Professor, Video, Film and Media Studies, Hampshire College &
NO MORE NICE GIRLS PRODUCTIONS
36 Fruit St
Northampton, Ma. 01060
Studio: 413• 584•6012; Fax: 413•584•7504; Cell: 413•695•0924
juanitavid@gmail.com
www.nomorenicegirlsproductions.org
www.heresiesfilmproject.org
C U R R E N T P O S I T I O N :
Professor of Video, Film and Media Studies,
School of Humanities, Arts and Cultural Studies, Hampshire College
E D U C A T I O N :
BA cum laude, Harvard University (Radcliffe College), 1970.
MA, Cinema Studies, New York University, 1973.
MPhil, Cinema Studies, New York University, 1976.
S E L E C T E D P E R M A N E N T C O L L E C T I O N S :
The Stedelijk Museum, Amsterdam
The Museum of Modern Art, New York City
The De Cordova Museum, Massachusetts
Guggenheim Museum, NYC
Hirschhorn Museum, Washington, DC
The Institute of Contemporary Art, London
The Georges Pompidou Center, Paris
Pacific Film Archive, Berkeley, California
Harvard University Cinematheque
Museum of Modern Art, San Francisco
Museo de Arte Contemporanea, Reina Sofia, Madrid
Oviedo y Ayunta de Sevilla, Spain
Long Beach Museum, California
Wexner Center for the Arts, Ohio
Walker Art Center, Minnesota
International House, Philadelphia
The Donnell Library, NYC
Port Washington Public Library, NY
& Over a hundred other public libraries, media centers and universities – domestic and international.
S E L E C T E D F E L L O W S H I P S A N D G R A N T S :
The National Endowment for for Arts (1989, 1990-1991)
Nova Scotia College of Art and Design Fellow (1979)
The Jerome Foundation (1987-88)
The New England Fellowships Program through the NEA
and the American Film Institute (1989)
New York Foundation for the Arts (1987-88)
The Massachusetts Council on the Arts CAT FUND (1991-92)
The Massachusetts Cultural Council (1993)
New York State Council on the Arts (1989, 1992, 1994, 1996)
Hewllett - Mellon Foundation (1987, 1990, 1992, 1995, 1997, 1999, 2001-2007)
Lemelson Foundation (1994, 1998)
Wexner Center for the Arts, Visiting Artist - January and August, 1993, Summer 1998
Koopman Chair in the Visual Arts, Hartford Art School, University of Hartford (1996-97)
MacArthur Foundation for Digital Archive Creation (1998 and 2004)
Fund for Women Artists, (1998-99)
Northampton Arts Council Grant (2001)
Fulbright Foundation Chair in Electronic Arts, Porto, Portugal (2002)
Berkeley Film Fund Grant
Bay Are Video Coalition, MediaMaker of 2009 Award
• • • • • • • • • •
V I D E O T A P E S • I N S T A L L A T I O N S • W E B A R T • E X H I B I T I O N S
•• With Selected Screenings & Awards ••
• • • • • • • • • •
T H E H E R E S I E S P R O J E C T
- Film and Digital Archive -
www.heresiesfilmproject.org
THE HERETICS, 95 min. 4:3, a feature length experimental documentary
about the Women’s Art Movement of the 1970’s in New York City, focusing on
the artists and actions of the Heretics Collective, of which JB was a co-founder.
New website launched March 2007 with DIGITAL ARCHIVE of all 27 issues of:
HERESIES; A FEMINIST PUBLICATION ON ART AND POLITICS (1977-1994).
" P A R A N O O L V I D A R ; L A S C A L L E S D E
M I H A B A N A V I E J A "
(2004), mini-DV, 6 min, sound, color.
With Crescent Diamond and the Office of the Historian of the City of Havana
& the Jan Term Crew Hampshire College; Music Courtesy of Sylvio Rodriguez.
J O A N B R A D E R M A N :
U M A R E T R O S P E C T I V A D O A R T E V I D E O
Universidade Catolica Portuguesa
Escuela Das Artes; noviembre 2002, Porto, Portugal; CATAOLOGO DIGITAL
N O M O R E N I C E G I R L S P R O D U C T I O N S
W E B S I T E a n d D I G I T A L G A L L E R Y
Launch date: September 3, 1997
www. nomorenicegirlsproductions.org
V I D E O B I T E S ; T R I P T Y C H F O R T H E
T U R N O F T H E C E N T U R Y
w/ Dana Master, (1998), Beta SP, 24 min.
