This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman’, a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman’, a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise’s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women’s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood’s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism’s engagement with psychoanalysis, argues that Mulvey and Wollen’s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women’s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen’s influential work on ‘counter-cinema’ and Mulvey’s foundational writing on ‘the male gaze’.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen''s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise''s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women''s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood''s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism''s engagement with psychoanalysis, argues that Mulvey and Wollen''s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women''s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen''s influential work on ''counter-cinema'' and Mulvey''s foundational writing on ''the male gaze''.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen''s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise''s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women''s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood''s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism''s engagement with psychoanalysis, argues that Mulvey and Wollen''s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women''s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen''s influential work on ''counter-cinema'' and Mulvey''s foundational writing on ''the male gaze''.

This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman’, a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman’, a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise’s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women’s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood’s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism’s engagement with psychoanalysis, argues that Mulvey and Wollen’s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women’s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen’s influential work on ‘counter-cinema’ and Mulvey’s foundational writing on ‘the male gaze’.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen''s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise''s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women''s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood''s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism''s engagement with psychoanalysis, argues that Mulvey and Wollen''s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women''s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen''s influential work on ''counter-cinema'' and Mulvey''s foundational writing on ''the male gaze''.

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen''s Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise''s process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women''s Liberation Movement.Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood''s dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism''s engagement with psychoanalysis, argues that Mulvey and Wollen''s film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women''s voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen''s influential work on ''counter-cinema'' and Mulvey''s foundational writing on ''the male gaze''.