woman's reappearance: rethinking the archive in contemporary art—feminist

perspectives
Author(s): Giovanna Zapperi
Source: Feminist Review , 2013, No. 105 (2013), pp. 21-47
Published by: Sage Publications, Ltd.

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105 woman's reappearance:
rethinking the archive in
contemporary art—feminist
perspectives

Giovanna Zapperi

abstract

Recent debates in the field of contemporary art have underlined the political importance

of creative reworkings of the past, especially for those subjects that have been tradi
tionally marginalised. A feminist perspective has been nevertheless quite absent from
such debates. This article addresses feminist uses of archival documents in the visual

arts through the analysis of three works produced in the past two decades: The Fae
Richard's Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance
Operations (1998) by Renée Green and Queen of the Artists' Studios (2004-2007) by
Andrea Geyer. These works share an interest for women's histories and representations
by composing a series of documents (both factual and fictive) into complex narratives
where history and subjectivity intersect.

keywords
archive; feminist genealogies; women's history; visual arts

feminist review 10S 2013

(21-47) © 2013 Feminist Review. 0141-7789/13 www.feminist-review.com

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 How can a relationship with the past exist in which memory functions as an active process,

allowing continual reconsideration, rather than as a form of entombment, to which archives

and museums are sometimes compared? (Green, 2006b: 54)

introduction

History—considered as a sum of texts, practices, enunciations and writing

too often marginalised women. This essay looks at this simple assumption t
a discussion of three artworks produced in the last two decades. These art
raise a number of questions concerning women's history and its represent
primarily in aesthetic and experimental ways. They make use of archival docu
as visual matter, and locate themselves in a liminal space between
representation and production of the past, between the factual and the fic
the private and the public, the objective and the subjective. In their ambiva
they participate in the critique of truth and objectivity prompted by feminis
post-colonial revisions of knowledge.

The use of archival material—including found footage, textual and v

documents, and sound assembled through montage—now has a long history
in the visual arts and in experimental or avant-garde film, where the creative
of memory through recollection, retrieval and mourning has been widely ex
(Russell, 1997; Skoller, 2005). However, it has acquired a specific relevance f
visual arts at a time marked by the unprecedented dissemination of i
through digital media.

The 'documentary turn', promoted by the Documenta 11 exhibition curat

Okwui Enwezor in 2002, describes a number of practices that use 'the tool
documentary and the function of the archive as procedures for inducting new
and transactions between images, texts, narratives, documents, statem
events, communities, institutions, audiences' (Enwezor, 2009: 101). Accordi
Enwezor, as the pre-eminent forms of archival material, photography and film
privileged media for the investigation of the archive in the visual arts. T
capacity to establish the direct relationship between time and event demon
their imbrication with issues of memory, history and identity (Enwezor,
11-13).

Critical discussions of what has been defined as an 'archival impulse' in

contemporary art (Foster, 2004) have examined these practices from a number of
points of view: in particular, the emergence of the new figure of the 'artist
as historian' (Godfrey, 2007); the changing media and technological environ
ment (Spieker, 2008); and questions of authority and authenticity in the
production of historical narratives (Enwezor, 2009). However, although these
writings sometimes discuss works that deal with gender, little attention has been
given to feminist perspectives. In what follows I will study three artworks that

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 question the significance of archival research for feminists while at the same time
producing feminist archives themselves. My intention is to explore the ways in which
visual arts are able to articulate the relationship between memory and temporality,
and to point out art's significance for feminist historiography. Moreover, the
entwining of gender, race and sexuality will also emerge in my discussion as a
crucial concern.

My analysis will focus on works by Zoe Leonard and Cheryl Dunye, Renée Green, and
Andrea Geyer that are concerned with feminist rewritings of history, and that
1 Needless to say, reflect upon what I tentatively call 'feminist time'.1 With this term I intend to
feminist approaches to
archival materials in describe a notion of temporality that comprises returns, accelerations and
contemporary art have not discontinuities, where the subjective and collective dimensions are related to a
been limited to these
artists. Other examples number of historical, social and cultural conditions. Such a notion of time might be
include Marysia
Lewandowska's Women's a useful tool with which to interrogate the ways in which our perception of
Audio Archive, http://www historical time is inextricably bound to gender.
.marysialewandowska
.com/waa/, and Pauline
Boudry and Renate My reading of the artworks that form the core of this paper will focus on their
Lorenz's queer archeology,
for instance in the efforts to unveil repressed histories in ways that are both critical and formally
work Salomania,
experimental. Each work is based on the archival reconstruction of a woman's
http://www. boudry -
lorenz. de/salomania/, life through a combination of historical investigations and fictional narratives.
last accessed 5 August
2013. Despite their focus on a single woman, none of these works is a biography:
the documents are edited and assembled in order to shape a series of possible
narratives, and the archival fragments emerge as traces of forgotten stories.
Through the process of montage, these artists reconsider the role of sexual
difference in historical narratives, while excavating histories marked by differences
inscribed into gender, sexuality and race. Time and history intersect: since they
interrogate the process of memory, these works ponder the relationship between
the present and an imagined past. Their methods and tools share with feminist
and queer historiography a concern to uncover that which has been overlooked
or repressed, as well as to point out the economy of visibility on which the
archive is predicated. In a similar way, these works are investigations into
the formation of historical knowledge, but their uses of the archive as
visual matter also open up the possibility of imagining a feminist temporality
(Figures 1 and 2).

