Afterimage 1994 - 1995: Vol 22 Index

4 Pages·4 MB·English

AFTERIMAGE/Summer 1994 17
INDEX TO AFTERIMAGE
VOLUME 21
Krainak, Paul. “Dream date,” (exhibition College, Cambridge, MA). 21:9, p. 3. operations,” by Cylena Simonds. 21:3,
AUTHOR review: “Anyone in New York,” by Sklar, Sharan. “Frontier frank-ness,” pp. 2, 17.
Simon Grennan and Christopher (festival review: Images 93 Festival of ———. “Jane and Bill: The endowment
Barlow, Melinda. “Personal history, cultural Sperandio, New York University, New Independent Film and Video, Toronto, years?,” by Grant Kester, 21:3, p. 2.
memory: Mary Lucier’s ruminations on York, NY). 21:10, pp. 10-11. Ontario). 21:3, pp. 3, 17. “No alternatives,” by Cylena
body and land,” (exhibition review: Lee, Chiquita Mullins. See Haddock, Sommerville, Matthew. “The US project: Simonds. 21:4, p. 2
“Noah’s Raven,” Toledo Museum of Art Mable. Challenging the pedagogies of . “Orchestral maneuvers in the dark,”
Toledo, OH and “Oblique House Lerner, Jesse. “Face the nation: The filmic empowerment,” 21:3, pp. 8-11. by Grant Kester. (symposium review:
(Valdez),” Montage 93: Internationa! formulation of national identity,” 21:5, Sorensen, Janet. “Showroom sample.” “After the Culture Wars: Is there a
Festival of the Image, Rochester, NY) pp. 8-10. (exhibition review: The Visual Politics of Future for Public Funding of the Arts?,”
21:4, pp. 8-12. Liss, Andrea. “(In)stalling trauma,” Hip Hop, Zeitgeist Theatre Eastman Schoo! of Music, Rochester
Chavoya, C. Ondine. “images of (exhibition review: “One Story About Experiments, New Orleans, LA). 21:10, NY). 21:6, pp. 2-4
advocacy: An interview with Chon June Riley,” by Susan Schwartzenberg, pp. 11-12. Artpaper. “No alternatives,” by Cylena
Noriega,” 21:10, pp. 5-9. Ansel Adams Center for Photography, Taylor, John. “Behind every landscape is a Simonds. 21:4, p. 2
Chris, Cynthia. “More to come,” (book San Francisco, CA). 21:9, p. 15. woman: P.H. Emerson’s anxieties of Asian Pacific American. “Image
review: Queer Looks, edited by Martha Love, Lynn. “Hidden mechanisms: An class and gender,” 21: 8, pp. 9-12 sovereignty” by Fatimah Tobing Rony
Gever, John Greyson, and Pratihba interview with Heidi Kumao.” 21:7, pp. vanMeenen, Karen. “Genie in a bottle,” (conference review: indigenous Voices
Parmar). 21:8, p. 14. 6-9. (festival review: Third National Poetry in Film, Hawai'i International Film
Davis, K.D. “The virtual body and the Lunenfeld, Peter. “Digital dialectics: A Video Festival, Chicago, IL). 21:5, pp Festiva! and Pacific Islanders in
imaginary subject in corporate hybrid theory of computer media,” 21:4, 3,12 Communication, Hilo, Hawai'i; Images,
videocommunication,” 21:1, pp. 6-9. pp. 5-7. Williams, Anna Elizabeth. “Satellite dish,” identities and [Mis]jrepresentations:
Davis, Zeinabu irene. “Daunting inferno,” Makarah, O.Funmilayo. “Failed 21:9, p. 4. Producing the Pacific, Pacific Islanders “
(exhibition review: “Fired-Up” by experiment,” (festival review: Flaherty Willis, Holly. “Repo woman,” (book review: in Communication, Honolulu, Hawai'i).
O.Funmilayo Makarah, California Afro- Film Seminar, Aurora, NY). 21:5, pp. 4, Ecstasy Unlimited: On Sex, Capital, 21:7, pp. 4-5
American Museum, Los Angeles, CA). 13. Gender and Aesthetics by Laura Body. “Fetal tissue: Reproductive rights
21:1, p. 20. Marks, Laura U. “Small pleasures in the Kipnis). 21:8, pp. 13-14. and amateur activist video,” by Patricia
Durant, Mark Alice. “Exhibiting tolerance,” dark,” (festival review: Twelfth Annual Wright Jr., Charles A. “The mythology of R. Zimmermann. 21:1, pp. 10-13.
(exhibition review: Beit Hashoah Black Maria Film and Video Festival, difference: Vulgar identity politics at the “Personal history, cultural memory:
Museum of Tolerance, Los Angeles, Syracuse University, Syracuse, NY; Whitney Bienniel,” (catalog and Mary Lucier’s ruminations on body and
CA.). 21:3, pp. 12-14. Cornell Cinema, Ithaca; Visual Studies exhibition review: 1993 Whitney land,” by Melinda Bariow. (exhibition
Elahi, Babak. “Hybrid haggling,” (book Workshop, Rochester, NY and other Biennial, Whitney Museum of American review: “Noah's Raven,” Toledo
review: The Making of Exile Cultures: locations). 21:2, pp. 3, 15. Art, New York, NY). 21:2, pp. 4-8 Museum of Art, Toledo, OH and
Iranian Television in Los Angeles by ———. “The indie 300,” (festival review: Zimmermann, Patricia R. “Fetal tissue “Oblique House (Valdez),” Montage 93
Hamid Naficy). 21:8, p. 15. Toronto International Film Festival of Reproductive rights and amateur International Festival of the Image,
Fogle, Douglas. “Marey’s stretching Festivals, Toronto, Ontario). 21:4, p. 4. activist video,” 21:1, pp. 10-13. Rochester, NY). 21:4, pp. 8-12.
exercises.” (book review: Picturing . “Reconfigured nationhood: A . “Our auto-bodies, ourselves:
Time: The Work of Etienne-Jules Marey partisan history of the Inuit Representing real women in feminist
by Marta Braun and Etienne-Jules Broadcasting Corporation,” 21:8, pp. 4- SUBJECT video,” by Alexandra Juhasz. 21:7, pp
Marey: A Passion for the Trace by 8. 10-i4
Francois Dagognet). 21:3, pp. 14-16. Murphy, Jay. “Shake, rattle and “Missing the mark,” by Cylena
Ford, Simon. “The disorder of things: Art pontificate,” (book review: Rock My Activism. “Fetal tissue: Reproductive rights Simonds. (video review: Warrior Marks
libraries, postmodernism and Religion: Writings and Art Projects, and amateur activist video,” by Patricia by Pratibha Parmar and Alice Walker)
hypermedia,” 21:9, pp. 10-14. 1965-90 by Dan Graham). 21:4, pp. 13- R. Zimmermann. 21:1, pp. 10-13. 21::8,.0.;3
Freeland, Cynthia. “Public privates,” a5: ———.”Our auto-bodies, ourselves Border art. “Images of advocacy: An
(exhibition review: “Orderly” by Doug Ollman, Leah. “Digital! detours,” (exhibition Representing real women in feminist interview with Chon Noriega,” by C
Ischar, MIT List Visual Arts Center, review: “Pedro Meyer: Truths and video,” by Alexandra Juhasz. 21:7, pp Ondine Chavoya. 21:10, pp. 5-9.
