“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
Anderson, Melissa. “Second-Wave Feminists Define an Era in The Heretics.” The Village Voice, 6 Oct. 2009.
Almino, Elisa Wouk. “Reframing Pop Cultural Images of Women Through a Queer and Feminist Lens.” Hyperallergic, 21 Nov. 2017.
Berkovitch, Ellen. “The Heretics, from Prince Street to Galisteo.” AdobeAirstream, 28 Jan. 2016.
Bloom, Lisa. Jewish Identities in American Feminist Art: Ghosts of Ethnicity. Routledge, 2006.
“Bodies in Crisis.” Chicago Reader, 22 Oct. 1993.
Bonamno, Carolanne. “Musing on ‘The Heretics’ – TONIGHT!” Broad Strokes: The National Museum of Women in the Arts' Blog, 30 Oct. 2009.
Chang, Chris. “Damaged.” Film Comment, vol. 30, no. 1, Film Society of Lincoln Center, 1994, pp. 8–11.
Cooper, Cindy. “'The Heretics' Shows Comfort With Choice.” Words of Choice: Up the Creativity, 12 Oct. 2009.
Cornwell, Regina. “TV or Not TV.” Contemporanea International Art Magazine, Oct. 1989, pp. 58-63.
Desjardins, Mary R. Recycled Stars: Female Film Stardom in the Age of Television and Video. Duke University Press, 2015.
Desmett, Don, and Elizabeth Hess. In Search of the Media Monster: Gretchen Bender, Joan Braderman, Nancy Buchanan, Jenny Holzer, Jerry Kearns. Cleveland Art Gallery, Cleveland State University, 1988.
Dougherty, Ariel. “‘The Heretics’: Film Invigorates Feminism, Art, Politics.” On the Issues, 23 Oct. 2009.
Douglas, Susan J. Where the Girls Are: Growing up Female with the Mass Media. Times Books, 1995.
Feuer, Jane. Seeing through the Eighties: Television and Reaganism. Duke University Press, 1996.
Fifield, George. Joan Braderman: A Video Retrospective. VideoSpace at DeCordova Museum and Sculpture Park, Dec 1994 – Jan 1995.
Fuchs, Cynthia. “The Heretics.” PopMatters, 25 Feb. 2018.
Furlong, Lucinda. “Social Engagement: Video in the '80s.” Whitney Museum of American Art. New American Film and Video Series, vol. 36, New York City, 3 Mar. 1987.
Furlong, Lucinda. “Image World: Metamedia.” Whitney Museum of American Art. New American Film and Video Series, vol. 49, New York City. 9 Nov. 1989.
Gever, Martha, director. Meet the Press: On Paper Tiger Television. Afterimage Magazine. Vol. 11, no. 4. Nov. 1983.
Green, Vanalyn. “Vertical Hold: A History of Women’s Video Art.” Feedback: The Video Data Bank Catalog of Video Art and Artist Interviews (Wide Angle Books), edited by Kate Horsfield and Lucas Hilderbrand, Illustrated, Temple University Press, 2006.
Hall, Doug, and Sally Jo Fifer, editors. Illuminating Video: An Essential Guide to Video Art. Aperture/Bay Area Video Coalition, 1990.
Halter, Ed. “Women's Work: Ed Halter on The Heritics.” Artforum International, 5 Oct. 2009.
Hess, Elizabeth. “Tit for Tat at the Whitney.” The Village Voice, 24 Mar. 1987, p. 80.
Hoberman, Jim. “Best of the Whitney Biennial: Joan Does Dynasty.” The Village Voice, May 1987.
Hoffman, Lyz. “The Heretics: Documentary Film Explores Lives and Personalities Behind Influential Women’s Movement Magazine.” Santa Barbara Independent, 6 Feb. 2010.
Howell, John, and Wexner Center for the Visual Arts. Breakthroughs: Avant-Garde Artists in Europe and America, 1950-1990. Rizzoli, New York, 1991.
Hulser, Kathleen. “Paper Tiger Television: The New York Public Access Show That Bites Back.” American Film Magazine, Mar. 1985, pp. 61–63.
Jackson, Tim. “Coming Attractions in Film: March 2012.” Arts Fuse, 4 Mar. 2012.
Kunitz, Daniel. “Automatic for the People.” The New York Sun, 20 Dec. 2007.
Kort, Michele. “DVD Watch: The Heretics.” Ms. Magazine, 2010, p. 61.
Lamble, David. “Deep in the Heart of Disney.” The Bay Area Reporter, 6 Apr. 2010.
Ledes, Richard C. “Disarming Genres.” Artforum, Oct. 1990, p. 172.
Lewis, Betsy. “The Video Art of the 1980s Was Just as Weird as Everything Else That Decade.” Dallas Observer, 20 May 2016.
Lord, Catherine, and California Institute of the Arts. “Thinking Television: Low-Tech Representations.” The American Film Institute's National Video Festival: Olympic Screenings. Catalogue.
Math, Mara. “Women’s Festival Steps Up.” CineSource Magazine, Apr. 2010.
McCabe, Jess. “The Heretics.” The F-Word, 28 Sept. 2010.
