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Joan Braderman: Feminist, Artist, Activist!,


Recycled Stars: Female Film Stardom in the Age of Television and Video; Mary R. Desjardins; Duke University Press; 2015

Arts Fuse; 2012

Wall Street Journal's Market Watch; 2012

Telegraph 21; Interview & Review; 2012

The F Word; Interview & Review; London, UK; 2012

States of Emergency: Documentaries, Wars, Democracies; Patricia Zimmerman; University of Minnesota Press; 2000

Chick Flicks: Theories and Memories of the Feminist Film Movement; B. Ruby Rich; Duke University Press; Durham and London; 1998

Our Evening with Joan: JOAN SEES STARS; Philadelphia City Paper;

A Tribute to Joan Braderman; Northampton Film and Video Festival; Northampton, MA; 1996

Guilty Pleasures: Feminist Camp from Mae West to Madonna; Pamela Robertson; Duke University Press; Durham and London; 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

Breakthroughs: Avant-Garde Artists in Europe and America; Wexner Museum of Art, 1950-1990; Ohio State University Press; Columbus, Ohio, 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

Illuminating Video: An Essential Guide to Video Art (1990) by Doug Hall (Editor), Sally Jo Fifer (Editor), David Bolt (Preface), David Ross (Foreword); New Feminist Video, by Martha Gever

Social Engagement: Women’s Video in the Eighties; Lucinda Furlong; Whitney Museum Catalogue; NYC, 1990


Artists Are Creating A Wonderland of Video; The New York Times; William Zimmer


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.

Tamblyn, Christine. “No More Nice Girls: Recent Transgressive Feminist Art.” Art Journal, vol. 50, no. 2, 1991, pp. 53–57.

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.

Mirabella; review

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

“A masterpiece.”

                             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.”

                                                                Martha Gever


"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

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