Feminist and queer scholars have considered the archive from a variety of
perspectives, investigating archival research from the point of view of the
historian's (gendered) subjectivity. The archive has been explored in relation to
its ambivalence for women, as a site where women's agency is rendered both visible
and invisible (Farge, 1989), or as a gendered space where the private and the
public are conflated, especially during research on women's experiences in colonial
and post-colonial contexts (Burton, 2003). Analysis specifically dedicated to the
archive in connection with creative practices and the visual arts has underlined the
transformative potential of archival recollections for queer elaborations of memory

Giovanna Zapperi feminist review 105 2013 23

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 Figure 1 Zoe Leonard, The Fae Richards Photo Archive, 1993-1996. Created for Cheryl Dunye's film 'The
Watermelon Woman' (1996). Seventy-eight black and white and four colour photographs and notebook of typed
text, installation view, Whitney Museum of American Art, 1997 Biennial, NyC.

Figure 2 Zoe Leonard, The Fae Richards Photo Archive, 1993—1996. Created for Cheryl Dunye's film "The
Watermelon Woman' (1996). Seventy-eight black and white and four colour photographs and notebook of typed
text, installation view, Whitney Museum of American Art, 1997 Biennial, NyC.

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 and trauma (Cvetkovich, 2003), as well as the opportunity to rethink the museum
as a feminist-virtual archive where representation, modernity and femininity
intersect (Pollock, 2007).

Despite its evident connection with these scholarly works, this paper takes a
different path. It seeks to interrogate the archival document as visual and
historical material, trying to look at the ways in which feminist artists have
elaborated the entanglement between a document's historicity and its imaginary
potential. Woman's reappearance across documentary reconstructions reminds us
of the constitutive relationship between time and the image: it is when it is
2 Historians have visualised that the past becomes tangible and recognisable. To a certain extent,
underlined the structural
relationship between the
the writing of history always implies the act of seeing: the works I discuss in this
writing of history and the paper describe possible ways to rethink women's histories through the use of
act of seeing. As Hartog
points out, rhetorical images. Their operative mode is based on a desire to think the present through the
strategies in historical
accounts have tended past, to address time and history from a perspective that is both subjective and
since antiquity to turn the critical.
reader into a spectator, as
if history were happening
in the present (2007: 181).

feminist time

If we consider that histories intersect in archives in ways that can be

and contradictory, how can we approach single characters through
narratives? Is it possible (and if so, how) to reconstruct a woman's tra
we know that it has already vanished in a complex intermingling of
tives and people? In a recent essay, Pollock has observed that femin
in the writing of art history might take inspiration from Walter Benjam
the Jetztzeit ('now-moment'), a sort of retroactive, anachronical gaz
continuity in order to 'bring a formerly indecipherable past
recognition' (2009: 325). According to Benjamin, images of the pa
within a present perspective that is able to recognise them. The prese
to fix the past of the image, to make it exist: 'For every image of t
not recognized by the present as one of its concern threaten
irretrievably' (Benjamin, 1968: 255).

This distorted historical view might be able to reveal meaningfu

include culture, subjectivity, history and struggles through aesthe
Pollock suggests that such a history might take the form of an ellipt
time, like 'a criss-crossing, backward and forward, as well as a dist
movement across the terrain of aesthetic practices' (2009: 324). Th
just to add names to an already constituted history, nor to propo
views of it, but to uncover genealogies that suddenly become vis
historical time and context. The invisibility of women from the past
visibility under specific historical, cultural and subjective condition

Giovanna Zapperi fe m i n i st re vi e w 105 2

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 In this perspective, a feminist temporality would be an anachronical one,
consisting, as Loraux puts it, of making productive the clash between the present,
which always orients the gaze of the historian, and the past, which can open new
perspectives on the present (1993: 28). Both the present and the past are thus held
in suspension. Fractures and discontinuities (often erased by historiography, but
constitutive of historical temporality) come to the fore, and new meanings become
visible. In Loraux's terms, an anachronical procedure in historical research is as
necessary as it is challenging: the historian must consciously decide to pose a set
of questions to an epoch that did not formulate them, or at least not in the same
way. This "controlled anachronism' does not imply that the past foreshadows the
future, but it challenges the very notion of time as an uninterrupted continuum,
along with the position of the historian as disinterested and objective. The point is
not to learn lessons from or to experience the past, but more importantly to
question the chronological time of history, with all its repetitions and disconti
nuities (ibid.: 36).

