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RESPONSE PAPER 2 (2 double-spaced pages)  DUE THURSDAY, OCT. 22


The following three articles are posted to you as attachments here.  Choose ONE article, summarize and respond.


Trinh T. Minh-ha

Review:  Difference, Identity and Racism


Trinh T. Minh-ha is a noted writer, filmaker, and composer. Her works include the books: The Digital Film Event (Routledge 2005); Cinema Interval (Routledge 1999); Drawn from African Dwellings (in coll. with Jean-Paul Bourdier, Indiana University Press 1996); Framer Framed (Routledge 1992); When the Moon Waxes Red. Representation, gender and cultural politics (Routledge 1991); Out There: Marginalisation in Contemporary Culture (Co-editor with Cornel West, R. Ferguson & M. Gever. New York: New Museum of Contemporary Art and M.I.T. Press, 1990)


Minh-ha has traveled and lectured extensively—in the States, as well as in Europe, Asia, Australia and New Zealand—on film, art, feminism, and cultural politics. She taught at the National Conservatory of Music in Dakar, Senegal (1977-80); at universities such as Cornell, San Francisco State, Smith, and Harvard, Ochanomizu (Tokyo), Ritsumeikan (Kyoto), Dongguk (Seoul); and is Professor of Gender & Women’s Studies and of Rhetoric at the University of California, Berkeley.


Lucy Lippard

Turning the Mirros Around-The Pre-Face


Celebrated for her deeply influential and interwoven work—as author, activist, and curator—Lucy R. Lippardis recognized as one of contemporary art’s most significant critics and as a founder of Conceptual art. Born in New York in 1937, Lippard began her career as a writer in 1962 and subsequently produced numerous groundbreaking exhibitions and books throughout the 1960s and ’70s; she was also a cofounder of the Art Workers Coalition, Printed Matter, and the Heresies journal, among other seminal organizations and publications. Over the decades she has received several awards and fellowships, in addition to an honorary doctorate from the Nova Scotia College of Art and Design. (ArtForum)



Barlow, Melinda

Red, White, Yellow, and Black: Women, Multiculturalism, and Video History


Melinda Barlow, Associate Professor in Film Studies, University of Colorado at Boulder, taught at New York University, New York’s School of Visual Arts, and at Queens College, City University of New York, before coming to CU in 1996. The editor of Mary Lucier: Art and Performance (2000), published by the Johns Hopkins University Press, Professor Barlow is a film and video historian who specializes in the work of contemporary independent women film and videomakers. Her articles have appeared in such publications as Camera Obscura, Quarterly Review of Film and Video, Millennium Film Journal, Art Journal, Performing Arts Journal, Art in America, Afterimage, Sculpture, American Theatre, and the Spanish animation journal Animac. A recipient of the Lyn Blumenthal Memorial Award in Video Criticism from the Video Data Bank as well as the Boulder Faculty Assembly Excellence in Teaching Award, the Dorothy Martin Woman Faculty Award, and the Junior Faculty Development Award from the University of Colorado, Professor Barlow was awarded a Fellowship from CU’s Center for the Humanities and the Arts in 2005 to participate in their “Powers of Wonder” Seminar.

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In 1972 December and 1973 April, four women who called themselves White, Red, Black and Yellow presented at the Kitchen, New York three multimedia concerts. This concert was created by a loosely-knit coalition that was born out of friendship and later modeled after the groups in the Avante-garde, Shigeko Kubota, Cecilia Warren, Charlotte Warren and Mary Lucierwho created the seven works. The works that the four women did materialize as anticipated as their affiliation did not last for long…

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