Boston MA; Randolph Street Gallery, Fictions: A Journey from Documentary 10-14. Canadian fiim/video. “Frontier frank-ness,”
Chicago, IL; and Blum Heilman Gallery, to Digital Photography,” California . “Images of advocacy: An interview by Sharan Sklar. (festival review:
New York, NY). 21:2, pp. 14-15. Museum of Photography, Riverside, with Chon Noriega.” by C. Ondine images 93 Festival of Independent Film
Fusco, Coco. “Juan Downey, 1940-1993,” CA). 21:7, pp. 15-16 Chavoya. 21:10, pp. 5-9 and Video, Toronto, Ontario). 21:3, pp
21:2;:0)'2- Pribram, E. Deidre. “Straight outta money: AIDS. “Jump-starting masculinity: Queei
Gaskins, Bill. “The world according to Life: Institutional power and independent film artists expand an arrested ‘Images f Advocacy: An
Racial stereotyping and American funding,” 21:1, pp. 3-5. development,” by Jennie Klein-Da interview with Chon Noriega,” by C.
identity,” 21:1, pp. 14-16. Rhines, Jesse Algeron. “Distributing 21:3, pp. 4-7. WOInIdGi r ce CUhi lavUyndv.a c2i4 10, pp. 5-9.
. “Vertical hold: The racial politics of difference,” 21:1, p. 2 African American film/video. “Daunt Serious reservations,” by
network television,” (exhibition review: Rony Fatimah Tobing “Image inferno,” by Zeinabu irene D SoiImonads (book review: Partial
“Changing the Picture: The Emergence sovereignty,” (conference review: (exhibition review: “Fired- jotographs of Native North
of the African American in Television indigenous Voices in Film, Hawai'i O.Funmilayo Makarah, Califor Americans, Lucy Lippard, ed. and
Since 1948,” The American Museum of International Film Festival and Pacific American Museum, Los Ange Master Race:
the Moving Image, Astoria, NY). 21:6 islanders in Communication, Hilo 21s p20. Literature Cinema, and the
pp. 11-13. Hawai'i; and Images, Identities and - ‘Vertical hold: The racial polit Colonization of American Indians by
Haddock, Mabie and Chiquita Muilins Lee [Misjrepresentations: Producing the network television,” by Bill Gas 21:6, pppp.. 14-16.
“Whose muiticulturalism?: PBS, the Pacific, Pacific Islanders in (exhibition reviey Changing t Colonialism. “Serious reservations,” by
public and privilege,” 21:1, pp. 17-19 Communication, Honolulu, Hawai'i) Picture: The Emergence of the Afric Cyiena Simonds. (book review: Partial
Juhasz, Alexandra. “Our auto-bodies, 21:7, pp. 4-5 American in Television Since Recall: Photographs of Native North
ourselves: Representing real women in Simonds, Cylena “Film in the cities The American Museum of the Movi LULU, Lippard, ed. and
feminist video,” 21:7, pp. 10-14. suspends operations,” 21:3, pp. 2, 17. image, Astoria, NY). 21:6, pp. 11-13 antasies of the Master Race:
Kester, Grant. “Jane and Bill: The .”No alternatives,” 21:4, p. 2. ——w—. “Missing the mark,” by Cyle: Literature, Cinema, and the
endowment years?,” 21:3, p. 2. ———. “Spontaneous combustion: Ax Simonds, (video review: Warrior Mart Colonizati f American Indians by
. “Orchestral maneuvers in the dark,’ interview with Barbara Hammer,” 21:5, by Pratibha Parmar and Alice Waike 1:6, pp. 14-16.
(symposium review: “After the Culture pp. 5-7. 218.0. 3. sovereignty,” by Fatimah
Wars: Is there a Future for Public . “Serious reservations,” (book Alternative programming. “Reconfigured Tobing Rony. (conference review €
Funding of the Arts?,” Eastman Schoo! review: Partial Recall: Photographs of nationhood: A partisan hisSst ory of tI indigenous Voices in Film, Hawai'i
of Music, Rochester, NY). 21:6, pp. 2-4 Native North Americans, Lucy Lippard, Inuit Broadcasting Corporation,” by International Film Festival and Pacific
. “Access denied: Information policy ed., and Fantasies of the Master Race: Laura U. Marks. 21:8, pp. 4-8 Islanders in Communication, Hilo,
and the limits of liberalism,” 21:6, pp. 5- Literature, Cinema, and the Alexander, Jane. “Jane and Bill: The Hawai'i; Images, Identities and
10. Colonization of American Indians by endowment years?,” by Grant Kester [Mis]representations: Producing the
————. “When figures are fact: Visuality Ward Churchill). 21:6, pp. 14-16. B13. 2. Pacific Pacific Islanders in
and class in the Pittsburgh survey,” ———. “Missing the mark,” (video review: Art libraries. “The disorder of things: Art Communication, Honolulu, Hawai'i).
21:9. pp. 5-9. Warrior Marks by Pratibha Parmar and libraries postmodernism and 421.:77, y p. 4- =
King, Barry. “Photo-consumerism and Alice Walker). 21:8, p. 3. hypermedia,” by Simon Ford. 21:9, pp Computer media. “Digital dialectics: A
mnemonic labor: Capturing the ‘Kodak ——— “Afro-Academicus,” (conference 10-14. hybrid theory of computer media,” by
Moment,” 21:2, pp. 9-13. review: Black Women in the Academy: Arts funding. “Straight outta money: Peter Lunenfeld. 21:4, pp. 5-7.
Klein-Davis, Jennie. “Jump-starting Defending Our Name, 1894-1994, Institutional power and independent film . “Access denied: Information policy
masculinity: Queer artists expand an Massachusetts Institute of Technology, funding,” by E. Deidre Pribram. 21:1, and the limits of liberalism,” by Grant
arrested development,” 21:3, pp. 4-7. Wellesley College, and Radcliffe pp. 3-5. Kester. 21:6, pp. 5-10.