In her discussion of Loraux's notion of 'controlled anachronism', Wahnich draws an

analogy with Benjamin's understanding of the present as the only time of the
political, when the relationship between past and present ceases to resemble a
'positive automaton' and becomes the substance of political knowledge (2000:
224). In this respect, the historian who is willing to accept a certain anachronism
while relating to the past must also be willing to be situated within her own
emotions, intuitions and subjectivity. These are also significant elements in the
works discussed here, in which the artists' imagination and subjectivities are not
obstacles, but rather are constitutive elements of a knowledge production that is
also political (Figure 3).

In her reflections on feminist temporality, Pollock refers to the work of the

historian and the curator. A similar set of questions might be posed in order to
investigate what happens when the process of reconfiguring historical time is at the
core of an artwork. Fictional narratives play a crucial part in how such artworks
appropriate the historian's methods and tools, but the search for historical truth is
always held in suspension. In mixing fact and fiction, representation and desire,
these artists experiment with the possibility of an elliptical temporality that
engages sexual difference and a present-feminist desire for different writings of
history. What is at stake in these works is not just the reconstruction of a repressed
history, but, more importantly, a desire for memory, which is also a desire for
knowledge.

With the term 'desire' I wish to underline the work of imagination and intuition that
lies at the heart of these works. Archival reconstruction is not intended as a form
of cold knowledge, and it does not convey the detachment of historical proof. In
our subjective involvement with the archive, the documents drive us affectively,
opening up the artist/historian's emotions and thus helping to situate her within

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Figure 3 Renée Green, Some Chance Operations, 1999. Video still. Courtesy of the artist and Free Agent Media.

her own specific historical conditions. Desire here is what mediates the relationship
between past, present and future, positioning the artist's subjective voice in the
process of constructing alternative forms of knowledge.

The process of assembling images and texts strongly involves the artist's sub
jectivity in ways that constantly recompose possible narratives across associations
between disparate fragments. Thus, each image/text is displaced towards the
uncertain terrains of interpretation, appropriation and invention. The formal
operation of editing or montage is crucial to the ways these artists shape a
different type of temporality.

In his analysis of Brecht's Arbeitsjournal, Georges Didi-Huberman emphasises that

the techniques of montage can be productively reinvested outside of cinematic
illusionism. In this respect, historical knowledge can be viewed as a non-linear
temporal assemblage that includes anachronisms, ruptures and movements:

Since it works as an explosion of chronology, montage exhibits the anachronisms. It cuts

across what is usually merged together and connects what is usually separated. Montage thus

creates a jolt and a movement [...] endlessly running, migrating from one temporality to
another. (Didi-Huberman, 2009: 133; my translation)

As a formal procedure based on the separation, movement and migration of

images, montage is an operation that opens space up to differences, conflicts and
confrontations. Revealing the montage as such means that the image is

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 understood not in terms of illusionism, but in terms of knowledge (ibid.: 67). In the
works I am going to discuss, this visual procedure produces a form of non-linear,
anachronical temporality, in which images migrate from one context to another,
and time is understood in terms not of continuity but of returns that engage the
artists' subjective desires. The process of putting history's visual language under
discussion generates a series of questions about subjects that have been excluded
from historical representation. Appropriating history's procedures from an aes
thetic-feminist perspective involves the artist's subjectivity through the simulta
neous processes of identification and distancing. The mode of these works is both
experimental and interpretative, and the real/fictional woman emerges as a
discourse that exceeds her historical representation.

The imprecise, impure and temporally ambivalent nature of the images involved in
archival reconstruction composes the past as a psychic, anachronical and
inevitably inaccurate representation. According to Didi-Huberman, standing before
an image brings one into anachronical confrontation with the past, because past
and present coexist and constantly reconfigure each other every time we look at
the image (2000: 10). In much the same way, the women in the artworks can only
emerge from the past through the impulse of a present desire. Like ghosts emerging
from a hidden past, they incarnate conflicting forces activated in the present as a
means to open up the possibility for a different kind of knowledge.

a simulated archive

Between 1993 and 1996, Leonard produced an amazing installation in co

with the filmmaker Dunye, called The Fae Richards Photo Archive, also d
in a book (Leonard and Dunye, 1997). The work was created for Dunye
Watermelon Momart (1996), the story of the filmmaker's search for F
(née Richardson, 1910-1973), an African-American lesbian actress an
the 1920s and 1930s who actually never existed. This fictional do
revolves around Dunye's rising consciousness and her need to reclaim
lesbian legacy in twentieth-century American cinema. Fae Richards acts a
for an untold history in which the young filmmaker might be able t
herself (Sullivan, 2000). During the film, a number of photographs of
actress are shown as a means to attest to her existence—and yet
entirely made up by Zoe Leonard, in collaboration with a number of acto
the end of the film.