Premiere: PANDEMONIUM, FESTIVAL FOR MOVING IMAGES, London
Pandemonium Audience Award, Oct. 1998.
Impakt Festival, The Netherlands, 1998.
University of Massachusetts & Hampshire College, Fall, 1998.
Harvard University, Carpenter Center, Feb 1999.
Amsterdam Public Television, Spring 1999
"WOMEN DIRECT" - Ithaca College, Spring 1999
Boston Women in Film/Video, Spring 2000
" L E T T E R O N A W A L L • T H E P U B L I C G O E S P R I V A T E •
S P E E C H M A T T E R S, "
20 foot acrylic wall installation, digital print.
in Critical Positions, Joseloff Gallery of American Life, University of Hartford, Feb. 1996
This digital sculpture is in the shape/colors of an American flag and addresses the subject of freedom of expression as it relates to public funding for the arts.
“University Screening Room; Western Mass. Video," May 1996.
The De Cordova Museum, Lincoln, Mass, June 1997.
" T R I B U T E T O J O A N B R A D E R M A N "
Northampton Center for the Arts, November 1996.
The show and tribute were featured in Northampton Film/Video Festival.
Participants included: George Fifield, Curator, VideoSpace and De Cordova Museum; Mary Russo, Prof. of Comparative Literature and Critical Theory, Hampshire College; Gene Gort, Assoc. Prof. of Video and Mixed Media, Hartford School of the Arts and Video and Installation Artist; and Sura Levine, Assoc. Prof. of Art History, Hampshire College. Brochure with transcript available.
W G B Y T V , " S N A P S H O T S - J O A N B R A D E R M A N "
Series, Public Television Profile of Ms. Braderman
(5 Min.) produced by Dan Hunt, WGBY TV, Springfield, MA, broadcast frequently 1994-present.
J O A N B R A D E R M A N ; A V I D E O R E T R O S P E C T I V E
1994-95, De Cordova Museum, Lincoln, Massachusetts.
VideoSpace at the De Cordova published a catalogue on her work for this exhibition:
“JOAN BRADERMAN: A VIDEO RETROSPECTIVE,” by George Fifield.
" M O V I N G S T I L L S "
A series of 16" x 20" cibachrome video stills created from slides of stills from
her work in video and shown to inaugurate the new Video Screening Facility at the
De Cordova. De Cordova Anniversary, Spring 2000.
J O A N S E E S S T A R S
(1993) 3/4 inch, Betacam SP Master, 60 min. Co-Director: Dana Master,
Dir. of Photography: Gene Gort. Part I: Star Sick, Part II: MGM-Movie Goddess Machines.
“Videomaker Braderman uses her own body as the site for exploring the ways our own culture of appearances meets the politics of identity... "She looks at life through rose colored glasses, then whips them off and dishes the dirt: movies meet life, life meets death and romance meets Perdue chicken in this meditation on our illicit VCR pleasures. Watch and eat your heart out.” -- B. Ruby Rich
“A masterpiece.” -- Joel Kovel, author of The Age of Desire, History and Spirit et al.
“Smart, low-budget bridge between theory and pop culture,
funny and devastating at the same time." -- Philadelphia City Paper
Premiere: "Video Visions," New York Film Festival, Oct. 15,1993 at Lincoln Center
European Premiere: National British Film Theater, London, and Dec. 1993
Black Maria Film/Video Festival, Juror's Citation Award
Independent Mass Media Festival
Atlanta Film/Video Festival Award, Best "Dramatic Criticism"
The Space Gallery, Boston
Zone Art Center
International House, "Our Dinner with Joan," Philadelphia
Moscow Television
Chicago Filmmakers, "Bodies in Crisis, "Oct. 1993
The American Center, Paris
Institute of Contemporary Art - Boston, Jan. 1994
University of Glasgow, Scotland
San Francisco International Lesbian & Gay Film/Video Festival
Women in the Director's Chair Festival, Chicago
Cicada de Vigo International Festival de Video, Vigo, Spain
De Cordova Museum
N O M O R E N I C E G I R L S
(1989) 3/4 inch, 44 min., color, sound
NO MORE NICE GIRLS combines fiction and collage.