“Film in the cities suspends
18 AFTERIMAGE/Summer 1994
. “Digital detours,” by Leah Ollman. and Video Festival, Syracuse Krainak. (exhibition review: “Anyone in ———. “Serious reservations,” by Cylena
(exhibition review: “Pedro Meyer: Truths University, Syracuse, NY; Cornell New York,” by Simon Grennan and Simonds. (book review: Partial Recall:
and Fictions: A Journey from Cinema, Ithaca; Visual Studies Christopher Sperandio, New York Photographs of Native North
Documentary to Digital Photography,” Workshop, Rochester, NY and other University, New York, NY). 21:10, pp. Americans, Lucy Lippard, ed., and
California Museum of Photography, locations). 21:2, pp. 3, 15. 10-11. Fantasies of the Master Race:
- Riverside, CA). 21:7, pp. 15-16. . “Frontier frank-ness,” by Sharan Hammer, Barbara. “Spontaneous Literature, Cinema, and_ the
Conferences. “Image sovereignty,” by Sklar. (festival review: Images 93 combustion: An interview with Barbara Colonization of American Indians by
Fatimah Tobing Rony. (conference Festival of Independent Film and Video, Hammer,” by Cylena Simonds. 21:5, pp. Ward Churchill). 21:6, pp. 14-16.
review: Indigenous Voices in Film, Toronto, Ontario). 21:3, pp. 3, 17. 5-7. . “Reconfigured nationhood: A
Hawai'i International Film Festival and . “The indie 300,” by Laura U. Marks. Health issues. “Our auto-bodies, partisan history of the Inuit
Pacific Islanders in Communication, (Festival review: Toronto International ourselves: Representing real women in Broadcasting Corporation,” by Laura U.
Hilo, Hawai’i; Images, Identities and Film Festival of Festivals, Toronto, feminist video,” by Alexandra Juhasz. Marks. 21:8, pp. 4-8.
[Mis]representations: Producing the Ontario). 21:4, p. 4. 21:7, pp. 10-14. Information management. “Access denied:
Pacific, Pacific Islanders _ in ———. “Genie in a bottle,” by Karen . “When figures are fact: Visuality Information policy and the limits of
Communication, Honolulu, Hawai’). vanMeenen. (festival review: Third and class in the Pittsburgh Survey,” by liberalism,” by Grant Kester. 21:6, pp. 5-
21:7, pp. 4-5. National Poetry Video Festival, Grant Kester. 21:9, pp. 5-9. 10.
———. “Afro-Academicus,” by Cylena Chicago, IL). 21:5, pp. 3, 12. Hip Hop. “Showroom sample,” by Janet Interviews. “Spontaneous combustion: An
Simonds. (conference review: Black “Failed experiment,” by Sorensen. (exhibition review: “The interview with Barbara Hammer,” by
Women in the Academy: Defending Our O.Funmilayo Makarah. (festival review: Visual Politics of Hip Hop,” Zeitgeist Cylena Simonds. 21:5, pp. 5-7.
Name, 1894-1994, Massachusetts Flaherty Film Seminar, Aurora, NY). Theatre Experiments, New Orleans, . “Hidden mechanisms: An Interview
Institute of Technology, Wellesley 21:5, pp. 4, 13. LA). 21:10, pp. 11-12. with Heidi Kumao,” by Lynn Love. 21:7,
College, and Radcliffe College, Film and filmmakers. “Straight outta Historical memory. “Photo-consumerism pp. 6-9.
>, Cambridge, MA). 21:9, p. 3. money: Institutional power and and mnemonic labor: Capturing the . “Images of Advocacy: An interview
Consumer’ photography. “Photo- independent film funding,” by E. Deidre ‘Kodak Moment,” by Barry King. 21:2, with Chon Noriega,” by C. Ondine
consumerism and mnemonic labor: Pribram. 21:1, pp. 3-5. pp. 9-13. Chavoya. 21:10, pp. 5-9.
Capturing the ‘Kodak Moment,’” by . “Distributing difference,” by Jesse ———. “Exhibiting tolerance,” by Mark Inuit Broadcasting Corporation.
Barry King. 21:2, pp. 9-13. Algeron Rhines. 21:1, p. 2. Alice Durant. (exhibition review: Beit “Reconfigured nationhood: A partisan
Corporation for Public Broadcasting. . “Small pleasures in the dark,” by Hashoah Museum of Tolerance, Los history of the Inuit Broadcasting
“Whose multiculturalism?: PBS, the Laura U. Marks, (festival review: Angeles, CA). 21:3, pp. 12-14. Corporation,” by Laura U. Marks. 21:8,
public and privilege,” by Mable Haddock Twelfth Annual Black Maria Film and . “Personal history, cultural memory: pp. 4-8.
and Chiquita Mullins Lee. 21:1, pp. 17- Video Festival, Syracuse University, Mary Lucier’s ruminations on body and Installation. “Daunting inferno,” by Zeinabu
19. Syracuse, NY; Cornell Cinema, Ithaca; land,” by Melinda Barlow. (exhibition irene Davis. (exhibition review: “Fired-
Culture and politics. “Access denied: Visual Studies Workshop, Rochester, review: “Noah’s Raven,” Toledo Up” by O.Funmilayo Makarah,
Information policy and the limits of NY and other locations). 21:2, pp. 3, 15. Museum of Art, Toledo, OH and California Afro-American Museum, Los
liberalism,” by Grant Kester. 21:6, pp. 5- . “Frontier frank-ness,” by Sharan “Oblique House (Valdez),” Montage 93: Angeles, CA). 21:1, p. 20.
10. Sklar. (festival review: Images 93 international Festival of the Image, . “Personal history, cultural memory:
Diasporic culture. “Hybrid haggling,” by Festival of Independent Film and Video, Rochester, NY). 21:4, pp. 8-12. Mary Lucier’s ruminations on body and
Babak Elahi. (book review: The Making Toronto, Ontario). 21:3, pp. 3, 17. History of photography. “Marey’s land,” by Melinda Barlow. (exhibition
of Exile Cultures: Iranian Television in . “The indie 300,” by Laura U. Marks. Stretching Exercises,” by Dougias review: “Noah’s Raven,” Toledo
Y Los Angeles by Hamid Naficy). 21:8, p. (festival review: Toronto International Fogle. (book review: Picturing Time: Museum of Art, Toledo, OH and
15. Film Festival of Festivals, Toronto, The Work of Etienne-Jules Marey by “Oblique House (Valdez),” Montage 93:
Distribution, Film/Video. “Distributing Ontario). 21:4, p. 4. Marta Braun and Etienne-Jules Marey: International Festival of the Image,
difference” by Jesse Algeron Rhines. “Face the nation: The filmic A Passion for the Trace by Frangois Rochester, NY). 21:4, pp. 8-12.
213156. 2. formulation of national identity,” by Dagognet). 21:3, pp. 14-16. ———. “Public privates,” by Cynthia
. “Straight outta money: Institutional Jesse Lerner. 21:5, pp. 8-10. . “Hidden mechanisms: An Interview Freeland. (exhibition review: “Orderly”
power and independent film funding,” “Failed experiment,” by with Heidi Kumao,” by Lynn Love. 21:7, by Doug Ischar, MIT List Visual Arts
by E. Deidre Pribram. 21:1, pp. 3-5. O.Funmilayo Makarah. (festival review: pp. 6-9. Center, Boston MA; Randolph Street
. “Whose multiculturalism?: PBS, the Flaherty Film Seminar, Aurora, NY). ———. “Behind every landscape is a Gallery, Chicago, IL; and Blum Heiman
public and privilege,” by Mable Haddock 21:5, pp. 4, 13. woman: P.H. Emerson’s anxieties of Gallery, New York, NY). 21:2, pp. 14-
and Chiquita Mullins Lee. 21:1, pp. 17- ———. “Spontaneous combustion: An class and gender,” by John Taylor. 21: 15.
