1. This exchange took place November 21, 2005. As is always the case with projects of this sort, there are, in fact, many exchanges that allowed this particular exchange with Antoinette Burton to come into print. Eve Oishi and Laura Hyun Yi Kang from my reading group, the LA Women's Group for the Collaborative Study of Race and Gender in Culture, read this manuscript carefully, as did Antoinette’s colleague, Shefali Chandra. Enid Baxter Blader, my video editor, created the lovely framegrabs from Video Remains that interplay with these words. It’s been great fun, and intellectually and creatively challenging to work images into this text, and I am grateful to the editors of Jump Cut for this opportunity. My graduate assistant, Danica Amstadt, did Internet research to find the images that appear at the conclusion of this piece, anticipating a media activist AIDS future, and she researched and compiled the links that we have included.

I have also discussed my video, and subsequent writing about it, with colleagues and friends including David Roman and Lucas Hildebrand (both of whom I worked with on another article about Video Remains, see citation in footnote 4). Herman Bennett created the symposium on the Archive at Rutgers University in the Spring of 2005 where Antoinette and I first engaged in dialogue about these themes in conversation with many other colleagues. Finally, I thank Antoinette for an opportunity that all artists crave, the chance for intelligent and challenging conversation about one’s own work with a loving and committed interlocutor.

2. Thanks to Shefali Chandra for this clarification.

3. This archival project was organized by AIDS activist and experimental filmmaker, Jim Hubbard. More on the Royal S. Marks AIDS Activist Video Collection at the New York Public Library can be found at: http://www.artistswithaids.org/artforms/video.
Hubbard is also participating, with Sarah Schulman, in a similar project dedicated to archiving the history of ACT UP: see actuporalhistory.org. The Estates Project for Artists with AIDS is another such archival arts endeavor. See: www.artistswithaids.org.

4. See my “Video Remains: Nostalgia, Technology, and Queer Archive Activism,”in the first of a two-volume edition,  "Art Works: A Special issue of GLQ," coedited by Richard Meyer and David Román, GLQ 12:2 (Spring 2006). There is some repetition of the ideas expressed in that piece here, as Antoinette was first introduced to the video when I deliverad a version of that writing as a conference talk. However, Antoinette’s questions in this exchange take me in directions I had not anticipated in the earlier writing I had done about Video Remains.

5. See my “No Woman is an Object:  Realizing the Feminist Collaborative Video,” camera obscura 54 (2003): 71-98. 

6. Again, these ideas come from Shefali Chandra.

To topPrint versionJC 48 Jump Cut home