"About what it's like to see your political destiny erased from 'popular memory' and dumped in revisionist history's garbage pile. It's about having once felt magically 'in synch' with the times; about the friends you made then, and how they sustain you through these times."
"… Brilliantly written and realized”
--Carrie Mae Weems
Premiere: Collective for Living Cinema, April 1989
Winner, First Prize, Daniel Wadsworth National Video Festival, 1990
THE DECADE SHOW, Studio Museum of Harlem
WOW Festival, NYC
San Francisco International Gay and Lesbian Film Festival
British Film Institute, London
New American Makers, New Works Series, San Francisco
The Chicago Art Institute
Hallwalls, Rochester, NY
San Francisco Art Institute
The Brooklyn Museum
University of Wisconsin
Radcliffe Bunting Institute
Bennington College
Boston Film/Video Foundation
DCTV, NYC
S.U.N.Y. Purchase; Astoria Museum of Motion Picture
Australian Film Festival
"HOW DO I LOOK? Conference," New York University
Pacific Film Archive, Berkeley
I.U.C, Conference on Women, Dubrovnik, Yugoslavia
2-Day Workshop w/ Joan Braderman and Zeinabu Davis - Media Working Group, KY
T H I R T Y S E C O N D S P O T R E C O N S I D E R E D (1988)
(1988) 3/4 inch, 11 min., color, sound
“ Made at the time of the 1988 presidential election, this piece is about media power and market censorship. It is based on a true story about the adventures of the artist buying
network time for a TV spot, -- an ad for counter-bicentennial activities in 1976, confronting
the system of invisible, corporate censorship which runs broadcast television.“
-- Boston Globe
Critic’s Choice Award, New England Film and Video Festival, Boston, 1990
Grand Prize, Video Zone, 1989. Zone Art Center, Springfield
Second Prize, Daniel Wadsworth National Video Festival, 1990
Colgate University
New American Makers, San Francisco
THE SHOW RIGHT THING Conference, NYU
Majestic Theater, Boston
Real Artways, Hartford and New Haven
Median Operativ, Berlin, Germany
Utica College
Bennington College
The Anti-Censorship Show
Berlin Film Festival
State University of New York at Purchase
Australian Film Festival, Berkeley
University of California, Irvine, and San Diego
University of Glasgow, Scotland
J O A N D O E S D Y N A S T Y
(1986) 3/4 inch, 31 min., color, sound. Conceived, written, produced and performed
by Joan Braderman.
Co-directed and co-edited with Manuel De Landa.
"JOAN DOES DYNASTY has become the classic feminist performance video of the era."
-- Yvonne Rainer, Filmmaker
"Creating the 'post-scratch' chroma-key switcher effects she has made famous, the artist inserts her body into the world of the prime time soap opera, 'Dynasty,' where she does her now classic performance about the ways TV spectatorship simultaneously owns and disgusts its audience. Embodying the love/hate relationships so many of us experience with the characters and values of TV, Braderman 'performs' feminist and reception theory, turning the the reigning ideas of her period into video vernacular. She skewers 80's obsessions with money and power and its sexual anxieties in a piece - both hilarious and terrifying,"
..."Few have matched the bravery and wit of JOAN DOES DYNASTY"
-- Bob Reilly, SF MOMA
Premiere: 1987 Whitney Biennial, Whitney Museum of American Art, NYC
Edinburgh Film Festival, Scotland, 1997
American Film Institute, National Video Festival, Los Angeles
The Museum of Modern Art, NYC
Museum of Fine Art, Philadelphia
Cinemama Festival, Montreal
Boston Film/Video Foundation
Australian Video Festival
Cinematrix, Festival of Films by Women Directors
Oviedo y Ayunta de Sevilla, Spain
The Stedelijk Museum, Amsterdam
Hallwalls, Rochester, NY
New American Makers, San Francisco
Reina Sofia Museum, Madrid
Institute of Contemporary Art, London
T E L L T H E M F O R U S ; M A D R E I N N I C A R A G U A
(1985) 3/4", 28 min., sound, color. Co-produced and edited with Jane Lurie
for Madre Video Project. Music by Duo Guardabaranco
Winner, 1985 MADRE Achievement Award.
