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Which clippings match 'Queerness' keyword pg.1 of 1
11 MAY 2011

Sadie Benning's Fisher Price PXL-2000 confessions

"Eighteen–year–old Sadie Benning recorded thoughts and images, from 1989–92, of her nascent lesbianism with the help of a Fisher Price Pixelvision camera. Portrays the space of Sadie's bedroom, scrawled notes, and defiant expressions which mark her confessional, in–your–face style."

(Duke University Libraries)

Sadie Benning (1990). 'If Every Girl Had a Diary', video (black and white, sound), 8 min. Purchase. © 2011 Sadie Benning. Courtesy Video Data Bank

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TAGS

1990adolescent sexuality • audio cassette • authorship • B&W • black and whitecamerachronicle • coming out • confession • despair • diarydocumentary filmfeelingsfemale sexuality • Fischer-Price PXL-2000 camera • Fisher Price • gay and lesbian • gender • gender issues • girlidentity • If Every Girl Had a Diary • innocenceintimate livesisolationlesbian • lesbian identity • nascent sexuality • outpouringsoutsiderpersonal • pixelvision camera • queerqueer cinema • queer experience • queerness • revelatory • rough quality • Sadie Benning • self-shotssexual orientation • social prejudice • tapeteen • teenage • teenage diary • videoVideo Data Bank

CONTRIBUTOR

Simon Perkins
29 MAY 2009

The Photomontages of Hannah Höch

"The 'bob–haired muse', the 'holy shears' and 'Dada's good girl' are a few of the epitaphs that prevail in the comfortable little niche art history has carved out for Hannah Höch. These sound bites are seriously challenged by this travelling retrospective organised by the Walker Art Center. 'The Photomontages of Hannah Höch' momentously reconstructs her marginalised role in early 20th–century art and perhaps even ordains her as the single most influential female artist of the century. The exhibition surveying Höch's 55 years of photomontage not only rescues her from the anti–art antics of the legendary Berlin Dada circle but inclusively chronicles her private and aesthetic journey through the social and cultural constructs that have emerged in the 20th century. While she may have been remembered by her bombastic Dada colleagues for her 'sandwiches, beer and coffee', her lifetime of artistic practice reveals a vital and critical woman who could magically collide disparate reproductions of needlepoint patterns, political figures, film stars, animal life and non–Western artefacts into explorations of androgyny, Aryan activity, gender roles, imperialism, race and lesbianism."

(Michelle Grabner, Issue 33 March–April 1997, Frieze Magazine)

Fig.1 Hannah Höch "Entwurf für das Denkmal eines bedeutenden Spitzenhemdes", 1922, Entwurf, Tafelmalerei, Collage, 27,4 x 17 cm, Hamburg, Hamburger Kunsthalle, Ikonographie (Iconclass)

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1920s • abstract collage • aesthetic journey • androgyny • anti-art posture • anti-composition • artartistartistic practiceBauhaus School • Berlin Dada • collagecoloured papercultural constructs • cut-and-sew lines • cut-outDadadecorationdecorative arts • decorative beauty • decorative sewingdesign formalismearly 20th centuryembroideryembroidery design • erotic photomontage • female activity • female artist • female features • female leisure • feminist artist • film starformal elementsFrieze (magazine)gender rolesgenetic engineering • good girl • handicraftHannah Hoch • hausfrau • homosexualityillustrative styleimperialism • kitchen knife • manipulative propaganda • marginalisation • mens work • modern womanmodernist tradition • needlepoint patterns • New Weimer Woman • non-Western artefacts • photomontage • pictorially ordered • political satirequeernessretrospective exhibitionRussian constructivismsewing and craftsocial construction • social constructs • traditional crafts • tulle netting • tulle patterns • typography • vital and critical • Walker Art CenterWeimar Republicwomanwomen artistswomen in art and design • womens activities

CONTRIBUTOR

Simon Perkins
22 AUGUST 2006

Undermining the heterosexual love triangle in the heterosexual narrative

"The montages undermine the function of the heterosexual love triangle in the heterosexual narrative. For example, the lesbian 'driver' in Katherine Hepburn's car makes Spencer Tracy's kiss benign and impotent – little more than a grandfatherly peck on the cheek which Hepburn indulges."

Deborah Bright (Stolen Glances – Lesbians Take Photographs p.152)

[Originally from: http://rcswww.urz.tu-dresden.de/~english1/photo/images/bright_untitled_1.htm now dead link]

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1990critical reinterpretationculture jammingDeborah BrightdykeheterosexualHollywood • Katharine Hepburn • love triangle • mash-upparodyphotomontagequeerqueernessre-purpose • Spencer Tracy • Tessa Boffin
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