“MoMA Presents: Joan Braderman's The Heretics.” Curated by Sally Berger, Museum of Modern Art.
New Museum, The Studio Museum of Harlem. The Decade Show: Frameworks of Identity in the 1980s. 1990. Catalogue.
Princenthal, Nancy. “Heretics Look Back: Review of The Heretics by Joan Braderman.” Art in America, vol. 98, no. 1, Jan. 2010, p. 30.
Pym, John, editor. Time Out Film Guide. 11th ed., Time Out, 2002.
Rainer, Yvonne. “Looking Myself in the Mouth.” October, vol. 17, 1981, pp. 65–76. JSTOR.
Ratnawati, Nani. “The Heretics.” Frameline, San Francisco International LGBTQ Film Festival, 17 June 2010.
Rich, B. Ruby. Chick Flicks: Theories and Memories of the Feminist Film Movement. Duke University Press, 1998.
Rich, B. Ruby. “Women in the Director's Chair: International Film & Video Festival.” The Chicago Reader, 10 Mar. 1994.
Rickman, Jonathan. “Art Expansion: Joan Braderman on 'The Heretics'.” The Washington Post, WP Company, 28 Oct. 2009.
Riley, Bob. “Comic Horror: The Presence of Television in Video Art.” The Arts for Television, The Museum of Contemporary Art, Los Angeles, April 1989, pp. 85–98.
Riley, Bob. “Mediated Narratives.” Currents,Institute of Contemporary Art, Boston. Sept. 1986. Catalogue.
Robertson, Pamela. Guilty Pleasures: Feminist Camp from Mae West to Madonna. Duke University Press, 1996.
Rosenbaum, Jonathan. “Rotterdam 1987: The Once and Future Cinema.” Sight and Sound, 1987.
Rosenberg, Karen. “What’s on the Art Box? Spins, Satire and Camp.” The New York Times, 11 Jan. 2008.
Rosenthal, Alan. “: Show Us Life: Towards a History and Aesthetics of the Committed Documentary . Thomas Waugh.” Film Quarterly, vol. 40, no. 1, 1986, pp. 59–60., doi:10.1525/fq.1986.40.1.04a00230.
Ruhl, Steven. “Video Art by a TV Infiltrator.” Amherst Bulletin, 22 June 1988, p. 21.
Sachs, Ben. “Live to Tape Fest Is like If 'Weird Al' Yankovic's UHF Were a Gallery Installation.” Chicago Reader, Chicago Reader, 14 May 2015.
Saltz, Rachel. “Art in an Era of Consciousness Raising.” New York Times, 8 Oct. 2009.
Sandberg, Ashley. “Documentary Channel Honors Female Filmmakers with ‘Her Take’ This March.” PR Newswire, 9 Feb. 2012.
Schmidt, Doris. “Unscrambling TV's Signals.” Union-News, 19 Oct. 1989, pp. W-1-W-3.
Seid, Steve. “BAM/PFA - Film Programs.” BAMPFA, 18 June 2003.
Silverman, Rachele. “FLEA Circus: Joan Sees StarsDirected by Joan Braderman Starring Joan Braderman at the Harvard Film Archive.” The Harvard Crimson, 17 Nov. 1974.
Silverstein, Melissa. “More Joy, Less Shame: The Heretics.” Women and Hollywood, 9 June 2010.
Snook, Raven. “The Heretics.” Time Out Chicago, 5 Oct. 2009.
Sterritt, David. “Tuning in to video as an art medium.” The Christian Science Monitor, 11 June 1987.
Tamblyn, Christine. “No More Nice Girls: Recent Transgressive Feminist Art.” Art Journal, vol. 50, no. 2, 1991, pp. 53–57.
Tamblyn, Christine. “The Hair of the Dog That Bit Us: Theory in Recent Feminist Art.” New Feminist Criticism: Art, Identity, Action, edited by Joanna Frueh et al., Harper-Collins, 1991.
Taylor, Doreen. “Soap Gets Under Your Skin.” The Guardian, 24 Aug. 1987, p. 13.
“Time Out Says: Joan Sees Stars.” Time Out London, Dec. 1993.
Villarreal, Jose. “The Museum of Modern Art Presents the World Premiere of Joan Braderman's The Heretics.” Art Daily.
White, Jerry. “Program Notes: Joan Sees Stars.” International House: Neighborhood Film/Video Project, 11 Feb. 1994.
Wilber, Roy. “Joan Braderman: Feminist, Artist, Activist!” Moore Women Artists, 2016.
Wilson, Emily. “‘The Heretics’: Women of the Heresies Collective.” Women's Media Center, 12 Apr. 2010.
Wright, Patricia. “On her video screen, she presses the buttons.” Daily Hampshire Gazette, 5 Jan. 1995.
Zimmermann, Patricia R. States of Emergency: Documentaries, Wars, Democracies. University Of Minnesota Press, 2000.
Zimmerman, William. “Artists Are Creating a Wonderland of Video in Museum Galleries.” New York Times, 1987.
Ms. Braderman has also written and spoken extensively on film, video and the politics of representation.