@misc { , title = {On women's video art in the context of Yugoslavia, 1969-1991.}, abstract = {Written from our vantage point, the categories of ‘Yugoslavia’ and ‘video art’ are historical. Having grown up in the 1980s with video art as the most contemporary of the new art practices, and with Yugoslavia seemingly a permanent fixture on the map of Europe, the author finds this a strange essay to have to write. But the awful dissolution of Yugoslavia in the 1990s into squabbling fragmentary kleptocracies, and the swamping of video by the emergence of digital cultures and their attendant technologies, makes this perhaps a timely moment from which to consider the key role played by women artists and cultural workers in the emergence of video technology from the late 1960s, right through to the post-Yugoslav present.}, isbn = {9780861967346}, note = {INFO COMPLETE (Info via contact 18/10/2019 LM) PERMISSION GRANTED (Rec'd permission from John Libbey 23/10/2019 LM) DOCUMENT READY (AAM rec'd 18/10/2019 LM)}, publicationstatus = {Published}, publisher = {John Libbey Publishing}, url = {https://rgu-repository.worktribe.com/output/695729}, keyword = {Curatorship, Yugoslavia, Video art, Women, Artists, Contemporary artists, Performance, Contemporary visual culture}, year = {2019}, author = {Blackwood, Jon} editor = {Leuzzi, Laura and Shemilt, Elaine and Partridge, Stephen} }