The Fae Richards Photo Archive is an assemblage of these images as

restore Fae Richards' biography by documenting her life, loves, frien
career (Figure 4). This project embodies a set of issues that are at th
Leonard's photographic and artistic practice, and of her participation i
political activism in America. An artist mostly using photography, Leona
interested in the photographic image's implication in the production

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Figure 4 Zoe Leonard, The Fae Richards Photo Archive, 1993—1996 (detail). Created for Cheryl Dunye's film 'The
Watermelon Woman' (1996). Seventy-eight black and white and four colour photographs and notebook of typed
text. Digital Image, © Whitney Museum of American Art, Ny.

difference, as well as in the ways in which photography is concerned with the

passing of time. As Lebovici writes, 'Her images show the way life erodes objects—or
rather, they show the afterlife, the revival of recycled, reused objects' (2007: 73).

Imitating both the visual language of a private diary and the procedures of
historical reconstruction, the archive—a collection of photographs, captions,
explanatory text, and a cast and crew list—recollects traces of Fae Richards from
her beginnings in the 1920s, throughout her activities in and out of Hollywood, and
into the early 1970s. The Archive is conceived as a small historical museum display
in which an admirer might have assembled a number of documents chronologically.
Typewritten captions give lacunary information about the context and the people in

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 the images. Because it imitates both a diary and an archival reconstruction, The
Fae Richards Photo Archive enacts not just a woman's trajectory, but also an
admirer's desire and passion to recollect documents and information—a role
performed by Leonard and Dunye themselves. The admirer's intense desire affects
the viewer, and enables the complex processes of identification that make the
temporal strata coexist.

Following the Archive's narrative, Fae Richards' life and career are reconstructed
across a number of lacunae. We see her in her twenties, when she was working as a
maid in a white upper-class household in Philadelphia, or with her sister and
friends. The photographs then describe Richards' relationship with Martha Page, a
white filmmaker she met at her employer's house, which helped her to start a
career in Hollywood. The separation from Page marks her decision to leave
mainstream cinema and engage in black film production. The last sections of the
Archive are focused on Richards' relationship with June Walker, an African
American passing lesbian. Each picture is like a window opened onto a life that
we strive to reconstruct. The form of the archive is imitated with realism and

virtuosity, particularly in the simulation of a number of photographic genres, from

the photo booth to the family snapshot, film still, press photograph and portrait of
the diva. In this respect, The Fae Richards Photo Archive contains an archive within
the archive, retracing the history and uses of photography from the 1920s until the
early 1970s. More significantly, the Archive reveals photography's entanglement
with a collective history, the imprecise memory of which strongly involves class,
sexuality, race and gender relations (Figure 5).

What does it mean to produce the fake archive of an entirely fictional character?
Who is Fae Richards? Or rather, who could she have been? What is the absence that
her invention tries to redeem from the past—if not in history, then at least in
fiction? According to Foucault, the archive is primarily the law of what can be said,
but it also regulates our relationship with the past, rendering some things more
present than others:

The archive is first the law of what can be said, the system that governs the appearance of

statements as unique events. But the archive is also that which determines that all these

things said do not accumulate endlessly in an amorphous mass, nor are they inscribed in an

unbroken linearity, nor do they disappear at the mercy of chance external accidents; [...]

that which determines that they do not withdraw at the pace in time, but shine, as it were,

like stars, some that seem close to us shining brightly from afar off, while others that are in

fact close to us are already growing pale. [...] [The archive] is that which, at the very root of

the statement-event, and in that which embodies it, defines at the outset the system of its

enunciability. (1972: 129).

Accordingly, the function of the archive relates ambivalently to accessibility and

regulation. From this point of view, The Fae Richards Photo Archive appears
paradoxical: it recreates a past that cannot be said, but it does so through the

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 •* *

fafyo i

Figure 5 Zoe Leonard, The Fae Richards Photo Archive, 1993—1996 (detail). Created for Cheryl Dunye's film 'The
Watermelon Woman' (1996). Seventy-eight black and white and four colour photographs and notebook of typed
text. Digital Image, © Whitney Museum of American Art, Ny.

appropriation of the archive's modus operandi, and in a very ambivalent way with
respect to its regulatory function. As Foucault (2001) suggests in his later
reflections on 'Lives of Infamous Men', the archive can be precisely the site of
ambivalence in as much as it provides access to a number of existences that were
not meant to be included in history. Police and detention archives record traumatic
and violent encounters, allowing the historian to collect unexpected voices.
Therefore, the term 'infamous' might be a useful one with which to reflect upon
Fae Richards' absence from the archives of film history: according to Foucault, the
'infamous' refers to documents that reveal fragments of minuscule, obscure
existences whose visibility depends entirely on their encounter, at some point or
another, with the historian in the archives.