Shown at schools, churches, at the U.S. House of Representatives
Club Senzala
Port Washington Public Library
University of Massachusetts, Union Video
Donnell Library, New York
Syracuse University S.U.N.Y., Purchase, NY
Colgate University
School of Visual Arts, and more…
Used widely for organizing in the U.S., Central America and the Caribbean
Shown in The Deep Dish International Satellite Show
W A I T I N G F O R T H E I N V A S I O N -
U . S . C I T I Z E N S I N N I C A R A G U A
(1984) 3/4" 28 min., color, sound. Co-Produced with Director, Dee Dee Halleck,
Skip Blumberg, Joel Kovel, Shu Lea Cheang, Karen Ranucci.
Winner-Best Documentary Award, Global Village Documentary Festival, NYC, 1984
Shown nationally on "PRESENTE" - WCET, Los Angeles, PBS
Van Dam Theater, NYC
Wexner Center for the Arts
The Whitney Museum
The Museum of Modern Art, NYC
Donnell Public Library
Cuban International Film Festival
University of California at San Diego
Bard College
N A T A L I E D I D N ' T D R O W N -
J O A N B R A D E R M A N ' R E A D S '
T H E N A T I O N A L E N Q U I R E R
(1983) 3/4", 28 min., color, sound. Produced by Paper Tiger TV.
Conceived, written and performed by Joan Braderman.
Co-directed and edited with Manuel De Landa.
“The artists' first venture into video performance is a manic enactment of the relationship of readers with tabloids. Championing gossip as 'history according to women and more likely to be 'true' than the New York Times,' she takes us on a schizophrenic personal narrative tour of the world according to the Enquirer."
-- Martha Gever
"Slandering the publisher on screen in true tabloid form, Braderman and De Landa create a style of scratch video, using sometimes vibrating, luridly framed video switcher 'wipes' which both satirize and describe tabloid journalism's own glitzy style. An unreconstructed lover of tabloid fantasy, Braderman's face and body fly through the headlines and photos she loves in this brilliant and disturbing satire about popular culture and its ubiquitous place in our lives.”
--Elizabeth Hess, “Village Voice"
Premiere: Paper Tiger Television, Manhattan Cable TV, New York City
The Kitchen, NYC
1984 American Film Institute Video Olympics, Los Angeles
Whitney Museum of Art
The Walker Art Center
The “Made for TV“ Festival
CHANNEL 4: London
The Institute of Contemporary Art, London
Chicago Art Institute
The W. P. A. Gallery, Washington
California Art Institute
Chicago Art Institute
Pacific Film Archive, Berkeley, California
University of Toronto
University California
University of Massachusetts
Shown widely on Public access and other Cable TV stations internationally & internationally in hundreds of schools, churches and community centers, galleries and cable TV stations.
S E L E C T E D A R T I C L E S A N D R E V I E W S :
& Selected writings about her work:
“Meet The Press: On Paper Tiger Television," Martha Gever, Afterimage, November,1985.
“TV Or Not TV” Regina Cornwell, CONTEMPORANEA, INTERNATIONAL ART MAGAZINE, Vol. II, #7, Italy, October, 1989.
“Social Engagement, Women’s Video in the Eighties," Lucinda Furlong, Whitney Museum Catalogue, NYC, 1990.
“Artists Are Creating A Wonderland of Video,” The New York Times, William Zimmer, NYC
“Weekend,” 1990. The Guardian (London)
“Best of the Whitney Biennial,” JOAN DOES DYNASTY, Jim Hoberman, The Village Voice, May 1987.
American Film, Photo : NATALIE DIDN’T DROWN Reviewed by Peter Biskind
ARTS FOR TELEVISION CATALOGUE, Bob Reilly, Museum of Modern Art, NYC, 1987.
Decade Show Catalogue, Studio Museum of Harlem, The New Museum et al,
New York City, 1990.
