Vertical Hold: A History of Women's Video Art (original) (raw)

Female Influence In Contemporary Video Art

This paper profiles the progression of female contribution in video art since its beginning in the 1960s, with particular focus on the work of young artist Sadie Benning.

Moving pictures: Intersections between art, film and feminism in the 1970s

The Moving Image Review & Art Journal (MIRAJ), 2015

This article traces the intersections and overlaps between women working in art, avantgarde film and cinema in the 1970s. I argue that the context of second-wave feminism connected individuals working in diverse practices through shared interrogations of form and content as well as the interdisciplinary infrastructure of the women's movement. However, I also consider the impact of different contexts, communities and media on artwork, film and video by women artists to trace a complex field of political aesthetic practices influenced by feminism. My overarching argument is that collaboration, broadly conceived, provides a way to think through the formation of this alternative cultural scene.

Feminism and Video: The View from The Village

Camera Obscura; Archive for the Future

My first undergraduate filmmaking class circa 1968 at Harvard had fifteen students; fourteen of them were men -boys, reallyand I was the one female. It was the only film production class at the entire university. The professor, Robert Gardner, was very much a man, an old-fashioned gentleman artist, a documentarian, alternately gallant to or oblivious of me -as was the general wont in those bygone days between older men and their female students, at least when no lechery was involved. Though hardly shy, I barely spoke, so sure was I that a mere question of mine would reveal the depth of my stupidity when it came to cameras. At the time, I probably thought that the gap in my comfort zone in the world -the mechanical and electronic -was genetic: women were inherent Luddites. We shot on Bolexes and edited on Movieolas. Since I was unable to speak in the class, I sat by the Charles River with the manuals, the camera, and the light meter for hours, trying out everything without peer surveillance. Student strikes against the war in Vietnam were key features of my film education. You often didn't finish editing because you would not cross the picket line by the middle of spring semester (1968 -70) to enter

Feminism and Video: A View from the Village

Camera Obscura, 2007

My first undergraduate filmmaking class circa 1968 at Harvard had fifteen students; fourteen of them were men-boys, reallyand I was the one female. It was the only film production class at the entire university. The professor, Robert Gardner, was very much a man, an old-fashioned gentleman artist, a documentarian, alternately gallant to or oblivious of me-as was the general wont in those bygone days between older men and their female students, at least when no lechery was involved. Though hardly shy, I barely spoke, so sure was I that a mere question of mine would reveal the depth of my stupidity when it came to cameras. At the time, I probably thought that the gap in my comfort zone in the world-the mechanical and electronic-was genetic: women were inherent Luddites. We shot on Bolexes and edited on Movieolas. Since I was unable to speak in the class, I sat by the Charles River with the manuals, the camera, and the light meter for hours, trying out everything without peer surveillance. Student strikes against the war in Vietnam were key features of my film education. You often didn't finish editing because you would not cross the picket line by the middle of spring semester (1968-70) to enter

Trailblazers: Feminisms, camera in hand and archive over the shoulder

Trailblazers: Feminisms, camera in hand and archive over the shoulder, 2023

The exhibition looks back at the cultural and visual history of feminism in France in the 1970s and 1980s through the founding in 1982 of the Centre audiovisuel Simone de Beauvoir by 3 women - Delphine Seyrig, Carole Roussopoulos and Ioana Wieder, members of the collective Les Insoumuses. Their videos, along with videos by other filmmakers and feminist collectives, documenting and participating in them, provide a map of the struggles of the time. Défricheuses : féminismes, caméra au poing et archive en bandoulière offers a vision of the fight for women's emancipation by comparing these images, filmed and broadcast thanks to the first video cameras and portable video recorders, with different practices by contemporary artists, some of whom are still active today, Martha Wilson, Maria Klonaris and Katerina Thomadaki, Myriam Mihindou, Nil Yalter, Rada Akbar, Bouchra Khalili, Zanele Muholi, Saddie Choua, Lili Reynaud Dewar and Paula Valero Comín, have been or are currently resident at the Cité internationale des arts.

A Process Archive: The Grand Circularity of Woman's Building Video

2011

Doln' It In Public: Feminism and Art at the Woman's Bulrdlnq Juhasz risks of female representation and its associated pleasures of self-realization. According to Amelia Jones, "In the early '•70s it was assumed that if you put yourself out there and expressed hitherto forbidden feelings (at the time it was inadmissible to talk about things like menstruation or rape) that was itself a political act ... 3 At the Building this political act ,vas videotaped. For example. in her article here. Vivien Fryd covers the complex ways in which video was used to initiate conversation and memory. record testimony. and in so doing create possibilities for the ,vitnessing necessaiy for healing. as understood through the radical rape and incest work spe.arheade<l at the Building. For these reasons. video was simultaneously a favored rnethod, medium, and record: 'Tm Joy. I'm from Kansas. I came here because I heard about it, and there's nothing like it where I'm from. No feminist support community and I'1n anxious for that. .. 'Tm Lyricon ]azzwomin McCaleb. This is my 2nd year. I'm nervous. I quit smoking. I hate microphones and now I have a camera to go with it. I think I'll die. I'm a visual artist. I came here because I ,sas a grape turning into a raisin." (Fi.rst Day Feminist Studio Workshop) Countless \Vo man's Buildingvideos. capturing untold bits of self-expression like those from First Day Feminist Studio W'orbhop. were made and saved by innumerable (often Doln' It In Public: Feminism and Art at the Woman's Sulldlnq Juhasz

American Women's Art: Gender from Pre-feminism to Post-feminism

2006

Este ensayo analiza la evolucion del arte americano realizado por mujeres en un periodo que cobre desde las primeras decadas hasta el final del siglo xx. La primera artista que se estudia es Georgia O'Keefe, quien se convirtio en simbolo de la mujer artista y en un modelo a seguir por su relacion con las cuestiones de genero durante la segunda mitad de ese siglo. La fotografa Diane Arbus representa a la generacion prefeminista que aparecio tras las ss Guerra Mundial, mientras que la pintora Judy Chicago fue una pionera de lo que se deonmino como la Segunda Ola Feminista en los anos sesenta. Otras artistas calificadas como posrfeministas a pattir de los anos ochenta, como la escultora Maya Lin, Cindy Shermao y la fotografa Sally Mano, se han manifestado a traves de nuevas sensibilidades en cuanto al genero y han llevado a cabo practicas artisticas diferentes a las generaciones anteriores