- Say I Am: Feminist Performance Video in The 70's Bibliography
- Video Culture: A Critical Investigation Bibliography
Concepts: Theory and Practice, Video and Television, Film and VIdeo: Differences and Futures. Texts by Walter Benjamin, Louis Althusser, David Antin, David Ross, Rosalind Krauss, Nam June Paik, Gene Youngblood (Art, Entertainment, Entropy ), Douglas Davis (Filmgoing/Videogoing: Making the Distinctio…
- 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.
- The Politics of Video Memory: Electronic Erasures and Inscriptions from Resolutions: Contemporary Video Practices Bibliography
Essay examines how photographic, cinematic and television-video images produce personal and cultural memory while simultaneously enabling forms of forgetting; it argues that television's live flow and videotape materiality complicate preservation and historical status. It surveys independent video practices and collectives (Videofreex, Raindance) and analyzes works by Woody Vasulka (Art of Memory, 1987), Rea Tajiri (History and Memory, 1991), Janice Tanaka (Memories from the Department of Amnesia, 1990; Who's Going to Pay for These Donuts, Anyway?, 1992) and Jeanne Finley (Nomads at the 25 Door, 1991), addressing Japanese American internment, Yugoslavia (1990), televised events (Challenger, Tiananmen, Berlin Wall) and videotape deterioration. The artists use videotape, found footage and reenactment to create counter-memories, bear witness and contest national narratives.
- A Narrative Conceit: From the Academy to the Avant Garde Bibliography
- Vancouver Art Gallery Chronology
Montreal Tapes: Video as a Community or Political Tool was presented at The Vancouver Art Gallery and curated by Jo-Anne Birnie Danzker; the program comprises interviews and statements on community and political video practice. Contributors listed include Challenge for Change, Parallel Video Institute, Intercom Satellite Project, La Femme et Le Film, Videotron and Groupe d'Intervention Video; the record also notes statements on videotapes exhibited in Quebec '75 organized by Normand Theriault.