Accordingly, the Archive's starting point is the consideration that, even if she had
existed, Fae Richards would hardly have found her way into the history of American
cinema. Race and sexuality play crucial roles in the historical processes of visibility
and invisibility. However, the Archive's effectiveness lies in its avoidance of the
question as to whether a real Fae Richards could have existed. Its fragmentary
narrative instead presents us with a puzzle from which a number of repressed
histories might emerge between the lines, thus providing information about
overlooked aspects of American film history, such as the black films—so-called

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 Figure 6 Zoe Leonard, The Fae Richards Photo Archive, 1993—1996 (detail). Created for Cheryl Dunye's film The
Watermelon Woman' (1996). Seventy-eight black and white and four colour photographs and notebook of typed
text. Digital Image, © Whitney Museum of American Art, Ny.

race movies—that were popular with black audiences until the 1940s. The Archive
also offers a glimpse into the racial divides of Hollywood cinema, where it was
virtually impossible for a black woman to obtain a leading role, or indeed to play
anything other than the stereotyped figures of the maid, the mammy or the
Josephine Baker-like cabaret dancer and singer (Figure 6).

Within the Archive's multifarious narrative, historical elements are entwined with
fiction, and a number of details raise questions for the reader. For example, one
picture shows Richards shaking hands with 'J Liberty Wells, President of [...]
Liberty Pictures, a "black cast" film studio in Philadelphia'. On the same page, we
see her with two members of the NAACP (the National Association for the
Advancement of Colored People, founded in 1909 by W.E.B. Dubois and others).
These pictures reconstruct a history in which the formation of African-American
imagery within the entertainment industry parallels the beginnings of the civil
rights movement. Even within this history, the Archive adopts a feminist
perspective, as Richards' leading role as 'the watermelon woman' (which also gives
its title to Dunye's fictional documentary) anachronically alludes to Melvin
Van Peebles' Watermelon Man of 1970. This reference to a legendary figure of
Blaxploitation cinema implicitly underlines the double marginalisation of black
women, both in American society and within black cinema.

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Incompleteness is another key element of the work that resonates with the broader
history of black women's absence from American culture. The Archive both provides
information and highlights the difficulties of writing a history marked by gender,
racial and sexual differences. At the same time, the impossibility of determining
whether what we see could really have happened opens up a liminai space between
documentation and desire that engages the reader's imagination. Sections of the
Archive show moments of intimacy, depicting a complex network of relationships
within the black and lesbian communities. These images in particular suggest the
possibility of interracial relationships in which issues of race, class and sexuality
intersect in a very complex way; as such they provide the uncanniest aspect of this
Archive, which has to do with the impossibility of restoring a vanished life.
According to Solomon-Godeau (2007: 395), absence is crucial to Leonard's work:
the Archive inherently refers to something that is no longer there but is still
haunting the present, like a ghost that refuses to go away. Haunting is a complex
experience in which memory, subjectivity and social life are deeply entwined.
However, as Gordon has argued, haunting also has a constitutive relationship with
knowledge:

The ghost is not simply a dead or a missing person, but a social figure, and investigating it

can lead to that dense site where history and subjectivity make social life. [...] The way of

the ghost is haunting, and haunting is a very particular way of knowing what has happened or

is happening. Being haunted draws us affectively, sometimes against our will and always a bit

magically, into the structure of feeling of a reality we come to experience, not as cold
knowledge, but as a transformative recognition. (1997: 8)

Leonard and Dunye's recollection refers to the figure of the ghost through the
indexical quality of photography, through which each photograph implicitly attests
that something was there. In his seminal essay on photography, Barthes strongly
emphasises the frightening thing he calls 'the return of the dead' (1981: 9). What is
at stake in photography is not so much memory (a term too closely related to
subjectivity to be compatible with photography's documentary value) but, more
crucially, the certainty of the represented event (ibid.-. 85). Photography represents
the moment when the living subject becomes a dead object: once photographed, "I
am truly becoming a spectre' (ibid. : 14). This is even truer in the case of the family
snapshots or private albums on which The Fae Richards Photo Archive is predicated:
as Sontag points out, processes of memorialisation and actualisation take place in
such photographs (1977: 9). Photographs are memento mori (ibid.-. 15); they
conjure up vulnerability, disappearance and melancholia. The images are often
damaged, cut or stained, reinforcing their meaning as witnesses of past events. The
Archive's fictional method of memorialisation captures the reader between the
reality effects of the images and the awareness that the entire operation is a
simulation. In a way, Fae Richards can only exist thanks to a present-lesbian gaze
that is looking at her through the lenses of the liberation movements that have

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 transformed the lives of black lesbians in America. In this sense, anachronism plays
a crucial role in defining the Archive's feminist queer temporality: Richards'
fictional reappearance is bound to a notion of historical time in which the struggles
to find one's own voice are understood as moments of acceleration and disclosure.