19. interview with Barbara Hammer,” by 8, pp. 9-12. . “Hidden mechanisms: An Interview
Documentary photography. “Photo- Cylena Simonds. 21:5, pp. 5-7. History of film/video. “Our auto-bodies, with Heidi Kumao,” by Lynn Love. 21:7,
consumerism and mnemonic labor: . “Image sovereignty,” by Fatimah ourselves: Representing real women in pp. 6-9.
capturing the ‘Kodak Moment,’” by Tobing Rony. (conference review: feminist video,” by Alexandra Juhasz. . “(In)stalling trauma,” by Andrea
Barry King. 21:2, pp. 9-13. Indigenous Voices in Film, Hawai’i 21:7, pp. 10-14. Liss. (exhibition review: “One Story
. “Dream date,” by Paul Krainak. International Film Festival and Pacific . Fetal tissue: Reproductive rights About June Riley,” by Susan
(exhibition review: “Anyone in New Islanders in Communication, Hilo, and amateur activist video,” by Patricia Schwartzenberg, Ansel Adams Center
York,” by Simon Grennan and Hawai'i; and Images, Identities and R. Zimmerman. 21:1, pp. 10-13. for Photography, San Francisco, CA).
Christopher Sperandio, New York [Mis]representations: Producing the Hypermedia. “Digital dialectics: A hybrid 21:9, p. 15.
University, New York, NY). 21:10, pp. Pacific, Pacific Islanders’ in theory of computer media,” by Peter Iranian television. “Hybrid haggling” by
10-11. Communication, Honolulu, Hawai’i). Lunenfeld, 21:4, pp. 5-7. Babak Elahi. (book review: The Making
Documentary film/video. “Failed 21:7, pp. 4-5. . “Access denied: Information policy of Exile Cultures: lranian Television in
experiment,” by O.Funmilayo Makarah. Film in the Cities. “Film in the cities and the limits of liberalism,” by Grant Los Angeles by Hamid Naficy). 21:8, p.
(festival review: Flaherty Film Seminar, suspends operations,” by Cylena Kester. 21:6, pp. 5-10. 15.
Aurora, NY). 21:5, pp. 4, 13. Simonds. 21:3, pp. 2, 17. ."Digital detours,” by Leah Oliman. Ischar, Doug. “Public privates,” by Cynthia
Downey, Juan. “Juan Downey, 1940- Gay and Lesbian. “Public privates,” by (exhibition review: “Pedro Meyer: Truths Freeland. (exhibition review: “Orderly”
1993,” by Coco Fusco. 21:2, p. 2. Cynthia Freeland. (exhibition review: and Fictions: A Journey from by Doug Ischar, MIT List Visual Arts
Eastman Kodak. “Photo-consumerism and “Orderly” by Doug Ischar, MIT List Documentary to Digital Photography,” Center, Boston MA; Randolph Street
mnemonic labor: capturing the ‘Kodak Visual Arts Center, Boston MA; California Museum of Photography, Gallery, Chicago, IL; and Blum Helman
Moment,” by Barry King. 21:2, pp. 9-13. Randolph Street Gallery, Chicago, IL; Riverside, CA). 21:7, pp. 15-16. Gallery, New York, NY). 21:2, pp. 14-
Education. “The US project: Challenging and Blum Helman Gallery, New York, . “The disorder of things: Art 15.
the pedagogies of empowerment” by NY). 21:2, pp. 14-15. libraries, postmodernism and Kipnis, Laura. “Repo woman,” by Holly
»~ Matthew Sommerville. 21:3, p. 8-11. . “Jump-starting masculinity: Queer hypermedia,” by Simon Ford. 21:9, pp. Willis. (book review: Ecstasy Unlimited:
———. “Afro-Academicus,” by Cylena artists expand an arrested 10-14. On Sex, Capital, Gender and Aesthetics
Simonds. (conference review: Black development,” by Jennie Klein-Davis. Identity politics. “The Mythology of by Laura Kipnis). 21:8, pp. 13-14.
Women in the Academy: Defending Our 21:3, pp. 4-7. difference: Vulgar identity politics at the KJMS3. “Distributing difference,” by Jesse
Name, 1894-1994, Massachusetts ———. “Spontaneous combustion: An Whitney Biennial,” by Charles A. Wright Algeron Rhines. 21:1, p. 2.
Institute of Technology, Wellesley interview with Barbara Hammer,” by Jr. (catalog and exhibition review: 1993 Kumao, Heidi. “Hidden mechanisms: An
College, and Radcliffe College, Cylena Simonds. 21:5, pp. 5-7. Whitney Biennial, Whitney Museum of Interview with Heidi Kumao,” by Lynn
Cambridge, MA). 21:9, p. 3. . “More to come,” by Cynthia Chris. American Art, New York, NY). 21:2, pp. Love. 21:7, pp. 6-9.
Emerson, P.H. “Behind every landscape is (book review: Queer Looks, edited by 4-8. Legislation. “Access denied: Information
a woman: P.H. Emerson’s anxieties of Martha Gever, John Greyson and . “Jump-Starting Masculinity: Queer policy and the limits of liberalism,” by
class and gender,” by John Taylor. 21: Pratihba Parmar). 21:8, p. 14. artists expand an arrested Grant Kester. 21:6, pp. 5-10.
8, pp. 9-12. Gender. “Jump-starting masculinity: Queer development,” by Jennie Klein-Davis. Lesbian and gay film/video. “More to
Feminism. “Fetal tissue: Reproductive artists expand an arrested 21:3, pp. 4-7. come,” by Cynthia Chris. (book review:
rights and amateur activist video,” by development,” by Jennie Klein-Davis. . “The US Project: Challenging the Queer Looks, edited by Martha Gever,
Patricia R. Zimmermann. 21:1, pp. 10- 21:3, pp. 4-7. Pedagogies of Empowerment,” by John Greyson and Pratihba Parmar).
13. ———. “Our auto-bodies, ourselves: Matthew Sommerville. 21:3, pp. 8-11. 21:8, p. 14.
———. “Our auto-bodies, ourselves: Representing real women in feminist . “Images of Advocacy: An interview Life. “The world according to Life: Racial
> Representing real women in feminist video,” by Alexandra Juhasz. 21:7, pp. with Chon Noriega,” by C. Ondine stereotyping and American identity,” by
video,” by Alexandra Juhasz. 21:7, pp. 10-14. Chavoya. 21:10, pp. 5-9. Bill Gaskins. 21:1, pp. 14-16.