American Film Institute OLYMPICS CATALOGUE - Article by Catherine Lord
“THIRTY SECOND SPOT RECONSIDERED," Review in “Index on Censorship,” London, UK, Jill Medvedov
“NATALIE DIDN’T DROWN,” American Film Institute Video Festival, Catalogue,
Los Angeles, 1984
“THIRTY SECOND SPOT RECONSIDERED Takes the Prize,” Boston Globe, Boston, 1989.
WHITNEY BIENNIAL CATALOGUE, John Hanhardt, New York City, Spring, 1987.
Mother Jones Review of JOAN DOES DYNASTY
In Search of the Media Monster, Catalogue, the Art Gallery at Cleveland State University, Ohio, 1989.
The Chicago Reader, Review by B. Ruby Rich
The Village Voice, Review of NO MORE NICE GIRLS by Amy Taubin
Christian Science Monitor, Review
Mirabella, Review;
Sight and Sound, Review
Art in America, Review by Elizabeth Hess
Art Journal, Review
“Our Evening with Joan; JOAN SEES STARS,” Philadelphia City Paper
“Week’s Best--London Film Theater“ Time Out, London, December 1993.
Joan Braderman; A Video Retrospective, The DeCordova Museum Catalogue,
George Fifield, Curator, Media Arts, Videospace at DeCordova, December-January 1994-95.
“A Tribute to Joan Braderman,” Northampton Film and Video Festival,
Northampton, Mass., 1996.
“New Feminist Video,” by Martha Gever in Illuminating Video; The Essential Guide to Video Art, Eds. Doug Hall and Mary Jo Fifer, Aperture, San Francisco, 1990.
“The Hair of the Dog That Bit Us, Theory in Recent Feminist Art,” Christine Tamblyn in New Feminist Criticism; Art, Identity, Action, Eds, Joanna Frueh, Cassandra L. Langer & Arlene Raven, Harper-Collins,, NY, 1991.
Breakthroughs; Avant Garde Artists in Europe and America, Wexner Museum of Art, 1950-1990, Ohio University Press, Columbus, Ohio, 1993.
Guilty Pleasures; Feminist Camp From Mae West to Madonna, Pamela Robertson, Duke University Press, Durham and London, 1996.
Chick Flicks; Theories and Memories of the Feminist Film Movement, B. Ruby Rich, Duke University Press, Durham and London, 1998.
States of Emergency; Documentaries, Wars, Democracies, Patricia Zimmerman, University of Minnesota Press, 2000.
Ms. Braderman has also written and spoken extensively on film, video & the politics of representation.
S E L E C T E D A R T I C L E S B Y T H E A R T I S T :
“Feminism and Video; The View from the Village,” Camera Obscura; A Journal of Feminism and Film Theory“ - Archive for the Future, 2007.
“Report: the First International Festival of Films by Women,” ARTFORUM, New York City, September 1972.
“Art in a Fugue State,” The Village Voice, 1981.
“JOAN DOES DYNASTY, the Complete Script,” The Independent, Journal of the Association of Independent Film and Video, September,1986.
“NO MORE NICE GIRLS, Selections from the Video Script,” Motion Picture, Journal of the Collective for Living Cinema, New York City, Fall, 1990.
“Women and The Cinema: A Review and Some Modest Proposals,” Quarterly Review of Film Studies, Vol.3, #4, Fall, 1978.
“Peasants of the Second Fortress, Ogawa and Partisan Documentary in Japan,” Show Us Life; Toward A History and Aesthetics of the Committed Documentary, Thomas Waugh, The Scarecrow Press, New Jersey and London, 1984.
“Video in the Academy: Dead or Alive,” The American Film Institute, National Video Festival Catalogue, Los Angeles, California, 1987.
“Peasants of the Second Fortress,” Revolutionary Films, Chicago/76,”B. Ruby Rich, The Chicago Art Institute Film Catalogue, Chicago, 1976.
“Radical Art, Theory and Practice,” Publication of the College Art Association,
Jan. 1978, NYC
“THE WARRIORS Through the Turnstile of Ideology and Pleasure, or ‘Where’s Momma?” with Paul Arthur, Catalyst, A Journal of Social Workers and Social Science, Spring, 1979.
