Video History Project

Chronology

Revising Romance: New Feminist Video

Date
1985

Revising Romance: New Feminist Video. Distributed by the American Federation of Arts. Institute of Contemporary Art, Boston, September 1 - December 31, 1984.

University Gallery of Fine Art, Ohio State University, Columbus, April 1985. Northwest Film Study Center, Portland, OR, July 1985. Cornell Cinema, Ithaca, NY, September 1985.

Cite this record

"Revising Romance: New Feminist Video." Video History Project, Experimental Television Center, 2011. https://www.videohistoryproject.org/node/6607.

Download RIS citation
Summary

Revising Romance: New Feminist Video was distributed by the American Federation of Arts; it was presented at the Institute of Contemporary Art, Boston from September 1 to December 31, 1984. Subsequent screenings took place at the University Gallery of Fine Art, Ohio State University, Columbus in April 1985; the Northwest Film Study Center, Portland, OR in July 1985; and Cornell Cinema, Ithaca, NY in September 1985.

Submit a change or correction

If unchecked, this will appear as a public note on the site immediately. Spam filters may delay publication, but all submissions are reviewed by staff.

Changes will be reviewed and integrated as time permits. For major changes, feel free to email [email protected].

Last modified 16 May 2011

Related records

  • Feminist Video: Reiterating the Difference Bibliography

    Review of two 1984–85 exhibitions of feminist video: Revising Romance: New Feminist Video, organized and distributed by the American Federation of Arts and curated by Linda Podheiser and Bob Riley (ICA Boston, Sept 1–Dec 31, 1984; touring to Ohio State, Portland, and Cornell in 1985), and Difference: On Representation and Sexuality, videotapes curated by Jane Weinstock (New Museum, Dec 8, 1984–Feb 10, 1985; Renaissance Society and ICA London in 1985). The essay surveys numerous videotapes and artists (Condit, Yonemoto, Broughel, Antin, Godard, Birnbaum, Almy, Roster, among others), notes formats including super-8, three-channel black-and-white and television-produced half-hour tapes, and critiques curatorial emphases on Lacanian film theory and program balance while highlighting several standout works.

  • Revising Romance: New Feminist Video Chronology

    Revising Romance: New Feminist Video for American Federation of Arts and The Institute of Contemporary Art, Boston. Curators: Linda Podheiser, Bob Riley. Artists included Deans Keppel, Ann-Sargent Wooster

  • Revising Romance: New Feminist Video Bibliography

    Deans Keppe; Ann-Sargent Wooster Institution/Organizer: American Federation of Arts and The Institute of Contemporary Art, Boston Curator(s): Podheiser,Linda Riley,Bob

  • Report on the 1979 National Conference of Media Arts Centers Bibliography

    Conference at Lake Minnewaska, NY, April 25-27, 1979 concerning condition of media arts centers in US. NYS participants included Synapse; MOMA, Educational Film Library Association; Institute of New Cinema Artists; Millenium Film Workshop; NYSCA; Foundation for Indepdent Video and Film; Global Villa…

  • John G. Hanhardt People

    John G. Hanhardt is Senior curator of film and media arts at the Solomon R. Guggenheim Museum; he holds a B.A. from the University of Rochester and an M.A. from New York University. He was film coordinator at the Walker Art Center, Minneapolis (1972–74) and curator and head of the film and video department at the Whitney Museum of American Art (1974–96). He curated exhibitions and film and video series at the Whitney and Guggenheim, edited Video Culture: A Critical Investigation (1986) and received the Peter Norton Family Foundation Curator's Grant (1993).

  • De-Fantasizing the Profession and Re-Public-izing Cinemas or Holding on to the Real Bibliography

    Plenary address to the Society for Cinema Studies, Chicago, March 9, 2000; delivered by a film educator with two decades in a four-year undergraduate production program. The speaker maps an expanded field—film schools, communications, arts and medical curricula—and moving-image media (film, video, CD-ROM, web, installations), and diagnoses threats from corporatization, distance learning and declining nonprofit exhibition. Citing exchanges with NAMAC, Women Make Movies and the Robert Flaherty Seminar and referencing 1989 political events and global violences, they call for alliances with media-arts centers and offer ten programmatic wishes including anti-racist feminist politics, tenure lines and larger rental and programming budgets.