In the process of crossing images, narratives and the desire for a history that could
have—should have—happened, The Fae Richards Photo Archive materialises a
desire for self-determination that strongly affects the reader.

tactics of history
'Who is narrating the present and how is it being described? Again and again the
question arises: Why is this included and that excluded?' (Green, 2006a: 22). Such
questions are related to Renée Green's preoccupation with memory as the outcome
of a compromise between subjective representations and culturally produced
images. Geography is equally crucial in her work, which often revolves around
wanderings and displacements. Green's practice can be located somewhere
between the legacy of conceptual art and a post-colonial critique of culture. Her
work addresses issues of transculturation, travel, colonialism and place in ways
that reflect upon identity as something that is unstable and constantly negotiated
within the changing conditions of displacements, connections and encounters.
Subjective narratives and fragmented documents are both sources and materials
for her work: instead of producing new objects, Green prefers to reassemble
existing ones, deploying a personal vocabulary that combines text and image,
appropriation and archival research, fieldwork and video (Figure 7). History is
regarded neither as an academic practice nor as a distant narrative, but rather as
something that needs to be considered from a present perspective, since the

Figure 7 Renée Green, Some Chance Operations, 1999. Video still. Courtesy of the artist and Free Agent Media.

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 Figure 8 Renée Green, Some Chance Operations, 1999. Video still. Courtesy of the artist and Free Agent Media.

present is always negotiated in relation to the past (Alberro, 2001: 20). Green's
operations can be compared with what I would call a tactical use of history, making
reference to Michel de Certeau's distinction between strategy and tactics.
According to de Certeau (1984: 36-37), the term 'tactics' refers to 'the space of
the other', where the techniques of the weak or oppressed take place in enemy
3 In de Certeau's territory. In a similar way, in Green's experimental recollections, historical
formulation, the term
'tactics' is opposed to narratives are considered from the point of view of the cultural production of the
(and inextricable from) outsider.
the notion of strategy,
which is associated with
the apparatuses of power In Some Chance Operations, a video and mixed-media installation from 1999,
that operate to
Green's concern with the subject of history takes the form of a feminist
appropriate and master.
investigation into the legacy of an overlooked cultural producer. This work engages
with spatial, subjective and temporal dimensions of memory through a historical
recollection of a woman from the past: Elvira Notari (1876—1946), filmmaker,
actress, and head of the Naples-based production company Dora Films (Figure 8).
Although Notari really existed, Green mixes up historical material about her life and
activity with other documents that are either fictional or relate to parallel topics
such as cinema, travel, public space and her own search for Notari's role in early
Italian cinema. Notari actually produced and directed about sixty films between
the 1910s and the early 1930s, before the Fascist regime obliged her to close down
her activity. Fier marginalisation at the time echoes her exclusion from film history
and archives: only three of her films survive today, the rest having vanished.

Giovanna Zapperi feminist review 105 2013 35

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 Notari's realism in the depiction of Neapolitan street life, poverty and class
inequality was unacceptable in Fascist Italy, but her films were popular among the
Italian communities of New York, where they could provide immigrant spectators
with an imaginary return to Italy. This geographical dimension to Notari's reception
is crucial for Green, whose archival reconstruction focuses on travel and urban
topography.

Notari's lacunary history is the subject of Bruno's (1993) scholarly book, which
looks into a number of interconnected topics such as cinema's connection to urban
space, its role in the shaping of Italian modernity, and the relationships between
cinema, desire and displacement. Taking documentary lacunae as a starting point,
Some Chance Operations is not exactly a documentary about Notari, as it does not
provide information about her as a historical figure. Green's film reflects on cinema
as archive, and formulates a number of questions about the historical and cultural
conditions of memory, the role of the image in remembrance, and the reasons why
some histories are rescued while others are 'partially buried' (2006a: 20). The
contingent and arbitrary nature of historical knowledge clearly emerges from a
consideration of the reasons for Notari's erasure from film history. Some Chance
Operations reflects on possible ways to visualise memory, particularly in relation to
cinema's operation of montage.

As has been stressed, the cinematic image's ability to visualise time is at the core
of Green's enquiry, particularly in its aesthetic and political implications
(Zabunyan, 2005: 235). Some Chance Operations experiments with alternative
representations of history and memory, using image and sound montage to signify
discontinuity and fragmentation. The film juxtaposes archival fragments—Notari's
rescued films, films shot in Naples or elsewhere, television footage, images filmed
by the artist—with sections showing Green's alter ego, an Italian woman called
Clara who travels to Naples in search of Notari (Figure 9). Superimposing temporal

Figure 9 Renée Green, Some Chance Operations, 1999. Video still. Courtesy of the artist and Free Agent Media.