10 -14. ———. “Behind every landscape is a Independent producers. “The indie 300,” by Lippard, Lucy. “Serious reservations,” by
———. “Missing the mark,” by Cylena woman: P.H. Emerson’s anxieties of Laura U. Marks. (festival review: Cylena Simonds. (book review: Partial
Simonds. (video review: Warrior Marks, class and gender,” by John Taylor. 21: Toronto International Film Festival of Recall: Photographs of Native North
by Pratibha Parmar and Alice Walker). 8, pp. 9-12. Festivals, Toronto, Ontario). 21:4, p. 4. Americans, Lucy Lippard, ed., and
21:8, p. 3. ———. “Repo woman,” by Holly Willis. Indigenous communities. “Image Fantasies of the Master Race:
———. “Afro-Academicus,” by Cylena (book review: Ecstasy Unlimited: On sovereignty,” by Fatimah Tobing Rony. Literature, Cinema, and_ the
Simonds. Conference review: Black Sex, Capital, Gender and Aesthetics by (conference review: Indigenous Voices Colonization of American Indians by
Women in the Academy:Defending Our Laura Kipnis). 21:8, pp. 13-14. in Film, Hawai’i International Film Ward Churchill). 21:6, pp. 14-16.
Name, 1894-1994, Massachusetts Graham, Dan. “Shake, rattle and Festival and Pacific Islanders in Los Angeles insurrection. “Daunting
Institute of Technology, Wellesley pontificate,” by Jay Murphy. (book Communication, Hilo, Hawai'i; inferno,” by Zeinabu irene Davis.
College, and Radcliffe College, review: Rock My Religion: writings and andimages, Identities and (exhibition review: “Fired-Up” by O.
Cambridge, MA). 21:9, p. 3. art projects, 1965-90 by Dan Graham). [Mis]representations: Producing the Funmilayo Makarah, California Afro-
Festivals, film/video. “Small pleasures in 21:4, pp. 13-15. Pacific, Pacific Islanders’ in American Museum, Los Angeles, CA).
the dark,” by Laura U. Marks. (festival Grennan, Simon and Christopher Communication, Honolulu, Hawai’i). 21:1, p. 20.
review: Twelfth Annual Black Maria Film Sperandio. “Dream date,” by Paul 21:7, pp. 4-5. Lucier, Mary. “Personal history, cultural
AFTERIMAGE/Summer 1994 19
memory: Mary Lucier’s ruminations on Parmar, Pratibha. “Missing the mark,” by Laura Kipnis). 21:8, pp. 13-14. Walker). 21:5, p. 3.
body and land,” by Melinda Barlow. Cylena Simonds. (video review: Warrior ."More to come,” by Cynthia Chris. Yamamoto, Michael. “Jump-starting
(exhibition review: “Noah’s Raven,” Marks by Pratibha Parmar and Alice (book review: Queer Looks, edited by masculinity: Queer artists expand an
Toledo Museum of Art, Toledo, OH and Walker). 21:8, p. 3. Martha Gever, John Greyson and arrested development,” by Jennie Klein-
“Oblique House (Vaidez),” Montage 93: Pedagogy. “The US project: Challenging Pratihba Parmar). 21:8, p. 14. Davis. 21:3, pp. 4-7.
International Festival of the Image, the pedagogies of empowerment,” by Sperandio, Christopher. See Simon Youth and media. “The US project:
Rochester, NY). 21:4, pp. 8-12. Matthew Sommerville. 21:3, pp. 8-11. Grennan. Challenging the pedagogies of
Makarah, O.Funmilayo. “Daunting inferno,” Photography and photographers. “Photo- Technology. “Digital dialectics: A hybrid empowerment,” by Matthew
by Zeinabu irene Davis. (exhibition consumerism and mnemonic labor: theory of computer media,” by Peter Sommerville. 21:3, p. 8-11.
review: “Fired-Up,” by O.Funmilayo Capturing the ‘Kodak Moment,” by Lunenfeld. 21:4, pp. 5-7.
Makarah, California Afro-American Barry King. 21:2, pp. 9-13. . “Access denied: Information policy
Museum, Los Angeles, CA). 21:1, p.20. . “Marey’s Stretching Exercises,” by and the limits of liberalism,” by Grant NEWS
Marey, Etienne-Jules. “Marey’s stretching Douglas Fogle. (book review: Picturing Kester. 21:6, pp. 5-10.
exercises,” by Douglas Fogle. (book Time: The Work of Etienne-Jules Marey “The disorder of things: Art
“Afterthoughts: The air up there,” 21:7, p.2.
review: Picturing Time: The Work of by Marta Braun and Etienne-Jules libraries, postmodernism and
“Afterthoughts: The annual exam,” 21:6, p. 2.
Etienne-Jules Marey by Marta Braun Marey: A Passion for the Trace by hypermedia,” by Simon Ford. 21:9, pp.
“Afterthoughts: The parent trap,” 21:8, p. 2.
and Etienne-Jules Marey: A Passion for Frangois Dagognet). 21:3, pp. 14-16. 10-14.
“Afterthoughts: Two heads are better than
the Trace by Frangois Dagognet). 21:3, . “Jump-starting masculinity: Queer Television. “Vertical hold: The racial
one,” 21:9, p. 2.
pp. 14-16. artists expand an arrested politics of network television,” by Bill
“Afterthoughts: Pret-a-porter,” 21:10, p. 2.
Masculinity. “Jump-starting masculinity: development,” by Jennie Klein-Davis. Gaskins. (exhibition review: “Changing
“Artslink grants,” 21:7, p. 3.
Queer artists expand an arrested 21:3, pp. 4-7. the Picture: The Emergence of the
“ITVS 1993 Open call grants,” 21:5, pp. 4,
development,” by Jennie Klein-Davis. . “Digital detours,” by Leah Ollman African American in Television Since
16.
21:3, pp. 4-7. (exhibition review: “Pedro Meyer: Truths 1948,” The American Museum of the
“1993 Western sates regional media art ,e
Media education. “The US project: and Fictions: A Journey from Moving Image, Astoria, NY). 21:6, pp.
fellowships,” 21:9, pp. 2-3.
Challenging the pedagogies of Documentary to Digital Photography,” 11-13.
“1993 VAO grants,” 21:2, pp. 3, 16-17.
empowerment,” by Matthew California Museum of Photography, . “Hybrid haggling,” by Babak Elahi.
“1993-94 Editorial internship.” 21:3, p. 2.
Sommerville. 21:3, pp. 8-11. Riverside, CA). 21:7, pp. 15-16. (book review: The Making of Exile
“1993 McArthur grants.” 21:3, p. 2.
Medical imaging technologies. “Fetal . “Hidden mechanisms: An interview Cultures: Iranian Television in Los
“1993 NEA Public projects grants.” 21:4,
tissue: Reproductive rights and amateur with Heidi Kumao,” by Lynn Love. 21:7, Angeles by Hamid Naficy). 21:8, p. 15.
pp..3,. 15.
activist video,” by Patricia R. pp. 6-9. Reconfigured nationhood: A
“1993 NAMAC media arts fund grants.”
