resume
“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
… Brilliantly written and realized”
Carrie Mae Weems
“JOAN DOES DYNASTY has become the classic feminist performance video of the era.“
Dee Dee Halleck
“The artists' 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 on screen 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
JOAN BRADERMAN
36 Fruit St
Northampton, MA 01060
studio: 413.584.6012
fax: 413.584.7504
cell: 413.695.0924
CURRENT POSITION
Professor Emerita of Video, Film and Media Studies,
School of Humanities, Arts and Cultural Studies, Hampshire College
President, NO MORE NICE GIRLS, INC — NO MORE NICE GIRLS MEDIA ARTS
EDUCATION
BA cum laude, Harvard University (Radcliffe College), 1970
MA, Cinema Studies, New York University, 1973
MPhil, Cinema Studies, New York University, 1976
SELECTED PERMANENT COLLECTIONS
The Stedelijk Museum, Amsterdam
The Museum of Modern Art, New York City
The DeCordova Museum, Lincoln, MA
Hirschhorn Museum, Washington, DC
The Institute of Contemporary Art, London
The Georges Pompidou Center, Paris
Pacific Film Archive, Berkeley, CA
Harvard University Cinematheque, Cambridge, MA
Museum of Modern Art, San Francisco
Museo de Arte Contemporanea, Reina Sofia, Madrid
Oviedo y Ayunta de Sevilla, Spain
Long Beach Museum, CA
Wexner Center for the Arts, Columbus, OH
Walker Art Center, Minneapolis, MN
International House, Philadelphia
The Donnell Library, NYC
Port Washington Public Library, NY
& over a hundred other public libraries, media centers and universities –domestic and international
SELECTED FELLOWSHIPS AND GRANTS
The National Endowment for the Arts (1989, 1990-1991)
Nova Scotia College of Art and Design Fellow (1979)
The Jerome Foundation (1987-88)
The New England Fellowships Program through the NEA & the American Film Institute (1989)
New York Foundation for the Arts (1987-88)
The Massachusetts Council on the Arts CAT FUND (1991-92)
The Massachusetts Cultural Council (1993)
New York State Council on the Arts (1989, 1992, 1994, 1996)
Hewllett - Mellon Foundation (1987, 1990, 1992, 1995, 1997, 1999, 2001-2007)
Lemelson Foundation (1994, 1998)
Wexner Center for the Arts, Visiting Artist - January & August, 1993, Summer 1998
Koopman Chair in the Visual Arts, Hartford Art School, University of Hartford, 1996-97
MacArthur Foundation for Digital Archive Creation (1998 and 2004)
Fund for Women Artists, (1998-99)
Northampton Arts Council Grant (2001)
Fulbright Foundation Chair in Electronic Arts, Porto, Portugal (2002)
Berkeley Film Fund Grant
Bay Area Video Coalition (BAVC), Mediamaker of 2009 Award
“Premiere” – Museum of Modern Art. New York, Oct. 2009
“HER TAKE,” 10 Women Filmmakers honored by Documentary Channel (2012)
VIDEO TAPES • INSTALLATIONS • WEB ART • EXHIBITIONS
•• With Selected Screenings & Awards ••
THE HERESIES FILM PROJECT- Film & Digital Archive – www.heresiesfilmproject.org
THE HERETICS 95 min. NTSC, color/B/W, 2009, uncovers the inside story of the Second Wave of the Women’s Movement for the first time in a feature film. Joan Braderman, director and narrator, follows her dream of becoming a filmmaker to New York City in 1971. By lucky chance, she joins a feminist art collective at the epicenter of the 1970s art world in lower Manhattan. In this first person account, THE HERETICS charts the history of a feminist collective from the inside out.
The Heresies Collective published HERESIES; A Feminist Publication on Art and Politics from 1977-1992. The group included: writers such as Lucy Lippard and Elizabeth Hess; architect, Susana Torre; Creative Director of the New York Times and Real Simple Magazines, Janet Froelich; Curator of Film at the Museum of the American Indian, Elizabeth Weatherford and filmmaker, Su Friedrich; as well as such prolific and well known artists: Joan Snyder, Pat Steir, Ida Applebroog, Miriam Schapiro, Cecilia Vicuna, May Stevens, Harmony Hammond, Emma Amos, Michelle Stuart, Joyce Kozloff, Mary Miss, Amy Sillman and Marybeth Edelson. All the women (ages 54-84) are still doing the work they fought for the right to do when they founded HERESIES.
