Girls On The Re-Make - Julie Zando - Josephine Anstey

Afterimage, March, 2001 by Cynthia Chris

(10.) See the description of Pryings in the Electronic Arts Intermix on-line distribution catalog at www.eai.org. Also see Anne M. Wagner, "Performance, Video, and the Rhetoric of Presence," in October No. 91 (Winter 2000), p. 80. For a brief and cogent overview of Acconci's early performances in relation to prior and subsequent works, see Judith Russi Kirshner, "Vito Acconci: Language and Space," in Vito Acconci: A Retrospective: 1969 to 1980 (Chicago: Museum of Contemporary Art, 1980), p. 3.

(11.) Jessica Benjamin, The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination (New York Pantheon, 1988), P. 12.

(12.) Subrin's Shulie (1997) remade Shulie (1967), an unreleased documentary portrait of art student/budding radical feminist Shulamith Firestone, by Jerry Blumenthal, Sheppard Ferguson, James Leahy and Alan Rettig. See Kate Haug, "Time Frame," in Afterimage 26, no. 3 (November/December 1998), p. 15. Godmilow remade Harun Farocki's Inextinguishable Fire (1969), never released in the United States. Ibid., p. 15; see also Jennifer Horne and Jonathan Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow," in Afterimage 26, no. 3 (November/December 1998), pp. 12-14. The Video Data Bank distributes tapes cited by Subrin, Godmilow and Montano.

(13.) See Cynthia Chris and John C. Welchman, "The Making of Acconci," Texte zur Kunst Vol. 35, No. 9 (September 1999), pp. 276-280.

(14.) Mike Kelley (interviewed by Jose Alvaro Perdices), "My Universal System is a Dystopian One," in Sin Titulo no. 5 (Cuenca, Spain: Centro de Creacion Experimental, 1998), pp. 151-52.

(15.) My argument here neither dismisses the exploitive reality of First World appropriations of Third World artifacts, resources and ideas, nor diminshes legitimate claims of plagiarism.

(16.) Craig Owens, "The Discourse of Others," in Beyond Recognition: Representation, Power, and Culture (Berkeley: University of California Press, 1992), pp. 168. Reprinted from Hal Foster, ed., The Anti-Aesthetic Essays on Postmodern Culture (Seattle: Bay Press, 1983), pp. 57-77.

(17.) Ibid., p. 169.

(18.) Benjamin, Like Subjects, Love Objects, 1995, p. 30.

(19.) Ibid., p. 38. The author thanks Julie Zando; Chris Straayer, for organizing the "Video Bodies" panel at Console-ing Passions where I presented at early version of this paper on May 12, 2000; and the Lyn Blumenthal Memorial Fund for Independent Video whose generous support in the form of a Video Criticism Award has sustained my engagement with the field.