“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