THE HERETICS focuses on the Heresies Collective as a microcosm of the larger international Women’s Movement in which thousands of small, intimate groups of women met together to consider their situation -- as women in a man’s world -- and to devise strategies for unlocking their potential and making their work visible.
Premiere: Museum of Modern Art – MoMA Premieres Series, Oct. 9-15 New York City, 2009
Honors, 2012: Documentary Channel honors 10 Women Filmmakers – Joan Braderman for THE HERETICS in “HER TAKE.”
RECENT SHOWS
Reina Sophia Museum of Modern and Contemporary Art, Madrid, Spain, December 2019.
ONE WOMAN SHOW: THE HERETICS, presented by Susanna Torre
COOPER UNION ARTIST SERIES – THE HERETICS, FALL 2018
Metrograph Cinema, Brooklyn, NY- One woman show of THE HERETICS AND JOAN DOES DYNASTY
Personal Popular Narratives, Spectacle Theater, Brooklyn,NY, November 15 & 24, 2017.
Vienale, Vienna Austria, THE HERETICS, 2016
UnionDocs Video, Brooklyn, NY, one woman show, 2015
The Documentary Channel, Dish Network, USA, ongoing national license, LICENSE: March 2012- March 2013
European/International Television Distribution, Danish Broadcasting Co., LICENSE: 2011 for six years
Society for Cinema and Media Studies, Paramount Theater, Boston, MA, March 2012
Cinéma Féministe Television and Zavod Udarnik TV presents: THE HERETICS for television series in Slovenia, March 8th and 22nd, 2012
Metro Cinema in Alberta, Canada on May 8th , 2012.
The Lower East Side Girls Club screened THE HERETICS as part of their Girls Film Club event on February 24th, 2012
“Douglass College Presents,” New Brunswick, NJ, 2011
Latchis Theater, Brattleboro, Vermont, the longest-running women’s film festival in New England and one of the two oldest in the country devoted to films by and about women. 2011
Flamenco Guitarist, Maria Zemantauski, Presents: THE HERETICS at Hudson Valley Community College's Bulmer Telecommunications Center Auditorium, 2011
The Big Berks: 15th Annual Berkshire Conference on Women’s History, UMass. 2011: Panel on New Films made by women currently about Second Wave Feminism
Spectacle Theater, Brooklyn, NY
The Whitney Museum. TV ART Exhibition. JOAN DOES DYNASTY, 2011 (Reviewed in the New York Times, etc.)
The Institute of Contemporary Art, London, REMOTE CONTROL, JOAN DOES DYNASTY, 2012 (Reviewed in The Guardian, Time Out, etc.)
SOME OPENING YEARS’ EXHIBITIONS
Institute of Contemporary Art, Boston, February 11 and 14, 2010
Katzen Center for the Arts & National Museum of Women in the Arts, Washington, DC, Oct. 30, 2009
Santa Barbara International Film Festival, Santa Barbara, CA, Dec. 2009
Academy of Music, Northampton, MA., Oct. 2009
Vermont International Film/Video Festival, Burlington, VT, Oct. 2009
Ankara International Film Festival, Ankara, Turkey, Feb. 2010
Time and Space Theater, Hudson, NY, Dec.2009 and March 2010
Frameline International Film/Video Festival, San Francisco, CA
Smith College, Northampton, MA, Feb 27, 2010
Paul Robeson Center for the Arts, Princeton, NJ, March 12, 2010
Buffalo Women’s Film Festival, March 4, 2010
Santa Fe International Film Festival, Nov. 2009
Closing Night, San Francisco International Women’s Film Festival, April 2010
THE HERETICS has received enthusiastic reviews in The New York Times, ARTFORUM, The Village Voice, The Washington Post, Cineaste, On the Issues & many others.
Heresies ARCHIVE launched March 2007: www.heresiesfilmproject.org
DIGITAL ARCHIVE of all 27 issues of:
HERESIES; A FEMINIST PUBLICATION ON ART AND POLITICS, (1977-1994)
VIDEO, FILM & INSTALLATIONS MADE BEFORE 2006
PARA NO OLVIDAR; LAS CALLES DE MI HABANA VIEJA (2004), mini-DV, 6 min, sound, color.
