On women's video art in the context of Yugoslavia, 1969-1991.
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.
BLACKWOOD, J. 2019. On women's video art in the context of Yugoslavia, 1969-1991. In Leuzzi, L., Shemilt, E. and Partridge, S. (eds.) EWVA: European women's video art in the 70s and 80s. East Barnet: John Libbey Publishing.
|Publication Date||Aug 1, 2019|
|Deposit Date||Oct 22, 2019|
|Publicly Available Date||Oct 24, 2019|
|Publisher||John Libbey Publishing|
|Book Title||EWVA: European women's video art in the 70s and 80s.|
|Keywords||Yugoslavia; Video art; Women; Artists; Contemporary artists; Performance; Contemporary visual culture|
BLACKWOOD 2019 On womens video
Publisher Licence URL
You might also like
Censoring contemporary art in Macedonia.
Variable geometry: contemporary art in Bosnia-Herzegovina.
Critical art in contemporary Macedonia.
Introduction to contemporary art in BiH.