The Renaissance Society presents 'Shared Eye', a new installation by artist Sadie Benning. In this series of mixed-media panels, images are layered and interpolated, suggesting the complexities of representation inherent in visual communications. The catalogue for Sadie Benning's solo exhibition 'Shared Eye' features new essays by Christine Mehring and John Corbett, an interview between the artist and Julie Ault, and installation views from the Renaissance Society and Kunsthalle Basel. Co-curators Solveig Øvstebø and Elena Filipovic provide an introduction. Exhibition: The Renaissance Society, Chicago, USA (19.11.2016-22.01.2017) / Kunsthalle Basel, Switzerland (10.02-30.04.2017).

Foreword by Sherri Geldin. Introduction by Jennifer Lange. Text by Eileen Myles, Helen Molesworth, Aleksandar Hemon, Amy Sillman.

Examines the exchanges within and through feminist film culture to expand critical horizons in film scholarship. Following in the footsteps of the filmmakers whose work it features--including Miranda July, Janie Geiser, Tracey Moffatt, Sally Potter, Cindy Sherman, Samira Makhmalbaf, Sadie Benning, Agnès Varda, Kim Longinotto, and Michelle Citron--There She Goes: Feminist Filmmaking and Beyond seeks to make trouble not only in the archives but also at the boundaries between artistic, industrial, political, critical, and disciplinary practices. Editors Corinn Columpar and Sophie Mayer have assembled scholarship that responds to women's work in the interstices between different branches of the film industry, modes of filmmaking, national or transnational contexts, exhibition media, and varieties of visual representation in order to assess the exchanges such work enables. Essays in the first three sections of There She Goes explore connections at the level of curation and exhibition, while the subsequent four consider local connections such as those between the film and the audience or between works within an oeuvre, down to those occurring on the surface of the film. Contributors reach beyond traditional screen cinema to interact with a larger field of artistic production, including still photography, music videos, installation art, digital media, performance art, and dance. Essays also pay particular attention to a variety of contextual factors that have shaped women's filmmaking, from the conditions of production and circulation to engagement with various social movements and critical traditions, including, but not limited to, feminism. By foregrounding fluidity, There She Goes presents a an exciting new appraisal of feminist film culture, as well as the intellectual and affective potential it holds for filmmakers and filmgoers alike. Scholars of film and television studies and gender studies will appreciate the fresh outlook of There She Goes.

B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.

A comprehensive examination of the relationship between the work of renowned surrealist Roberto Matta (1912–2002) and his son, conceptual artist, Gordon Matta-Clark (1943-1978).

From the Wizard of Oz to Lolita, from the Heathers to the Spice Girls, images of girlhood have been projected on the silver screen in myriad ways. Whether a girl is taught that "there is no place like home" or is seeking adventure on her own terms, whether she is a seductress or a nerd, a babysitter or a murderer, films have depicted society's problematic expectations of girls together with the dreams, anxieties, and tensions experience by girls themselves. In examining the construction of girlhood from many angles, this collection of essays not only captures the richness of meaning behind "girl films," but also explores the recent resurgence of youth-oriented cinema and the relationship of young female viewers to that medium. The twenty essays approach to the construction of girlhood from a variety of perspectives, including reception, production, star images, and textual analyses, while exploring such topics as star power, the Riot Grrrl movement, coming of age, and loss of innocence. Among the characters given special attention are those in Gidget, Crooklyn, Titanic, Freeway and Girls Town. Written for general and academic readers, this work offers a lively, unprecedented discussion of gender in youth-oriented films.

HAMMER! is the first book by influential filmmaker Barbara Hammer, whose life and work have inspired a generation of queer, feminist, and avant-garde artists and filmmakers. The wild days of non-monogamy in the 1970s, the development of a queer aesthetic in the 1980s, the fight for visibility during the culture wars of the 1990s, and her search for meaning as she contemplates mortality in the 2000s—HAMMER! includes texts from these periods, new writings, and fully contextualized film stills to create a memoir as innovative and disarming as her work has always been. HAMMER! was the winner for the 2010 Judy Grahn Award for Lesbian Nonfiction.

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

A sophisticated theoretical consideration of the related aesthetics and histories of ethnographic and experimental non-fiction films.

Kiss My Genders celebrates the work of more than 20 international artists whose practices explore and engage with gender fluidity, as well as non-binary, trans and intersex identities.Featuring works from the late 1960s and early 1970s through to the present, and focusing on artists who draw on their own experiences to create content and forms that challenge accepted or stable definitions of gender.Working across painting, immersive installations, sculpture, text, photography and film, many of these artists treat the body as a sculpture, and in doing so open up new possibilities for gender, beauty, and representations of the human form.This publication includes texts from writers, theorists, curators, poets and artists who have made key contributions to thinking in the field.From pop culture and gender dissidence to the embrace of the 'monstrous' or 'freaky', from the politics of prose to trans-feminism and politics on the street, each of these writers throws light on a different way of seeing. Also featured is a round-table discussion between a selection of artists and exhibition curator Vincent Honoré.In addition to these original texts, the book reprints a key text by Renate Lorenz and includes poetry by Travis Alabanza, Jay Bernard and Nat Raha.Published on the occasion of the exhibition, Kiss My Genders at Hayward Gallery, London (12 June - 8 September 2019).