“Reclaiming the Utopian Moment,” ROAR, Wexner Center Catalogue for Paper Tiger Anniversary, Ohio University Press, Columbus, 1993.
“Juggling Contradictions; Feminism, the Individual and What’s Left,” HERESIES, #1, New York City, January 1977.
O R I G I N A L S C R I P T S :
“RAW NERVES” (with Manuel DeLanda and Paul Arthur, 1978)
"NATALIE DIDN'T DROWN," 1983
"JOAN DOES DYNASTY," 1986
"THIRTY SECOND SPOT RECONSIDERED,” 1987
"NO MORE NICE GIRLS," 1988
"LOVE IS THE RHYTHM; SUBULTURES OF POPULAR DANCE," 1991
"JOAN SEES STARS," 1992
"FAT GIRLS FROM HELL" (with Sheila McLaughlin, 1995)
"VIDEO BITES, TRYPTICH FOR THE TURN OF THE CENTURY," 1998
“THE HERETICS,” 2009
T E A C H I N G & R E L A T E D E X P E R I E N C E :
La Oficina del Historiador de la Ciudad de la Habana, Havana, Cuba, January 2001-2004; creation and implementation with Jacqueline Hayden and Rafael Rojas of
the DIGITAL IMAGE ARCHIVE.
Fulbright Distinguished Scholar Chair in Electronic Media - Universidade Catolica Portuguesa, Fall 2002
Hampshire College (1985-present)
The Boston Museum of Fine Arts, Museum School, 1992
Hartford Art School, University of Hartford, 1996
Guest Professorship, The London Institutes' London College of Printing and
Distributive Trades
Media School, Department of Film and Video, 1995
The School of Visual Arts Department of Film and Video, 1972-85
Nova Scotia College of Art and Design, 1978
Notre Dame University, 1977
New York University, 1973-77
Numerous seminars and workshops for students and professionals in the field.
Ms. Braderman has lectured widely (list of papers and presentations available), was a co-founder of HERESIES; A FEMINIST PUBLICATION ON ART AND POLITICS (l976); The NYC Alternative Electoral Coalition, 1978, and such events as The Peoples' Convention, South Bronx, l980; and the Five College Women's Studies Conference on Gender and Visual Representation, l986; She has juried festivals such as FRAMEWORKS for WGBY and New England Film & Video Festival, grants/fellowships panels such as New York State Council on the Arts and The Bunting Institute. Radcliffe College.
O T H E R R E C E N T O N E W O M A N S H O W S
& P R E S E N T A T I O N S :
“El Archivo Digital-Video” – la Oficina del Historiador, La Habana, Cuba, el enero 2004.
Universidade da Porto, Centro de Communicacion e cultural, “ A Obra Video da Joan Braderman,” Dec. 2002
Escuela das artes, universidade catolica portuguesa, “Video Works of Joan Braderman,”
Nov. 2002
De Cordova Museum, Anniversary Show - April 2000
Women in Film and Video of Boston - "Short and Edgy " March 2000
White Columns Gallery - Days of Art for Mummia, Abu Jamal, Fall 1999
Noh Television - Eastman House, Rochester - Spring 1999
Ithaca College - ONE WOMAN SHOW, ”Woman as Director Series,” March 1999
Tillie K. Lubin Festival, Brandeis University, “WOMEN IN SHORTS,” Keynote, March 1998
“ONE WOMAN SHOW,” United World College Of The American West, Montezuma, Arizona
Mt. Holyoke College - "The Work of Joan Braderman,” April 1998
Northampton Cable Television, Media One - 3 hour show of “Tribute to Joan Braderman," Shot on location at the Center for the Arts, Fall 1997 and shown ten times over the week of
the Northampton Film Festival
University of Glasgow, Department of Theater and Film
St. Martins' College of Art, Department of Film/Video/Mixed Media: - Screenings and lecture
Media School, MFA Program, LCP, London Institute
National Film Theater, London — 3-day run of JOAN SEES STARS; Reviewed in "Time Out,“ London, 1993.