With Crescent Diamond and the Office of the Historian of the City of Havana & the Jan Term Crew Hampshire College; music courtesy of Sylvio Rodriguez
JOAN BRADERMAN: UMA RETROSPECTIVA DO ARTE VIDEO Universidade Catolica Portuguesa
Escuela Das Artes; noviembre 2002, Porto, Portugal; CATAOLOGO DIGITAL
NO MORE NICE GIRLS PRODUCTIONS WEB SITE and DIGITAL GALLERY
Launch date: September 3, 1997, www.nomorenicegirlsproductions.org
VIDEO BITES; TRIPTYCH FOR THE TURN OF THE CENTURY w/Dana Master (1998), Beta SP, 24 min.
Premiere: PANDEMONIUM, FESTIVAL FOR MOVING IMAGES, London
Pandemonium Audience Award, Oct. 1998
Impakt Festival, The Netherlands, 1998
University of Massachusetts & Hampshire College, Fall, 1998
Harvard University, Carpenter Center, Feb 1999
Amsterdam Public Television, Spring 1999
"WOMEN DIRECT" - Ithaca College, Spring 1999
Boston Women in Film/Video, Spring 2000
LETTER ON A WALL • THE PUBLIC GOES PRIVATE • SPEECH MATTERS
20 foot acrylic wall installation, digital print. in Critical Positions, Joseloff Gallery of American Life, University of Hartford, Feb. 1996
The De Cordova Museum, Lincoln, Mass, June 1997
TRIBUTE TO JOAN BRADERMAN Northampton Center for the Arts, November 1996
The show and tribute were featured in Northampton Film/Video Festival
Participants included:
George Fifield, Curator, VideoSpace and De Cordova Museum; Mary Russo, Prof. of Comparative Literature and Critical Theory, Hampshire College; Gene Gort, Assoc. Prof. of Video and Mixed Media, Hartford School of the Arts and Video and Installation Artist; and Sura Levine, Assoc. Prof. of Art History, Hampshire College. Brochure with transcript available.
WGBY TV, SNAPSHOTS – JOAN BRADERMAN Series, Public Television Profile of Ms. Braderman ( 5 Min.) Produced by Dan Hunt, WGBY TV, Springfield, MA airing 1994-present.
JOAN BRADERMAN: A VIDEO RETROSPECTIVE
1994-95, De Cordova Museum, Lincoln, Massachusetts. VideoSpace at the De Cordova published a catalogue on her work for this exhibition: JOAN BRADERMAN: A VIDEO RETROSPECTIVE, by George Fifield.
MOVING STILLS
A series of 16" x 20" cibachrome video stills created from slides of stills from her work in video and shown to inaugurate the new Video Screening Facility at the De Cordova. De Cordova Anniversary, Spring 2000.
JOAN SEES STARS (1993) 3/4 inch, Betacam SP Master, 60 min. Co-Director: Dana Master, Dir. of Photography: Gene Gort. Part I: Star Sick, Part II: MGM-Movie Goddess Machines.
Premiere: "Video Visions," New York Film Festival, Oct. 15, 1993 at Lincoln Center
European Premiere: National British Film Theater, London, and Dec. 1993
Chicago Filmmakers, "Bodies in Crisis," Oct. 1993
Black Maria Film/Video Festival, Juror's Citation Award
The Space Gallery, Boston
Institute of Contemporary Art - Boston, Jan. 1994
The American Center, Paris
Women in the Director's Chair Festival, Chicago
Moscow Television
Zone Art Center University of Glasgow, Scotland
Independent Mass Media Festival
Videogame, New York Foundation for the Arts, Spring 2000
San Francisco International Lesbian & Gay Film/Video Festival
International House, "Our Dinner with Joan," Philadelphia
Cicada de Vigo International Festival de Video, Vigo, Spain
Atlanta Film/Video Festival Award- Best Dramatic Criticism
NO MORE NICE GIRLS (1989) 3/4 inch, 44 min., color, sounds. combines fiction and collage. About what it's like to see your political destiny erased from "popular memory" and dumped in revisionist history's garbage pile. It's about having once felt magically "in synch" with the times; about the friends you made then, and how they sustain you through these times.
