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Camera Obscura (2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
...Adair Rounthwaite This article develops the concept of “the masturbatory” as a way of theorizing performance art and performance studies' recent turn to reperformance. In reperformance, previous performance artworks — often from performance art's “classic” era of the 1970s — are reenacted, creating...
Camera Obscura (2003) 18 (3 (54)): 99–117.
Published: 01 December 2003
... at the different ways desire structures narratives and images in various cultural traditions, and the way our very notion of desire may be shaped by these representations. Marina Abramovic´ ’s Performance: Stresses on the Body and Psyche in Installation Art Maureen Turim Among the most proliﬁc...
Camera Obscura (2005) 20 (3 (60)): 159–191.
Published: 01 December 2005
... Performance in the Art Deco Era Yiman Wang There was a time when assimilation did quite strictly mean whitening. . . . You “made it” in society not only by putting on airs of anglitude, but also by assiduously bleaching out the marks of a darker, dirtier past. And this bargain, stiﬂing...
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
... herself as a benshi. Unlike other traditional performing arts, creating one's original style based on one's interpretation of the film has always been more valued than copying the predecessors' styles. Sawato also discusses the complex ways in which she, a contemporary woman with a clear feminist agenda...
Camera Obscura (2017) 32 (1 (94)): 63–91.
Published: 01 May 2017
...Jaime Brunton This essay analyzes The Artist Is Present , Marina Abramović's heavily mediatized 2010 performance at New York's Museum of Modern Art, through the lenses of Freudian and Deleuzian concepts of masochism. It specifically focuses on how the masochistic tendencies of this performance may...
Camera Obscura (2016) 31 (2 (92)): 195–203.
Published: 01 September 2016
...Jasmina Tumbas In this interview, the author and Australian artist Jemima Wyman discuss the position of art and activism in Wyman's artistic practice. Focusing on opacity as a political position in the conception and production of her artwork, Wyman comments on her use of patterns, performance...
Camera Obscura (2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... Cassavetes. What Mitchell and Cassavetes share is an investment in performances that foreground the affective, contingent, and interactive and thereby serve as a site where art and life meet. With its hard-core element, however, Shortbus expands the possibilities of such a meeting in the service of a queer...
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... thresholds between body and mind, self and other, nature and culture. Figure 1. Nina Sobell, EEG: Video Telemetry Environment (also known as Brainwave Drawings, 1975), installation at the Contemporary Arts Museum, Houston. Courtesy of Nina Sobell Reflecting on the performative and interactive coordinates...
Camera Obscura (2012) 27 (1 (79)): 97–125.
Published: 01 May 2012
... published articles on contemporary television in the journals Television and New Media, Communication Review , and Feminist Media Studies and numerous essays and reviews on film, performance, photography, and video for Afterimage, Art Lies, exposure, High Performance, Springerin , and Texte zur Kunst...
Camera Obscura (2015) 30 (2 (89)): 29–53.
Published: 01 September 2015
...Katherine Fusco This article argues that Virtual 2Pac , created in 2012 by Digital Domain Media Group in collaboration with Dr. Dre for the Coachella Valley Music and Arts Festival, represents an important twenty-first-century challenge to the relationships between performance and performer, film...
Camera Obscura (2020) 35 (3 (105)): 154–165.
Published: 01 December 2020
...Anuj Vaidya; Tejal Shah In this performative co-interview, the unicorn (Tejal Shah) and the larva (Anuj Vaidya) reflect on their artistic practice, and the trajectory of their work from addressing issues of queer sexuality to those of queer ecology. Anuj and Tejal met at the School of the Art...
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...
Camera Obscura (2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... and experiences in her art practice and building on the tradition of artists who play with the construction of identity. Radha May's work explores forgotten and hidden histories, peripheral sites, and feminine myths. The interview explores her latest project, When the Towel Drops, Volume 1, Italy (2015), which...
Camera Obscura (2021) 36 (2 (107)): 145–149.
Published: 01 September 2021
... performance art Stan Brakhage Sondra Perry Figure 1. Robert Haller, Portrait of Carolee Schneemann (1978). Photographic print, Carnegie Museum of Art, Pittsburgh. © Robert Haller. Made available by permission. Photograph © 2021 Carnegie Museum of Art, Pittsburgh Figure 1. Robert Haller, Portrait...
Camera Obscura (1989) 7 (2-3 (20-21)): 297–300.
Published: 01 December 1989
... person and invade the male language system. These artists also utilize performance art strategies to assume subjectivity within the text, a positioning resistent to them as female viewers of traditional texts. The artist’s bodily presence functions as direct ad- dress, subverting histoire...
Camera Obscura (2001) 15 (3 (45)): 1–33.
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...
Camera Obscura (2021) 36 (2 (107)): 135–143.
Published: 01 September 2021
... mourning. The essay was composed originally for the memorial service for Schneemann at Judson Memorial Church, New York, on 3 May 2019. Copyright © 2021 by Camera Obscura Published by Duke University Press 2021 Carolee Schneemann Interior Scroll Judson Dance Theater performance art voice...
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
..., my main project is actually to do the opposite. In what follows, I will use the new wave of queer media art as an invitation and a provocation to rethink hitherto dominant understandings of what s cultural femi- nism was all about. If queer artists and performers are now drawn to s lesbian...
Camera Obscura (2014) 29 (1 (85)): 81–109.
Published: 01 May 2014
...- ing — “my true story,” as Gulpilil says — lies in the film’s embodi- ment of the presentness of Indigenous culture and the hybridity of Aboriginal realities. As yet another example of Johnson’s reflexivity and her focused attention to acting and the art of performance more broadly, Crocodile...
Camera Obscura (2007) 22 (2 (65)): 134–139.
Published: 01 September 2007
... (New York: Routledge, 1992), 224. 3. Miriam Kershaw, “Postcolonialism and Androgyny: The Performance Art of Grace Jones,” Art Journal 56, no. 4 (1997): 19. 4. The few critical readings of Jones that exist tend to either praise her postcolonial performativity or condemn...