Zimmermann. 21:1, pp. 10-13. ———. “(In)stalling trauma,” by Andrea partisan history of the Inuit
tS, OO. e,y 11.
Mexican photography. “Digital detours,” by Liss. (exhibition review: “One Story Broadcasting Corporation,” by Laura U.
“1993 Mother Jones grants.” 21:5, p. 2.
Leah Oliman. (exhibition review: “Pedro About June Riley,” by Susan Marks, 21:8, pp. 4-8.
“1993 Visual artists fellowships,” 21:7, p. 2.
Meyer: Truths and Fictions: A Journey Schwartzenberg, Ansel Adams Center . “Satellite dish,” by Anna Elizabeth
“1993 NEA media arts centers grants,”
from Documentary to _ Digital for Photography, San Francisco, CA). Williams. 21:9, p. 4.
21:10, p. 2.
Photography,” California Museum of 2139, p.. 15. US Project. “The US project: Challenging
Photography, Riverside, CA), 21:7, pp. ———. “Dream date,” by Paul Krainak. the pedagogies of empowerment,” by
15-16. (exhibition review: “Anyone in New Matthew Sommerville. 21:3, pp. 8-11.
REVIEWS
Meyer, Pedro. “Digital detours,” by Leah York,” by Simon Grennan and Video and videomakers. “The virtual body
Oliman. (exhibition review: “Pedro Christopher Sperandio, New York and the imaginary subject in corporate
Meyer: Truths and Fictions: A Journey University, New York, NY). 21:10, pp. videocommunication,” by K.D. Davis.
from Documentary to _ Digital 10-11. 21:1, pp. 6-9. Books /Catalogs
Photography,” California Museum of Photojournalism. “The world according to . “Distributing difference,” by Jesse
Photography, Riverside, CA). 21:7, pp. Life: Racial stereotyping and American Algeron Rhines. 21:1, p. 2. 1993 Biennial Exhibition, Elizabeth
15-16. identity,” by Bill Gaskins. 21:1, pp. 14- . “Fetal tissue: Reproductive rights Sussman,ed., et. al. 21:2, pp. 4-8.
Multiculturalism. “Whose multiculturalism?: 16. and amateur activist video,” by Patricia Picturing Time: The Work of Etienne-Jules
PBS, the public and privilege,” by Mable Photomontage. “Digital detours” by Leah R. Zimmermann. 21:1, pp. 10-13. Marey, by Marta Braun. 21:3, pp. 14-16.
Haddock and Chiquita Mullins Lee. Oliman. (exhibition review: “Pedro ———. “Juan Downey, 1940-1993,” by Ecstasy Unlimited: On Sex, Capital,
21:1, pp. 17-19. Meyer: Truths and Fictions: A Journey Coco Fusco. 21:2, p. 2. Gender and Aesthetics, Laura Kipnis.
———. “The Mythology of difference: from Documentary’ to _ Digital . “Small pleasures in the dark,” by 21:8, pp. 13-14.
Vulgar identity politics at the Whitney Photography,” California Museum of Laura U. Marks. (festival review: Etienne-Jules Marey: A Passion for the
Biennial,” by Charles A. Wright Jr. Photography, Riverside, CA). 21:7, pp. Twelfth Annual Black Maria Film and Trace, Francois Dagognet. 21:3, pp. 14-
(catalog and exhibition review: 1993 15-16. Video Festival, Syracuse University, 16.
Whitney Biennial, Whitney Museum of Poetry video. “Genie in a bottle,” by Karen Syracuse, NY; Cornell Cinema, Ithaca; Fantasies of the Master Race: Literature,
American Art, New York, NY). 21:2, pp. vanMeenen. (festival review: Third Visual Studies Workshop, Rochester, Cinema, and the Colonization of
4-8. National Poetry Video Festival, NY and other iocations). 21:2, pp. 3, 15. American Indians by Ward Churchill.
Nacify, Hamid. “Hybrid haggling,” by Babak Chicago, IL.). 21:5, pp. 3, 12. . “Frontier frank-ness,” by Sharan 21:6, pp. 14-16.
Elahi. (book review: The Making of Racism. “The world according to Life: Sklar. (festival review: Images 93 The Making of Exile Cultures: Iranian
Exile Cultures: Iranian Television in Los Racial stereotyping and American Festival of Independent Film and Video, Television in Los Angeles by Hamid
Angeles by Hamid Naficy). 21:8, p. 15. identity,” by Bill Gaskins. 21:1, pp. 14- Toronto, Ontario) 21:3, pp. 3, 17. Naficy. 21:8, p. 15.
National Empowerment Television. 16. . “The US project: Challenging the Partial Recall: Photographs of Native
”
“Satellite dish,” by Anna Elizabeth Daunting inferno,” by Zeinabu irene pedagogies of empowerment,” by North Americans, Lucy Lippard, ed.
Williams. 21:9, p. 4. Davis. (exhibition review: “Fired-Up” by Matthew Sommerville. 21:3, pp. 8-11. 21:6, pp. 14-16.
National Endowment for the Arts. “Jane O.Funmilayo Makarah, California Afro- . “The indie 300,” by Laura U. Marks. Rock My Religion: Writings and Art
and Bill: The endowment years?,” by American Museum, Los Angeles, CA). (festival review: Toronto International Projects, 1965-90, by Dan Graham.
Grant Kester, 21:3. p. 2. 21:1,p. 20. Film Festival of Festivals, Toronto, 21:4, pp. 13-15.
. “Orchestral maneuvers in the dark,” ———. “Exhibiting tolerance,” by Mark Ontario). 21:4, p. 4. Queer Looks, by Martha Gever, John
by Grant Kester. (symposium review: Alice Durant, (review: Beit Hashoah ———. “Genie in a bottle,” by Karen Greyson, and Pratihba Parmar, eds.
“After the Culture Wars: Is there a Museum of Tolerance, Los Angeles, vanMeenen. (festival review: Third 21:5, p. 14.
Future for Public Funding of the Arts?,” CA). 21:3, pp. 12-14. National Poetry Video Festival,
Eastman School of Music, Rochester, . ‘Vertical hold: The racial politics of Chicago, IL). 21:5, pp. 3, 12.
NY). 21:6, pp. 2-4. network television,” by Bill Gaskins. ———. “Spontaneous combustion: An
Nationalism. “Face the nation: The filmic (exhibition review: “Changing the interview with Barbara Hammer,” by
formulation of national identity,” by Picture: The Emergence of the African Cylena Simonds. 21:5, pp. 5-7.