Premiere: Collective for Living Cinema, April 1989
Winner, First Prize, Daniel Wadsworth National Video Festival, 1990
THE DECADE SHOW, Studio Museum of Harlem, NYC
Radcliffe Bunting Institute
Bennington College, Vermont
San Francisco Art Institute
British Film Institute, London
New American Makers, New Works Series, San Francisco
Pacific Film Archive, Berkeley, California
San Francisco International Gay and Lesbian Film Festival
DCTV, NYC
I.U.C, Conference on Women, Dubrovnik, Yugoslavia
The Chicago Art Institute
Hallwalls, Rochester, NY
S.U.N.Y. Purchase
The Brooklyn Museum
University of Wisconsin
Boston Film/Video Foundation
WOW Festival, NYC
2-Day Workshop w/Joan Braderman and Zeinabu Davis - Media Working Group, KY
"New Works," National Video Festival, American Film Institute, Los Angeles
THIRTY SECOND SPOT RECONSIDERED (1988) 3/4 inch, 11 min., color, sound
"The 1988 presidential election--this piece is about media power and market censorship. It is based on a true story about the adventures of the artist buying network time for a TV spot, --an ad for counter-bicentennial activities in l976, confronting the system of invisible, corporate censorship which runs broadcast television.“ --Boston Globe
Critic’s Choice Award, New England Film and Video Festival, Boston, 1990 Grand Prize
Video Zone, 1989. Zone Art Center, Springfield, Massachusetts Second Prize
Daniel Wadsworth National Video Festival
1990 Berlin Film Festival
Australian Film Festival
New American Makers, San Francisco
THE SHOW RIGHT THING Conference, NYU Majestic Theater
Real Artways, Hartford and New Haven, CT
Median Operativ, Berlin, Germany
Utica College, NY
Bennington College, VT
Colgate University, S.U.N.Y, Purchase
University of California, Irvine, and San Diego, University of Glasgow, Scotland
The Anti-Censorship Show
London Art Institute, Media School
London College of Printing and Distributive Trades
JOAN DOES DYNASTY (l986) 3/4 inch, 3l min., color, sounds. Conceived, written, produced and performed by Joan Braderman. Co-directed and co-edited with Manuel De Landa.
Premiere: 1987 Whitney Biennial, Whitney Museum of American Art, NYC
Edinburgh Film Festival, Scotland, 1997
American Film Institute, National Video Festival, Los Angeles
The Museum of Modern Art, NYC
Museum of Fine Art, Philadelphia
Cinemama Festival, Montreal
Boston Film/Video Foundation
Australian Video Festival
Cinematrix, Festival of Films by Women Directors
Oviedo y Ayunta de Sevilla, Spain
The Stedelijk Museum, Amsterdam
Hallwalls, Rochester, NY
New American Makers, San Francisco
Reina Sofia Museum, Madrid
Institute of Contemporary Art, London
TELL THEM FOR US; MADRE IN NICARAGUA (1985), 3/4", 28 min., sound, color. Co-produced/Edited with Jane Lurie for Madre Video Project. Music by Duo Guardabaranco
Winner, l985 MADRE Achievement Award
Shown at schools, churches, the U.S. House of Representatives, and,
Club Senzala, Port Washington
Public Library, University of Massachusetts
Union Video Donnell Library, New York
Syracuse University, NY
S.U.N.Y., Purchase, NY
Colgate University School of Visual Arts, and more...
Used widely for organizing in the U.S., Central America and the Caribbean; shown in The Deep Dish International Satellite Show
WAITING FOR THE INVASION - U.S. CITIZENS IN NICARAGUA (1984); 3/4" 28 min., color, sound. Co-Produced with Director, Dee Dee Halleck, Skip Blumberg, Joel Kovel, Shu Lea Cheang, & Karen Ranucci.
Winner-Best Documentary Award, Global Village Documentary Festival, NYC, l984
National Broadcast on PRESENTE- WCET, Los Angeles, PBS
Van Dam Theater, NYC
Wexner Center for the Arts, Columbus, OH
The Whitney Museum, NYC
The Museum of Modern Art, NYC
NYC Donnell Public Library
Cuban International Film Festival
University of California at San Diego
Bard College
NATALIE DIDN'T DROWN - JOAN BRADERMAN "READS" THE NATIONAL ENQUIRER
28 min., color, sound. Produced by Paper Tiger TV. Conceived, written, performed -Joan Braderman. Co-directed and edited with Manuel De Landa.
Shown widely on public access and other cable TV stations nationally & internationally in hundreds of schools, churches and community centers, galleries and cable TV stations.
