Feminism

Archival Quality is comprised of four segments. In the first, “Memorativa", powerful childhood experiences of secrets are evoked. In “Olfatus", documentation of the artist’s performances are revealed by clicking on symbols in landscape. The third segment, “Gustus", is co-named “Slices of Life, My Videotapes (1976-89)” and takes the form of a giant pizza, slices of which, when clicked, advance towards the reader. “Vermio,” the fourth segment, consists of four text-and-image collages, sections of which can be “peeled off” to reveal loops of sound and image.

Dara Birnbaum

Dara Birnbaum: Damnation of Faust Trilogy

Using Wagner's Faust as a touchstone, Damnation of Faust is a trilogy of highly structured and composed video works evoking a free-floating, non-linear dream or memory. The broad themes of the work are conflicting forms of societal restraint and the struggles to define and express personal identity.

Cecilia Dougherty

Cecilia Dougherty Videoworks: Volume 2

These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

Barbara Aronofsky Latham

Barbara Latham Videoworks: Volume 1

The five videos featured here investigate video as a tool for storytelling and the construction of alternate identities. Ultimately Latham concludes that video is an unsatisfactory and cumbersome tool useful only for the creation of dislocated narratives.

I Say I Am: Program 2

The tapes in Facing the Self: Program 2 are organized around the appearance of the female form, particularly the face. Using at times elaborate, but more often very limited, visual means and divergent visual and theatrical strategies, each tape explores, asserts, withholds, and/or claims power over the representation of the artist’s body, its appearance and experiences. Focusing on the problematic relationship of power between the artist and her audience, the artist bodily appears on screen but keeps herself somehow unavailable to the viewer.

Video Data Bank

Hollis Sigler 1995: An Interview

In 1985, Hollis Sigler, a leading feminist artist in Chicago, was diagnosed with breast cancer, a disease that had also stricken her mother and great-grandmother. This interview with Hollis Sigler focuses on the period of her life beginning with the work entitled Breast Cancer Journals, a series of paintings, drawings, and collages expressing a wide range of emotional responses to the various stages of her struggle with cancer encompassing more than 100 works.

I Say I Am: Program 1

Desire and the Home: Program 1

Challenging the dominant ways of making and critiquing art, feminist art practice in the 1970s stressed personal connections to materials and immediacy of context over formal abstraction.

e-[d]entity: Female Perspectives on Identity in Digital Environments

e-[d]entity: Female Perspectives on Identity in Digital Environments is a two-part collection of videoworks created from 1982-2000 that explores the cyber environment and how it affects, expands, confuses, and involves female identity.

Curated by Kathy Rae Huffman.

Blumenthal/Horsfield

Craig Owens: An Interview

Craig Owens was a critic who wrote and lectured extensively on contemporary art. He showed particular interest in the issues of photography, postmodernism, feminism, and Marxist thought. A former associate editor for October and senior editor for Art in America, as well as professor of art history at Yale University and Barnard College, his writings were collected in Beyond Recognition: Representation, Power, and Culture (1994). Owens died of an AIDS-related illness in 1990. “I’m arguing for an art that is culturally relevant.

Martha Rosler

Born to be Sold: Martha Rosler Reads the Strange Case of Baby M

Martha Rosler tackles mainstream media's representation of the case of surrogate mother Mary Beth Whitehead.

Laura Parnes

Blood and Guts in High School

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title. The book received noteriety from 1978-1982 during the rise of Reagan republicanism and the emergence of punk rock. In Parnes' interpretation, each video-chapter presents a typical scene in the life of Janie bracketed by U.S. news events from the time period in which the book was written.

Long Beach Museum of Art

The Artists: Part 3 (Baron, Nadius And Robinson)

Part 3 profiles three California women artists: sculptor and lint and installation artist Slater Baron, mixed media installation artist Beverly Nadius, and book artist Sue Ann Robinson.

Hermine Freed

Art Herstory

“In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model’s role in numerous paintings.... Time dissolves under her humorous assault—one moment in the painting, then out of the canvas and into that period, then back in the studio."

—Jonathan Price, “Video Art: a Medium Discovering Itself,” Art News 76 (January 1977)

An excerpt of this title (14:49) is also included on Surveying the First Decade: Volume 1.

Blumenthal/Horsfield

Arlene Raven: An Interview

Arlene Raven is a feminist historian, theoretician, poet, and art historian who has published numerous books on contemporary art and written criticism for The Village Voice and a variety of other newspapers, art magazines, exhibition catalogues, and scholarly journals since 1969. She is a pioneer in progressive education and was an architect of the educational programs of the Feminist Studio Workshop, an independent school. She is also the founder of the Women’s Caucus for Art, the Los Angeles Woman’s Building, and Chrysalis magazine.

Jeanne C. Finley, Gretchen Stoeltje

A.R.M. Around Moscow

A.R.M. Around Moscow documents particpants in A.R.M. (American-Russian Matchmaking) to explore the relationship of personal power to domestic identity, and economic and political structure. Finley and Stoeltje followed 21 American men as they travelled to Russia to meet 500 local women. Each man was provided with a car, driver, translator, apartment, and meals for a "14-day tour of Russia's most beautiful and highly-educated women" at the cost of about $4,700.

Feminism

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