Jesse Lerner. 21:5, pp. 8-10. American in Television Since 1948,” . “Reconfigured nationhood: A “Changing the Picture: The Emergence of
Native American. “Serious reservations,” The American Museum of the Moving partisan history of the Inuit the African American in Television
by Cylena Simonds. (book review: Image, Astoria, NY). 21:6, pp. 11-13. Broadcasting Corporation,” by Laura U. Since 1948,” The American Museum of
Partial Recall: Photographs of Native Reproductive rights. “Fetal tissue: Marks. 21:8, pp. 4-8. the Moving Image, Astoria, NY). 21:6,
North Americans, Lucy Lippard, ed. and Reproductive rights and amateur ———. Repo woman,” by Holly Willis. pp. 11-13.
Fantasies of the Master Race: activist video,” by Patricia R. (book review: Ecstasy Unlimited: On “Fired-Up” by O.Funmilayo Makarah,
Literature, Cinema, and_ the Zimmermann. 21:1, pp. 10-13. Sex, Capital, Gender and Aesthetics by California Afro-American Museum, Los
Colonization of American Indians by Schwartzenberg, Susan. “(In)stalling Laura Kipnis). 21:8, pp. 13-14. Angeles, CA. 21:1, p. 20.
Ward Churchill). 21:6, pp. 14-16. trauma,” by Andrea Liss. (exhibition “Our auto-bodies, ourselves: “Noah’s Raven” by Mary Lucier, Toledo
———. “Image sovereignty,” by Fatimah review: “One Story About June Riley,” Representing real women in feminist Museum of Art, Toledo, OH. 21:4, pp.
Tobing Rony. (conference review: by Susan Schwartzenberg, Ansel video,” by Alexandra Juhasz. 21:7, pp. 10- 8-12.
Indigenous Voices in Film, Hawai’i Adams Center for Photography, San 14. “Oblique House (Valdez)” by Mary Lucier,
International Film Festival and Pacific Francisco, CA). 21:9, p. 15. “Missing the mark,” by Cylena Montage 93: International Festival of
Islanders in Communication, Hilo, Seminars. “Failed experiment,” by Simonds. (video review: Warrior Marks by the Image, Rochester, NY. 21:4, pp. 8-
Hawai'i; and Images, Identities and O.Funmilayo Makarah. (festival review: Pratibha Parmar and Alice Walker). 21:8, 12.
[Mis]representations: Producing the Flaherty Film Seminar, Aurora, NY). p. 3. “Orderly” by Doug Ischar, MIT List Visual
Pacific, Pacific Islanders _ in 21:5, pp. 4, 13. . “Personal history, cultural memory: Arts Center, Boston MA; Randolph
Communication, Honolulu, Hawai’i). Sexuality. "Fetal tissue: Reproductive Mary Lucier’s ruminations on body and Street Gallery, Chicago, IL; and Blum
21:7, pp. 4-5. rights and amateur activist video,” by land,” by Melinda Barlow. (exhibition Helman Gallery, New York, NY). 21:2,
“Reconfigured nationhood: A Patricia R. Zimmermann. 21:1, pp. 10- review: “Noah’s Raven,” Toledo Museum pp. 14-15.
partisan history of the Inuit 13. of Art, Toledo, OH and “Oblique House “Pedro Meyer: Truths and Fictions: A
Broadcasting Corporation,” by Laura U. . “Jump-starting masculinity: Queer (Valdez),” Montage 93: International Journey from Documentary to Digital
Marks. 21:8, pp. 4-8. artists expand an arrested Festival of the Image, Rochester, NY). Photography,” California Museum of
Niblock-Smith, Mark. “Jump-starting development,” by Jennie Klein-Davis . 21:4, pp. 8-12. Photography, Riverside, CA). 21:7, pp.
masculinity: Queer artists expand 21:3, pp. 4-7. . “Showroom sample,” by Janet 15-16.
aarrested development,” by Jennie ———. “Missing the mark,” by Cylena Sorensen. (exhibition review: “The Visual “Vertical Hold: The Racial Politics of
Klein-Davis . 21:3, pp. 4-7. Simonds. (video review: Warrior Marks Politics of Hip Hop,” Zeitgeist Theatre Network Television,” The American
Noriega, Chon. “Images of Advocacy: An by Pratibha Parmar and Alice Walker). Experiments, New Orleans, LA). 21:10, pp. Museum of the Moving Image, Astoria,
interview with Chon Noriega,” by C. 21:8, p. 3. 11-12. NY). 21:6, pp. 11-13.
Ondine Chavoya. 21:10, pp. 5-9. ———. “Repo woman,” by Holly Willis. Walker, Alice. “Missing the mark,” by “1993 Biennial Exhibition,” Whitney
Obituaries. “Juan Downey, 1940-1993,” by (book review: Ecstasy Unlimited: On Cylena Simonds. (video review: Warrior Museum of American Art, New York,
Coco Fusco. 21:2, p. 2. Sex, Capital, Gender and Aesthetics by Marks by Pratibha Parmar and Alice NY. 21:2, pp. 4-8.
20 AFTERIMAGE/Summer 1994
“Anyone in New York,” by Simon Grennan For the First Time, (1967) by Octavio Lan Kim, (1976) by Karen Nulf. 21:5, Nation, (1993) by Puhipau and Joan
and Christopher Sperandio, New York Cortazar. 21:5, pp. 4, 13. pp. 4, 13. Landers. 21:7, pp. 4-5.
University, New York, NY). 21:10, pp. Will | Ever Find What | Need in a Man, (nd) Glass Jaw, (1991) by Michael O'Reilly. Self Health, (1972) by the San Fransico
10-11. by Sally Davis. 21:5, pp. 3, 12. 21:5, pp. 4, 13. Women’s Health Collective. 21:7, pp.
“One Story About June Riley,” by Susan Cities of Lust, (1993) by Raul Ferrera- Lumumba: Death of a Prophet, (1992) by 10-14.
Schwartzenberg, Ansel Adams Center Balanquet. 21:5, pp. 4, 13. Raoul Peck. 21:5, pp. 4, 13. The Death of Silence, (1992) by Shaista
for Photography, San Francisco, CA). Production Stills, (1970) by Morgan Fisher. Man at the Quay, (1993) by Raoul! Peck. Shameem. 21:7, pp. 4-5.
21:9, p. 15. 21:5, pp. 4, 13. 21:5, pp. 4, 13. The Sluts and Goddesses Workshop
L.A. Familia, (1993) by Harry Gamboa Jr. Day and Night, (1993) by Salvador Rivas. (1992) by Annie Sprinkle. 21:7, pp. 10-
21:5, pp. 4, 13. 21:5, pp. 4, 13. 14.
Film /Video The Secret Formula, or Coca-Cola in the It Happened at the Wall, (1992) by Mark With the First Canoe, (1993) by Maria
Blood, (1964) by Rubén Gamez. 21:5, Steiner. 21:5, pp. 4, 13. Yatar. 21:7, pp. 4-5.
pp. 8-10. Deep, (1993) by Byron “Tree” Turner. Starting Fire with Gunpower, (1991) by
S’Aline’s Solution, (1991) by Aline Mare.