B O A R D S , E T C . O N W H I C H M S . B R A D E R M A N
H A S S E R V E D :
The Board of Directors of Planned Parenthood of Massachusetts
The Board of Directors of The Independent Television Service
The Northampton Cable Television Board
The Five College Film Council
The Board of Directors of the Association of Independent Film and Video Makers
D I S T R I B U T O R S :
Video Data Bank (312) 345-3550 at The School of the Art Institute of Chicago;
Women Make Movies (212) 925-0606
London Electronic Arts 011-44-08-734-7410
Paper Tiger TV, NYC
Video Data Bank "What Does She Want?" Collection
Arts for Television Collection, Museum of Modern Art, NYC.
Press: all available, including FOR A BICENTENNIAL WITHOUT COLONIES, 20 min, 1977; THE PEOPLES’ CONVENTION, SOUTH BRONX, 18 min, 1980 other early works from artist’s studio at:
NO MORE NICE GIRLS, INC: (413) 584-6012
B I O • J O A N B R A D E R M A N
Joan Braderman, award-winning video artist and writer, has been involved with film and video as a theorist, screenwriter, artist and producer, for over twenty years. Born in Washington, DC, she holds degrees from Harvard and New York University and has had a distinguished career as a teacher of film and video at the School of Visual Arts in New York City and at Hampshire College in Massachusetts. She began making 16mm films in college but got distracted by the Civil Rights, Anti-War and Womens' Movements. Through the seventies she wrote and spoke widely on image-making and the politics of representation and was a co-founder of the ground-breaking journal, "Heresies; A Feminist Publication on Art and Politics." She wrote a series of scripts for avant-garde filmmaker, Manuel De Landa and has produced numerous documentaries such as WAITING FOR THE INVASION, 1984, winner of the Global Village Best Documentary Award in 1984 and TELL THEM FOR US; MADRE IN NICARAGUA, 1985. Recently she has concentrated on a series of video pieces, which she writes and performs -- about women, desire and popular culture. The first of these, "NATALIE DIDN'T DROWN", begins with her own fascination with tabloids like the National Enquirer. In a style which has now been dubbed "stand-up theory", she delivers a "one woman, lunatic performance, at once embodying and sharply analyzing the schizophrenia of U.S. culture." * Made for Paper Tiger TV, it was also shown in such diverse places as the A. F. I. Olympics Video Show and on Channel 4 in London. Enthusiastic reviews in journals from Afterimage to The Village Voice made it a cult favorite because of its wild and irreverent humor. The now infamous "post-scratch" JOAN DOES DYNASTY, the second piece in the series, was included in the 1987 Whitney Bienniel Exhibition, The Edinburgh Film Festival and The Arts for Television International Show. According to reviews in such publications such as The Independent , The Manchester Guardian , and Contemporanea, "few have matched the technique, bravery and humor" ** of JOAN DOES DYNASTY which is "one of the two most impressive tapes in the video section [of the 1987 Whitney Bienniel]" *** "probably the most widely distributed feminist video ever made."**** It was ranked #4 in London Video Arts' Top Ten Tape List for 1988.
•••••
A sabbatical year and grant support produced two new pieces: 30 SECOND SPOT RECONSIDERED (11 min., 1988) and NO MORE NICE GIRLS (44 min, 1989). 30 SECOND SPOT RECONSIDERED, made at the time of the '88 presidential election, is a true story told by the artist about censorship and corporate style in an attempt to circumvent corporate TV media power. It was a Grand Prize Winner in Video Zone's 1989 Festival, was seen at the 'SHOW THE RIGHT THING' Conference in NYC, won Boston "Critic's Choice Award" in the 1990 New England Film and Video Festival, and took Second Prize in the Daniel Wadsworth National Video Festival. It is often used in the current effort to protect freedom of speech from the self-appointed congressional censors, now making noise. NO MORE NICE GIRLS (44 min. 1989), a more "personal" work combining scripted fiction, autobiography, and collage, speaks to a generation of "aging feminists from hell" armed with strong histories and friendships, but now facing the vicious backlash of the New Right. It opened at the Collective for Living Cinema in New York City, April 1989 to a double-packed audience of raucous and ardent supporters. It was selected for inclusion in international film festivals in San Francisco, London, the "New Works" show of the National Video Festival in Los Angeles, and at the I.U.C. in Yugoslavia. NO MORE NICE GIRLS won First Prize in the 1990 Daniel Wadsworth National Video Festival and is appearing in the DECADE SHOW at the Studio Museum of Harlem.