SELECTED ARTICLES AND REVIEWS & WRITINGS ABOUT HER WORK
"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
Meet The Press: On Paper Tiger Television, Martha Gever, Afterimage, November, 1985
"TV Or Not TV” Regina Cornwell, CONTEMPORANEA, International Art magazine , Vol.II, #7, Italy, October, 1989
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,
Weekend, 1990. The Guardian (London)
Best of the Whitney Biennial, JOAN DOES DYNASTY, Jim Hoberman, The Village Voice, May 1987
American Film, Photo: NATALIE DIDN’T DROWN Review by Peter Biskind
Arts for Television catalogue, Bob Reilly, Museum of Modern Art, NYC, 1987
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
THIRTY SECOND SPOT RECONSIDERED Review in Index on Censorship, London, UK, Jill Medvedov NATALIE DIDN’T DROWN American Film Institute Video Festival, Catalogue, Los Angeles, 1984
THIRTY SECOND SPOT RECONSIDERED Takes the Prize, Boston Globe, Boston, 1989
WHITNEY BIENNIAL catalogue, John Hanhardt, New York City, Spring, 1987
Mother Jones Review of JOAN DOES DYNASTY
In Search of the Media Monster catalogue, the Art Gallery at Cleveland State University, OH, 1989
The Chicago Reader, review by B. Ruby Rich
The Village Voice, review of NO MORE NICE GIRLS by Amy Taubin
Christian Science Monitor, review
Mirabella, review
Sight and Sound, review
Art in America, review by Elizabeth Hess;
Art Journal, review
Our Evening with Joan; JOAN SEES STARS, Philadelphia City Paper
Week’s Best--London Film Theater, Time Out, London , December 1993
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
A Tribute to Joan Braderman, Northampton Film and Video Festival, Northampton, Mass, 1996.
New Feminist Video, by Martha Gever in Illuminating Video; The Essential Guide to Video Art , Eds. Doug Hall and Mary Jo Fifer
Aperture, San Francisco, 1990
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
Breakthroughs; Avant Garde Artists in Europe and America, Wexner Museum of Art, 1950-1990, Ohio State University Press, Columbus, Ohio, 1993
Guilty Pleasures; Feminist Camp From Mae West to Madonna, Pamela Robertson, Duke University Press, Durham and London, 1996
Chick Flicks; Theories and Memories of the Feminist Film Movement, B. Ruby Rich, Duke University Press, Durham and London, 1998
States of Emergency; Documentaries, Wars, Democracies, Patricia Zimmerman, University of Minnesota Press, 2000
Ms. Braderman has also written and spoken extensively on film, video and the politics of representation.
SELECTED ARTICLES BY THE ARTIST
Feminism and Video; The View from the Village, Camera Obscura
A Journal of Feminism and Film Theory, Archive for the Future, 2007
Report: the First International Festival of Films by Women, ARTFORUM, New York City, September, 1972
Art in a Fugue State, The Village Voice, 1981
JOAN DOES DYNASTY, the Complete Script, The Independent, Journal of the Association of Independent Film and Video, September, 1986
NO MORE NICE GIRLS, Selections from the Video Script, Motion Picture, Journal of the Collective for Living Cinema , New York City, Fall, 1990
Women and The Cinema: A Review and Some Modest Proposals, Quarterly Review of Film Studies, Vol.3, #4, Fall, 1978.
Peasants of the Second Fortress, Ogawa and Partisan Documentary in Japan, Show Us Life; Toward A History and Aesthetics of the Committed Documentary, Thomas Waugh, The Scarecrow Press, New Jersey and London, 1984
Video in the Academy: Dead or Alive, The American Film Institute, National Video Festival Catalogue, Los Angeles, California, 1987
Peasants of the Second Fortress, Revolutionary Films, Chicago/76, B. Ruby Rich, The Chicago Art Institute Film Catalogue, Chicago, 1976
Radical Art, Theory and Practice, Publication of the College Art Association , Jan. 1978, NYC
THE WARRIORS Through the Turnstile of Ideology and Pleasure, or ‘Where’s Momma?' with Paul Arthur, Catalyst, A Journal of Social Workers and Social Science, Spring, 1979
Reclaiming the Utopian Moment, ROAR, Wexner Center Catalogue for Paper Tiger Anniversary, Ohio State University Press, Columbus, 1993
Juggling Contradictions; Feminism, the Individual and What’s Left, HERESIES, #1, New York City, January 1977
ORIGINAL SCRIPTS
RAW NERVES (with Manuel DeLanda and Paul Arthur),1978
JULY 4, 1976, BICENTENNIAL WITHOUT COLONIES, 1977
CHARLOTTE ST —— ONE MORE TIME
NATALIE DIDN'T DROWN, 1983
JOAN DOES DYNASTY, 1986
THIRTY SECOND SPOT RECONSIDERED, 1987
NO MORE NICE GIRLS, 1988
LOVE IS THE RHYTHM; SUBCULTURES OF POPULAR DANCE, 1991
JOAN SEES STARS, 1992
FAT GIRLS FROM HELL with Sheila McLaughlin, 1995
VIDEO BITES, TRIPTYCH FOR THE TURN OF THE CENTURY, 1998
THE HERETICS, 2009
TEACHING & RELATED EXPERIENCE
La Oficina del Historiador de la Ciudad de la Habana, Cuba, January 2001-2004; creation and implementation w/ Jacqueline Hayden & Dir. Rafael Rojas- DIGITAL IMAGE ARCHIVE.