36 feminist review 105 2013 woman's reappearance

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 yj&m

Figure 10 Renée Green, Some Chance Operations, 1999. Video still. Courtesy of the artist and Free Agent
Media.

and geographical strata, the film moves back and forth between different times
and places. Notari's historical character intersects with Clara's wanderings in the
streets of Naples, as well as with a number of anecdotes about Naples collected in
Vienna, where Green lived at the time. The city as a real and imaginary location is
at the centre of Green's journeys, much in the same way as it was at the heart of
Notari's cinema. In these movements between here and there, Green focuses on
diverse displacements that echo the primacy of the street scenes in Notari's films
(Figure 10).

Green's filmic wanderings in and out of Naples and film history strongly suggest a
female version of the flaneur, a historically male urban figure. As Bruno has
argued, in early twentieth-century Italy, women's presence and agency in public
were very limited; cinemas represented liminal spaces between interior and exterior
where a female gaze, imagination and desire were permitted (1993: 53). The
cinema was a place where women were able to spend their leisure time and, most
importantly, to look without being looked at. The possibility of a female gaze and
desire that was otherwise denied shows how spatial and visual operations such
as looking, walking, remembering and imaging are deeply entwined with sexual
difference. Bruno and Green understand cinema as a space for female experience,
against the paradigmatic theory of spectatorship in 1970s feminist film theory
(Mulvey, 1975). Wandering is central to Green's 'chance operations', and functions
as a way to experiment with relationships between cinema and urban space, the
gaze and images, imagination and desire, gender and space.

Giovanna Zapperi fe m i n i St re v i e w 105 2013 37

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 In Some Chance Operations, cinema is located at the intersection between
history, memory and subjectivity. As Russell has observed, using film as
archive opens up the possibility of engaging with the past in ways that can be
transformative:

Found-footage filmmaking otherwise known as collage, montage, or archival film practice, is

an aesthetic of ruins. Its intertextuality is always also an allegory of history, a montage of

memory traces, by which the filmmaker engages with the past through recall, retrieval, and

recycling. The complex relation that the real unfolds in found-footage filmmaking lies
somewhere between documentary and fictional modes of representation, opening up a very

different means of representing culture. (1997: 238)

There is no linear narrative in Some Chance Operations: memories, documents and

fictions are assembled anachronically, each of them opening up a number of
directions for Green's research on the ways in which memory relates to visuality. As
a visual operation, montage defines a non-linear temporality composed of multiple
movements between here and there, now and then, that strongly conjure a spatial
meaning. In her editing and collaging of different types of images, Green produces
alternative forms of temporality and history. Memory thus emerges as a complex
negotiation between different sites and epochs, between personal remembrance
and visual documents. The search for something that has been lost and forgotten
because of sexual difference unfolds the possibility of producing a feminist kind of
knowledge in which history and subjectivity are entwined. In its circulation between
different times, spaces and images, between reality and its representations,
memory becomes a critical tool, and visual representation becomes a feminist
tactic of history.

a feminine topography
Geyer's (2007) Audrey Munson Project is a work-in-progress, developed in different
phases between 2004 and 2008, culminating in a series of presentations and
exhibitions and in a book published in 2007.4 The project consists in archival
4 See Geyer's website for
more detailed information
research on Audrey Munson (1891-1996), who modelled for a great number of different
about the stages
of the project: www
public sculptures in early twentieth-century New York. Looking out of her window in
.andreageyer.info, last
Lower Manhattan at the statue of the Civic Fame on top of the Municipal Building,
accessed 26 September
2013.
the artist slowly discovers that the allegorical figures decorating the city's
buildings and monuments all represent Audrey Munson (Figure ll). From the New
York Public Library and the Manhattan Bridge to the entrance to Central Park or the
hall of Madison Square Garden, the same face and body conveys the city's
allegories: liberty, peace, verity, purity. Munson's features were the embodiment
of the city's self-representation as New York established its national and inter
national prominence (Figure 12).

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Figure 11 Andrea Geyer, Intaglio (Audrey Munson), 2008. 11X14", digital archival print, engraved glass.

Figure 12 Andrea Geyer, Intaglio (Audrey Munson), 2008. 11X14", digital archival print, engraved glass.

