Arts Fuse; 2012
Wall Street Journal's Market Watch; 2012
Telegraph 21; Interview & Review; 2012
The F Word; Interview & Review; London, UK; 2012
Our Evening with Joan: JOAN SEES STARS; Philadelphia City Paper;
A Tribute to Joan Braderman; Northampton Film and Video Festival; Northampton, MA; 1996
Catalogue; George Fifield, Curator, Media Arts, Video Space at the De Cordova Museum; December-January 1994-95
Week’s Best--London Film Theater; Time Out; London; December 1993
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
Social Engagement: Women’s Video in the Eighties; Lucinda Furlong; Whitney Museum Catalogue; NYC, 1990
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
Aperture; San Francisco; 1990
Weekend; 1990; The Guardian, London
TV or not TV; Regina Cornwell; CONTEMPORANEA, International Art magazine; Vol.II, #7; Italy; October, 1989
THIRTY SECOND SPOT RECONSIDERED Takes the Prize; Boston Globe; Boston, MA; 1989
THIRTY SECOND SPOT RECONSIDERED Review in Index on Censorship; London, UK; Jill Medvedov
In Search of the Media Monster catalogue; the Art Gallery at Cleveland State University, Ohio; 1989
The Village Voice; review of NO MORE NICE GIRLS by Amy Taubin
Best of the Whitney Biennial; JOAN DOES DYNASTY; Jim Hoberman; The Village Voice; May, 1987
WHITNEY BIENNIAL catalogue; John Hanhardt; New York City; Spring, 1987
Mother Jones Review of JOAN DOES DYNASTY
American Film, Photo; NATALIE DIDN’T DROWN; review by Peter Biskind
Arts for Television catalogue; Bob Reilly; Museum of Modern Art, NYC; 1987
NATALIE DIDN’T DROWN; American Film Institute Video Festival; catalogue; Los Angeles; 1984
Meet The Press: On Paper Tiger Television; Martha Gever; Afterimage 11, no. 4; November, 1983
Rich, B Ruby. "Women in the Director's Chair International Film & Video Festival." Review of Festival. The Chicago Reader, 10 March 1994. Digital.
Sterrit, David. "Tuning in to video as an art medium." Review of Whitney Biennial. The Christian Science Monitor, 11 June 1987. Digital.
Princenthal, Nancy. "Heretics Look Back." Review of The Heretics by Joan Braderman. Art in America, January 2010. Vol. 98 Issue 1, pg. 30.
Joan Braderman; A Video Retrospective, The De Cordova Museum Catalogue, George Fifield, Curator, Media Arts, Video Space at the De Cordova, Museum, December-January 1994-95.
Sight and Sound; review
Art in America; review by Elizabeth Hess
Ms. Braderman has also written and spoken extensively on film, video and the politics of representation.
“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 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
“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
Joel Kovel, author of The Age of Desire and History and Spirit, et al.
“Smart, low-budget bridge between theory and pop culture, funny and devastating at the same time."
Philadelphia City Paper
“JOAN DOES DYNASTY has become the classic feminist performance video of the era.“
Dee Dee Halleck
“The artist's 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.”
"Slandering the publisher onscreen 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, The Village Voice