate the body, the struggle...
FIGURES
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Journal Article

“I’m Washing My Dishes and Making a Movie”: Anne Charlotte Robertson and World-Making as Women’s Work

Anjo-marí Gouws
Camera Obscura (2020) 35 (3 (105)): 60–87.
DOI: https://doi.org/10.1215/02705346-8631559
Published: 01 December 2020
... of repetitious drudgery that inevitably ends in failure. Close readings of Robertson’s engagement with diet and exercise are considered within the larger genealogy of women presenting their bodies for measurement in second-wave feminist art. This form of gendered labor is in stark contrast to the second...
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Journal Article

Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist

Emily Watlington
Camera Obscura (2022) 37 (1 (109)): 91–113.
DOI: https://doi.org/10.1215/02705346-9561437
Published: 01 May 2022
...Emily Watlington Abstract This article considers the often‐overlooked role that disgusting imagery plays in the work of Swiss video artist Pipilotti Rist. In immersive installations and in single‐channel videos, Rist updates abject feminist performance art of the 1960s and 1970s for a media...
FIGURES
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“The Criticality of Activism Needs to Be Applied to Art”: A Conversation with Jemima Wyman

Jasmina Tumbas
Camera Obscura (2016) 31 (2 (92)): 195–203.
DOI: https://doi.org/10.1215/02705346-3592554
Published: 01 September 2016
... feminist punk and activist art group Pussy Riot and its supporters, incorporating photographs of protestors in colorful balaclavas sewn onto different pieces of secondhand tie-dyed­ T-shirts.­ 2 Among the images are photos of protestors being arrested by the Russian police and holding pro- test...
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Intimate Connections: Alternative Communication Threads in Nina Sobell’s Video Performances and Installations (1974–82)

Cristina Albu
Camera Obscura (2020) 35 (1 (103)): 39–75.
DOI: https://doi.org/10.1215/02705346-8085111
Published: 01 May 2020
... thresholds between body and mind, self and other, nature and culture. Copyright © 2020 Camera Obscura 2020 Nina Sobell biofeedback cybernetics feminist art nonverbal communication participatory art Figure 1. Nina Sobell, EEG: Video Telemetry Environment (also known as Brainwave Drawings, 1975...
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Journal Article

Martha Wilson: Not Taking It at Face Value

Jayne Wark
Camera Obscura (2001) 15 (3 (45)): 1–33.
DOI: https://doi.org/10.1215/02705346-15-3_45-1
Published: 01 December 2001
...Jayne Wark Camera Obscura 2001 Jayne Wark is associate professor of art history at the Nova Scotia College of Art and Design in Halifax. She has published papers on conceptual, video, and performance art and is writing a book on the history of feminist performance in Canada...
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Journal Article

The World and the Soup: Historicizing Media Feminisms in Transnational Contexts

Kathleen McHugh
Camera Obscura (2009) 24 (3 (72)): 111–151.
DOI: https://doi.org/10.1215/02705346-2009-011
Published: 01 December 2009
... the contributions of women filmmakers and the influence of feminist thought might be registered within these paradigms, gender and feminist political analyses are not integral to their geographic and discursive rationales. Feminisms' historical roles in industrial, national, and transnational independent, art...
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Journal Article

Feminism 101: The New York Women's Video Festival, 1972-1980

Melinda Barlow
Camera Obscura (2003) 18 (3 (54)): 3–38.
DOI: https://doi.org/10.1215/02705346-18-3_54-3
Published: 01 December 2003
.... There, in 1998, according to two grad- uates of the Feminist Art Program, Mira Schor and Faith Wild- ing, the history of that program was physically purged from the school’s memory when catalogs for the collaborative environ- ment Womanhouse (1972) were thrown out because there was no place to store them!5...
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Journal Article

Pleasure Aesthetics: On the Art of Mika Rottenberg

Shannan Hayes
Camera Obscura (2024) 39 (2 (116)): 71–102.
DOI: https://doi.org/10.1215/02705346-11207815
Published: 01 September 2024
... of enmeshment within the viewing experience. Rottenberg's art recasts what we might understand not only as the political affectiveness of contemporary art but also the role of aesthetics within feminist practice and critique. This theory of political aesthetics privileges the value of sensible revitalization...
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Art on Film at Finch College: Reproductive Labor in the Enrichment Economy

Tim Ridlen
Camera Obscura (2023) 38 (1 (112)): 81–101.
DOI: https://doi.org/10.1215/02705346-10278600
Published: 01 May 2023
... turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an “enrichment economy” and what feminist thinkers...
FIGURES
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Journal Article

Opacities: An Introduction

Zach Blas
Camera Obscura (2016) 31 (2 (92)): 149–153.
DOI: https://doi.org/10.1215/02705346-3592499
Published: 01 September 2016
...Zach Blas This introduction proposes opacity as a generative and necessary frame for contemporary feminist and queer politics. Theorized by the Martinican philosopher and poet Édouard Glissant, opacity can be understood as an incalculable alterity that is at once the relational ontology...
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Contributors

Camera Obscura (1991) 9 (3 (27)): 188–189.
DOI: https://doi.org/10.1215/02705346-9-3_27-188
Published: 01 September 1991
.... Amanda Howell is a graduate student in film at the University of Rochester. Her research focuses on representations of sexual difference in the Vietnam War film and their implications for current psychoanalytic and feminist film theory. Margaret Iversen teaches Art Theory in the Department...
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Journal Article

Continuous Weave: Feminist Experimental Filmmaking Genealogies

Sarah Keller
Camera Obscura (2021) 36 (3 (108)): 89–103.
DOI: https://doi.org/10.1215/02705346-9349385
Published: 01 December 2021
... tendencies of feminist experimental art and continues the legacy of all three women's art. Cooperative, collaborative, and productively fragmented, it honors the creative lineage of which it is a part. Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 Barbara Hammer Deborah...
FIGURES
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Contributors

Camera Obscura (1997) 14 (1-2 (40-41)): 275–276.
DOI: https://doi.org/10.1215/02705346-14-1-2_40-41-275
Published: 01 May 1997
... Action Hero and on the art of detecting in Seven. Tabitha Goode is a member of the Women’s Art Library, London, UK and a member of IRIS Women’s Photography Archive, Staffordshire University. Academic papers include, “Imaging the Body: Feminist and Postmodernist Strategies in Critical Fine...
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