A Gay Day, (1973) by Barbara Hammer. 21:5, pp. 3, 12. David Poisey and William Hansen. 21:8,
21:1, p. 10-13 and 21:5, pp. 4,13.
21:5, pp. 5-7. Carmelita Tropicana, (1993) by Ela pp. 4-8.
Underexposed: Temple of the Fetus,
Dyke Tactics, (1974) by Barbara Hammer. Troyano. 21:5, pp. 4, 13. Planet Brooklyn, (1992) by Regi Allen.
(1993) by Kathy High. 21:1, pp.10-13.
21:5, pp. 5-7. | Ain’t No Tonto, (nd) by Eddie Two-Rivers 21:10, pp. 11-12.
Totally F**cked Up, (1993) by Gregg Araki.
Nitrate Kisses, (1993) by Barbara and Beverly Moeser. 21:5, pp. 3, 12. Drive by Shoot, (1993) by Portia Cobb.
21:4, p. 4.
Hammer. 21:5, pp. 5-7, 13. Warrior Marks, (1993) by Pratibha Parmar 21:10, pp. 11-12.
Two Small Bodies, (1993) by Beth B. 21:4,
Sanctus, (1980) by Barbara Hammer. and Alice Walker. 21:5, p. 3. Television, The Drug of the Nation, (1991)
p. 4.
21:5, pp. 5-7. Art is How We Survive the Truth, (1992) by by the Disposable Heroes of
Zero Patience, (1993) by John Greyson.
Hey Where is Everyone, (1993) by Linda Wiley. 21:5, pp. 3, 12. Hiphoprisy. 21:10, pp. 11-12.
21:4, p. 4.
Desmond Hampton. 21:5, pp. 3, 12. (In) Visible Women, (1992) by Maria Rock Me Goong Hay, (1992) by Sheldon
Dottie Gets Spanked, (1993) by Todd
My Love Will Never Make Any Difference, Alvarez and Ellen Spiro. 21:7, pp. 10- Ito. 21:10, pp. 11-12.
Haynes. 21:4, p. 4.
(1993) by Monica Kos. 21:5, pp. 3, 12. 14. The Look, (1992) by Brian Luvar. 21:10,
Family Remains, (1993) by Tamara
The Cows Nearly Made It, (nd) by Mike If Every Girl Had A Diary, (1991) by Sadie pp. 11-12.
Jenkins. 21:4, p. 4.
Hazard. 21:5, pp. 3, 12. Benning. 21:7, pp. 10-14. The Dinner Hour, (1992) by Alphonso
Terminal USA, (1993) by Jon Moritsugu.
The Negro Soldier, (1944) by Stuart | Am Different from My Brother, (1981) by Moret. 21:10, pp. 11-12.
21:4, p. 4.
Heisler. 21:5, pp. 8-10. Frank Blythe. 21:7, pp. 4-5. The Nation Erupts, Part Il, (1992) by Not
Kanehsatake: 270 Years of Resistance,
Landscape, (nd) by Will Hommeyer. 21:5, Those Fluttering Objects of Desire, (1993) Channel Zero. 21:10, pp. 11-12.
(1993) by Alanis Obomsawin. 21:4, p.
pp. 3, 12. by Shu Lea Chang. 21:7, pp. 10-14. My Trip in a ‘52 Ford, (1966) by Ernie
4.
Wings of Fire, (1992) by Will Hommeyer. What’s the Difference Between a Yam and Palimino. 21:10, pp. 5-9.
Sankofa, (1993) by Haile Gerima. 21:4, p.
21:5, pp. 3, 12. a Sweet Potato?, (1992) by J. Evan Mozo, An introduction Into the Duality of
4.
History Lessons, (1992) by Katherine and Duniap and Adriene Jenik. 21:7, pp. 10- Orbital Indecision, (1968) by Severa
Little Dead Bodies, (nd) by Algebra
Mick Hurbis-Cherrier. 21:5, pp. 4, 13. 14. Perez. 21:10, pp. 5-9.
Suicide. 21:5, pp. 3, 12.
Psychic Defense Training for Ex-Lovers, She Don’t Fade, (1992) by Cheryl Dunye. Respects is Due, (1992) by Cyrille Phillips.
Seven Songs for Malcolm X, (nd) by John
(nd) by Doug Knott. 21:5, pp. 3, 12. 21:7, pp. 10-14. 21:10, pp. 11-12.
Akomfrah. 21:5, pp. 4, 13.
Boston Driving, (nd) by Nina Hasin and Doctor,Lawyer, Indian Chief, (1984) by Media Assasin, (1989) by Art Jones,
Who Needs a Heart, (nd) by John
Ray McNeice. 21:5, pp. 3, 12. Carol Geddes. 21:7, pp. 4-5. 21:10, pp. 11-12.
Akomfrah. 21:5, pp. 4, 13.
Cassandra Seething at the Mouth, (1986) Ho’ala: Awakening, (1992) by Heather Know Your Enemy, (1990) by Art Jones,
The Fruit Cellar, (nd) by Morgan Baylog.
by Aline Mare. 21:5, pp. 4, 13. Haunani Giugni. 21;7, pp. 4-5. 21:10, pp. 11-12.
21:5, pp. 3, 12.
Secuestro: The Story of a Kidnapping, Cellophane Skirts (nd) by Heather Knowledge Reigns Supreme, (1991) by Art
Palenque, (1992) by Raquel Bozzi. 21:5,
(1993) by Camilla Motta. 21:5, pp. 4, Haunani Giugni. 21;7, pp. 4-5. Jones, 21:10, pp. 11-12.
pp. 4, 13.
13, Scarlet Harlot’s Taking Back the Night Framing Dr. Jefferies, (1991) by Art Jones,
| Love You, Mrs. Brooks, (1993) by John
Note to a Stranger, (1990) by Meena 7990, (1990) by Carol Leigh. 21:7, pp. 21:10, pp. 11-12.
Brooks. 21:5, pp. 3, 12.
Nanji. 21:5, pp. 4, 13. 10-14. Arrest the President, (1991) by Chuck
War Comes to America, (1945) by Frank
Voices of the Morning, (1992) by Meena Access Denied, (1992) by Repro-Vision. Stone. 21:10, pp. 11-12.
Capra. 21:5, pp. 8-10.
Nanji. 21:5, pp. 4, 13. 21:7, pp. 10-14. Tabla Rosa, (1973) by Esperanza
The Fall of Berlin, (1949) by Michael
X & 1/2: The Legacy of Malcolm x, (nd) by Anahola, (nd) by Nicholas Rozsa. 21:7, pp. Vasquez. 21:10, pp. 5-9.
Chiaureli. 21:5, pp. 8-10.
Not Channel Zero. 21:5, pp. 4, 13. 4-5.
The Match That Started My Fire, (1991) by
Letters to Two Young Women: Adele and Act of War; The Overthrow of the Hawaiian
Cathy Cook. 21:5, p. 4.
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