Fulbright Distinguished Scholar Chair - Electronic Media - Universidade Catolica Portuguesa, 2002
Hampshire College (l985-present)
The Boston Museum of Fine Arts, Museum School, 1992
Hartford Art School, University of Hartford, 1996
Guest Professorship, The London Institutes' London College of Printing and Distributive Trades- Media School, Department of Film and Video, 1995
The School of Visual Arts Department of Film and Video, l972-85
Nova Scotia College of Art and Design, 1978
Notre Dame University, 1977
New York University, 1973-77
Numerous seminars and workshops for students and professionals in the field
Ms. Braderman has lectured widely (list of papers and presentations available), was a co-founder of HERESIES; A FEMINIST PUBLICATION ON ART AND POLITICS (l976); The NYC Alternative Electoral Coalition, 1978, and such events as The Peoples' Convention, South Bronx, l980; and the Five College Women's Studies Conference on Gender and Visual Representation, l986; She has juried festivals such as FRAMEWORKS for WGBY and New England Film & Video Festival, grants/fellowships panels such as New York State Council on the Arts and The Bunting Institute, Radcliffe College.
OTHER RECENT ONE WOMAN SHOWS & PRESENTATIONS
El Archivo Digital-Video – la Oficina del Historiador, La Habana, Cuba, el enero 2004
Universidade da Porto, Centro de Communicacion e cultural, “ A Obra Video da Joan Braderman,” Dec. 2002
Escuela das Artes, Universidade Catolica, Porto, Video Works of Joan Braderman, Nov. 2002
De Cordova Museum, Anniversary Show, April 2000
Women in Film and Video of Boston, Short and Edgy, March 2000
White Columns Gallery - Days of Art for Mummia, Abu Jamal, Fall 1999
Noh Television - Eastman House, Rochester – Spring, 1999
Ithaca College - ONE WOMAN SHOW, ”Woman as Director Series,” March 1999
Tillie K. Lubin Festival, Brandeis University, “WOMEN IN SHORTS,” Keynote, March 1998
ONE WOMAN SHOW, United World College Of The American West, Montezuma, Arizona
Mt. Holyoke College - "The Work of Joan Braderman,” APRIL 1998
Northampton Cable Television, Media One - 3 hour show of “Tribute to Joan Braderman," Shot on location at the Center for the Arts, Fall 1997 and shown ten times over the week of the Northampton Film Festival
University of Glasgow, Department of Theater and Film
St. Martins' College of Art, Department of Film/Video/Mixed Media: - Screenings and lecture
Media School, MFA Program, LCP, London Institute
National Film Theater, London — 3-day run of JOAN SEES STARS; Reviewed in "Time Out,“ London, 1993
BOARDS, etc. ON WHICH MS. BRADERMAN HAS SERVED
The Board of Directors of Planned Parenthood of Massachusetts
The Board of Directors of The Independent Television Service
The Northampton Cable Television Board
The Five College Film Council
The Board of Directors of the Association of Independent Film and Video Makers
DISTRIBUTORS
Women Make Movies (212) 925-0606 (for THE HERETICS- North America)
Video Data Bank (312) 345-3550 at The School of the Art Institute of Chicago
Paper Tiger TV, 39 Lafayette St. NYC
"What Does She Want?" Collection – Video Data Bank
Arts for Television Collection, Museum of Modern Art, NYC
World Distribution - outside USA
London Electronic Arts
“DVR” Danish Broadcasting System
Press: all available, including
FOR A BICENTENNIAL WITHOUT COLONIES , 20 min, 1977
THE PEOPLES’ CONVENTION , SOUTH BRONX , 15 min, 1980
and other early works from artist’s studio at:
NO MORE NICE GIRLS, INC: (413) 584-6012
•• joanbraderman.com •• heresiesfilmproject.org