Outputs (16)

What do radical feminist art films look like? Desire and duration in Sam Taylor-Wood’s David (2004) (2010)
Presentation / Conference Contribution

British feminist art practice has a rich heritage of radical filmmaking, which has contributed to an understanding of radical feminist practice as subversive and oppositional. Crucial as these strategies are, the grounds upon which they were founded... Read More about What do radical feminist art films look like? Desire and duration in Sam Taylor-Wood’s David (2004).

Preposterous histories (2010)
Journal Article

This article explores maternal desire, loss, and control by reading Carolee Schneemann's performance Interior Scroll (1975) through Tracey Emin's photographic print I've Got It All (2000). More specifically, I consider Schneemann's work on the energy... Read More about Preposterous histories.

Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998) (2010)
Journal Article

This article explores the concept of empathy as an affirmative feminist engagement with Tracey Emin’s short film Homage to Edvard Munch and All My Dead Children (1998). I consider the ‘work’ that art does in terms of empathic possibility asking why t... Read More about Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998).

The embodied intellectual: Impression and contact as political currency (2008)
Presentation / Conference Contribution

This paper explores the idea of the embodied intellectual through notions of contact, impression and affect. Through my reading of Tracey Emin’s short film Why I Never Became a Dancer, 1995, I consider the relation of criticality to haptic visuality... Read More about The embodied intellectual: Impression and contact as political currency.

Femininity, time and feminist art
Book

Performance photographs and the (un)clothed body: Yoko Ono's Cut Piece
Preprint / Working Paper

This is a working paper.

Clothing played an important role in a number of performance art events during the 1960s and 1970s. Performances such as Yoko Ono’s Cut Piece (1964), Marina Abramović’s Rhythm 0 (1974) and Hannah Wilke’s Super-T-Art (1974)... Read More about Performance photographs and the (un)clothed body: Yoko Ono's Cut Piece.