An award-winning video artist and writer, Joan Braderman has been involved with film and video as a screenwriter, artist and producer for over twenty-five years. Born in Washington, DC, she holds degrees from Harvard and New York University. Her works are held in the permanent collections of museums such as the Stedelijk in Amsterdam, the Centre Pompidou in Paris and the Museum of Modern Art in New York City. Joan studied 16mm filmmaking in school, learning to shoot and edit black and white reel-to-reel video in NYC in the early 70′s at various Media Access Centers. In 1975, Joan joined the group that founded ground breaking journal, “Heresies; A Feminist Publication on Art and Politics.”
Her work in non-fiction includes the following:
For A Bicentennial Without Colonies (20 min, 1977)
The Peoples’ Convention, South Bronx (18 min, 1980)
Waiting for the Invasion, U. S. Citizens in Nicaragua with DeeDee Halleck; Skip Blumberg (28 min. 1984)
Tell Them For Us: Madre in Nicaragua (28 min, 1985) co-produced with CBS camerawoman, Jane Lurie
Para No Olvidar (6 min, 2004-Cuba) with Crescent Diamond, producer on this current work
The Heretics (91 min, NTSC 4:3, 2009)
Braderman is best known for her series of video art pieces, which she writes and performs, about women, desire and popular culture. They are:
Natalie Didn’t Drown, or JB Reads the National Enquirer (28 min, 1983 with filmmaker, Manuel DeLanda for Paper Tiger TV)
Joan Does Dynasty (also with DeLanda, 32 min, 1986)
Thirty Second Spot Reconsidered (11 min, 1989)
No More Nice Girls (44 min. 1989), a more personal work, combined scripted fiction, autobiography, and collage. This piece took on the issue of backlash against feminism, to be explored in greater depth in the current work.
Joan See Stars (59 min, 1992) co-directed with Dana Master
Video Bites: Triptych for the Turn of the Century (24 min, 1998) with Dana Master
Braderman was given a retrospective at the De Cordova Museum in 1994. This exhibition inaugurated the New Media Center at the De Cordova and included a series of large format cibachrome video stills, Moving Stills, shown mounted on the walls of the gallery. In 1996 she received the Koopman Chair, in the Visual Arts at Hartford Art School where she created her first installation piece, The Public Goes Private. That year, “A Tribute to Joan Braderman” was featured in the Northampton Film Festival in November 1996.
Her grants include awards from: The National Endowment for the Arts, The New York and Massachusetts State Councils for the Arts, The American Film Institute, The New York Foundation for the Arts, The Jerome Foundation, The MacArthur Foundation, et al. Writing by and about Braderman has appeared in such journals and books as The Village Voice, The Independent, Time Out, Afterimage, and The Guardian of London, Contemporanea and Illuminations; An Essential Guide to Video Art. She has taught at The School of Visual Arts, The Boston Museum School, The London Institute, and at the Universidade Catolica Portuguesa when she was awarded The Fulbright Distinguished Chair in Video in 2002. Currently Braderman is Professor of Video, Film and Media Studies at Hampshire College in Massachusetts. She also likes to swim, dance, sing and hang out with her kitties, Ocho and Cava, her adored friends, her sweetheart, Bob, and her youthful, 90 year-old Father.
Photo by Jerry Kearns
Above photo by Jerry Kearns
Bottom image: Still from video Joan Sees Stars