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JOAN SEES STARS, 60 min. 1993; Part I - Starsick, Part II- MGM-Movie Goddess Machines premieried in the U.S. in VIDEO VISIONS at the New York Film Festival at Lincoln Center. In the U.K. it opened at the Institute of Contemporary Art & the British Film Theater. Selected shows and prizes inclede: Chicago Filmmakers; ICA , Boston; American Film Institute, National Video Festival, Los Angeles; Altlanta Film/Video Festival (Best "Dramatic" Criticism); San Francisco International Lesbian and Gay Film/Video Festival; Black Maria Film/Video Festival, (Juror's Citation); and Women in the Director's Chair. "It's a smart, low-budget bridge between theory and pop culture; funny and devastating at the same time." Cindy Fuchs, Philadelphia City Paper. "PILLOW TALK meets theory in JOAN SEES STARS when video diva Joan Braderman wrestles Liz, Ava, and other screen divas into bed for some frankly star-struck girl-talk -- a chatty free-ranging commentary on idolatry, mortality and proto-feminist bad girls." Bill Horrigan, curator, Wexner Center for the Arts. The De Cordova Museum in Lincoln, Massacusetts gave her a Retrospective, Dec. 1994-Jan. 1995 -- which included large, original cibachromes of stills from the videos, her series, MOVING STILLS, as part of the installation.
Her newest work: VIDEO BITES; TRIPTYCH FOR THE TURN OF THE CENTURY made with artist and Avid Editor Dana Master, premiered in PANDEMONIUM: Festival for Moving Images, London, Oct. 98.
She was awarded Koopman Chair in the Visual Arts at Hartford Art School, Hartford University for the Fall of 1996 and was given an evening show and "Tribute" at the Northampton Film and Video Festival, Northampton, Massachusetts, in November.
Ms. Braderman has received grant support from the National Endowment for the Arts, the American Film Institute, the New York State Council on the Arts, the Jerome Foundation, the New York Foundation for the Arts, the Hewlett-Mellon Foundation and the Massachusetts Council on the Arts. Her work is in the permanent collections of the Museum of Modern Art, NYC, the Stedelijk Museum in Amsterdam, The Institute of Contemporary Art in London, and the Georges Pompidou Center in Paris, among others. She is on the Board of the Independent Television Service, still working to build access to a rich, diverse independent media.
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Selections from Braderman Artist Statements:
"......Women haven't had a voice in moving pictures since the very beginning. My own voice as an artist -- at once bawdy and analytic-- and the many other voices of the women who have been changing the world in subtle ways, are the voices you hear in my videos. Young women come up to me at shows and say, "Thank God, you write women who sound like they have lived their own lives and have something to say about it." Remember when you were reading the millionth novel and realized that female subjectivity was always jerry-rigged???? I want the space and time for many inner lives on big screens and small, and in the vernacular of our times --pictures that move; gorgeous, complex and lavish pictures; and in them, of course, the voices and images of those who resist silencing, shaping, dieting, categorizing, flattening, erasure......"
"...... JOAN SEES STARS had to be made in video. The aesthetic I have developed is for and about video/television. The style of "appropriating" material from films and TV and "chroma-keying" myself into the image (some dubbed it "scratch video") was invented specifically to address the many problems and possibilities of being a spectator in media culture, our culture. It was designed to be made relatively inexpensively yet with the possibility of creating expressive - dare I say - beautiful? - engaging special visual effects. Such magical effects are generally used in our culture to sell or brutalize. I use them to engage the viewer's imagination, sense of humor and to get at issues of identification with the multiple meanings lurking in these industrial images. These meanings, sometimes readily accessible, sometimes not, tease the mind, the fascination, the obsessions, the unconscious and the body of the viewer. My videos work to suggest a sense of open play for the spectator, and in that play, I hope, the possiblitiy of democratizing of media culture........"
*Martha Gever in Afterimage ** Bob Riley in "Arts for Television Catalogue." *** Jim Hoberman in The Village Voice **** DeeDee Halleck, Producer, PAPER TIGER TELEVISION
Download Braderman's filmography w/ images and quotes about her work HERE
