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Clare Johnson

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Clare Johnson

Associate Professor in Art & Design


What do radical feminist art films look like? Desire and duration in Sam Taylor-Wood’s David (2004) (2010)
Presentation / Conference
Johnson, C. (2010, September). What do radical feminist art films look like? Desire and duration in Sam Taylor-Wood’s David (2004). Paper presented at Radical British Screens

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).

Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998) (2010)
Journal Article
Johnson, C. (2010). Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998). Parallax, 16(3), 96-104. https://doi.org/10.1080/13534645.2010.486676

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
Johnson, C. (2008, May). The embodied intellectual: Impression and contact as political currency. Paper presented at Intellectuals: Knowledge, Power, Ideas

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.