Jenny Chamarette – författare

Museums and the Moving Image is the first volume to span overlapping but disciplinarily distinct research into museums, exhibitions, art and film. It draws together approaches in art history, museum studies, anthropology, film studies, performance studies and digital cultures, to uncover the shared ethical and political concerns about two crucial sites of knowledge creation: in the moving image, and in the cultural institution of the museum.Whether or not you know the artwork or film in question, Jenny Chamarette writes in a language that speaks to specialists and non-specialists alike about issues of Eurocentrism, colonialism, race and gender. She institutes a new way of thinking, through cinemuseology, a practice of understanding the entwined and parallel cultural powers of cinema and the museum. From her exploration of French museum-funded ethnography of the 1950s and West African cinema’s retort to it, to disruptions of performance, video and digital art by women artists in North American museums from the 1970s; from moving image artists’ millennial probing of the 18th century white men whose private hoards lead to the first collections of public museums in the UK, to the hopeful and healing restoration of the B/black archive in contemporary global installation art; from the caring archive of indigenous documentary filmmaking, to the work of experimental filmmakers in Britain; Chamarette consistently asks: how do moving images make the museum think?

Museums and the Moving Image is the first volume to span overlapping but disciplinarily distinct research into museums, exhibitions, art and film. It draws together approaches in art history, museum studies, anthropology, film studies, performance studies and digital cultures, to uncover the shared ethical and political concerns about two crucial sites of knowledge creation: in the moving image, and in the cultural institution of the museum.Whether or not you know the artwork or film in question, Jenny Chamarette writes in a language that speaks to specialists and non-specialists alike about issues of Eurocentrism, colonialism, race and gender. She institutes a new way of thinking, through cinemuseology, a practice of understanding the entwined and parallel cultural powers of cinema and the museum. From her exploration of French museum-funded ethnography of the 1950s and West African cinema’s retort to it, to disruptions of performance, video and digital art by women artists in North American museums from the 1970s; from moving image artists’ millennial probing of the 18th century white men whose private hoards lead to the first collections of public museums in the UK, to the hopeful and healing restoration of the B/black archive in contemporary global installation art; from the caring archive of indigenous documentary filmmaking, to the work of experimental filmmakers in Britain; Chamarette consistently asks: how do moving images make the museum think?

A bold, tender exploration of how queerness and nature entwine – and what happens when we step beyond the binaries that fence us in.There is a Q in garden, but you can’t always see it.When Jenny Chamarette faced a devastating health crisis, they found themselves unmoored from the rules of gender, sexuality and productivity. In a small South London garden, Jenny began to imagine another way of living: porous, unruly, rooted in the lessons of soil and plant life. Gardens, like identities, are usually bounded – but what if those limits can be re-drawn?Blending memoir and cultural criticism, this book asks whether the categories we inherit – colonial, patriarchal, conventions of sexuality and gender – still serve us, or whether they confine us. From illness and recovery to queer love and ecological wonder, Q is for Garden invites readers to reimagine how we inhabit land, culture and each other.An eloquent work of nature writing and queer thought, Q is for Garden digs into the rich history of queer gardeners, botanists, artists and agriculturalists. It offers a hopeful vision of belonging, if we are curious enough to unearth it.

This open access book presents the first critical analysis of the work of Stephen Dwoskin, groundbreaking filmmaker, artist, graphic designer and writer.Stephen Dwoskin (1939-2012) was a groundbreaking filmmaker, artist, graphic designer and writer, most renowned for his key role in establishing the London Film Makers Co-Op and The Other Cinema, his book Film Is…(1975), and his experimental, feature length and documentary films. Though his films continue to be screened around the world, his work has - until now - remained chronically under-researched.Emerging from a major AHRC-funded University of Reading/LUX/BFI research project which explored the unique archive from Dwoskin's estate, this book is the first to critique, analyse and give new insights into this influential but under-studied figure. Inside, a range of established scholars, artists who worked with Dwoskin, emerging critics, curators, cultural historians and archivists highlight Dwoskin’s continued relevance to the fields of art history and fine art, film studies, archives and collections, graphic design, and disability studies.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Royal College of Art.

This open access book presents the first critical analysis of the work of Stephen Dwoskin, groundbreaking filmmaker, artist, graphic designer and writer.Stephen Dwoskin (1939-2012) was a groundbreaking filmmaker, artist, graphic designer and writer, most renowned for his key role in establishing the London Film Makers Co-Op and The Other Cinema, his book Film Is…(1975), and his experimental, feature length and documentary films. Though his films continue to be screened around the world, his work has - until now - remained chronically under-researched.Emerging from a major AHRC-funded University of Reading/LUX/BFI research project which explored the unique archive from Dwoskin's estate, this book is the first to critique, analyse and give new insights into this influential but under-studied figure. Inside, a range of established scholars, artists who worked with Dwoskin, emerging critics, curators, cultural historians and archivists highlight Dwoskin’s continued relevance to the fields of art history and fine art, film studies, archives and collections, graphic design, and disability studies.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Royal College of Art.