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 Geyer works at the crossroad between aesthetics and politics, on projects where
research and collaboration are often pivotal for inventing alternative modes
of knowledge production. The question of how historical memory is established is a
crucial concern for Geyer, whose installations explore the constitutive hetero
geneity of historical narratives. For the Audrey Munson Project, she uses the
form of the artist's book to produce a woman's archive, thus echoing The Fae
Richards Photo Archive's use of this medium as a way to recall a minor history.
The book assembles different materials, including texts, images, quotations and
other documents, as well as a series of scholarly essays. The materials used
are mostly historical documents, but the narrative often takes unexpected direc
tions as the speaking voices proliferate, alternatively focusing on issues such
as women's labour, urban space, early cinema, the New York avant-garde
and bohemia, the artist's studio and its gendered inscriptions, or insanity.
In her montage of visual and textual sources, Geyer adopts a subjective perspec
tive that is strongly interpretative and ambivalent with respect to historical
facts.

Geyer's starting point is an aporia between visibility and absence. Munson's

omnipresence in public space parallels her absence from the city's history, in which
her name is barely mentioned. This aporia suggests an opposition between history
and allegory as two distinctive and gendered modes of historical representation. In
her function as a sculpted image, woman belongs to the realm of allegory and
symbols, and as such she is silenced and petrified. History, on the other hand,
means narrative, action and conflicts involving thinking and acting subjectivities.
One could argue that Geyer's operation consists in undoing this gendered
opposition and its effects in rendering Munson paradoxically invisible. This paradox
is at the core of the work, the aim of which is not to restore Munson's biography,
but to elucidate her historical invisibility.

The project seeks to replace Munson within the history of New York City, and
particularly within the context of the feminist movement and struggles of the
1910s. Geyer's archival research draws the portrait of 'another' Audrey Munson—
not just a muse and a model, but an actress, a women's rights advocate, a writer
and an artist in her own words. Recomposing the fragments of her displacements,
love affairs and commitments, the artist reinvents Munson's biography up until her
committal to the psychiatric hospital where she spent most of her life (from 1931
onwards), and where she died in 1996 at the age of 105. Against the fixity of her
sculpted image, the archival reconstruction shows a complex world of conflicts and
relationships that exceeds the biographical reconstruction.

Geyer's enquiry particularly points at the ways in which the female nude is
spatialised in public space, musing on how sexual difference operates in the city's
fabric. This Site of Memory (Audrey Munson) (2006) is a map of Manhattan on
which the artist has signalled the places where public sculptures for which Munson

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 ! liiliifjtli. psii
This Site of Memory

Figure 13 Andrea Geyer, This Site of Memory (Audrey Munson), Multiple, offset print, edition unlimited. 2006,
30X23".

modelled can be found; other signs indicate a number of sites related to important
people and events in New York's public life during the same period, from Emma
Goldman's apartment to the Armory Show or the Café Brevoort, where the French
artists Francis Picabia, Marcel Duchamp and other members of the avant-garde
used to gather (Figure 13). In this double cartography, allegory and history are
entwined: the woman's petrified body is connected to women's strikes, NAACP
protests at the premiere of D.W. Griffith's The Birth of a Nation, or Baroness Elsa

Giovanna Zapperi fe m i n i St re v i e W 105 2013 41

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 Figure 14 Andrea Geyer, Research Materials. The Audrey Munson Project, various newspaper clippings, 2006.

von Freytag-Loringhoven's wanderings across the city. In the opposition between

the fixity of the sculpted image and the conflicting historical narrative, the
map sketches possible encounters between a singular trajectory and a multipli
city of voices. Geyer's cartography constructs a topographic space marked by
femininity: she reinvents the city's space from a feminine/feminist perspective,
positioning herself against mainstream practices of geography and space theory
that tend to expel sexual difference as if space itself were a male territory
(Deutsche, 1996). This Site of Memory is an attempt to render the city's gendered
geography visible, a cartography in which the allegorical function assigned to the
female body in public space can emerge. By crossing Munson's petrified pre
sence with a multitude of sites where events involving women took place, Geyer
constructs a different kind of historical space, one that is open to subjectivity,
differences and conflicts.

The fragmentary narrative of Munson's life is always thought in relation to a

context that exceeds her singularity, as part of women's struggles for a voice and
for recognition in the history of New York. The collage and assemblage of disparate
documents provide the possibility to think Munson's (imagined) subjectivity within
the conflicting dynamics of history (Figures 14 and 15). Geyer's formal procedure
introduces a strong interpretative dimension; this enables a subjective form of
historical knowledge that strongly engages the viewer, as Munson's story remains
open. In describing her project, the artist emphasises the way in which her

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 OJDREYAIUN
by Campbell Stud*

Figure 15 Andrea Geyer, Research Materials. The Audrey Munson Project, various newspaper clippings, 2006.

operation produces meaning, a term she opposes to notions of historical truth and
objectivity:

Audrey Munson's gaze returned in her writing, in her sculptures and in the story of her life,

represents for me a line of demarcation that inserts into the everyday, not another truth, but

meaning. Meaning that does not add up to a coherent story, a biography that can be written

and shelved, but instead in its present fragmentation, and as a screen for our current and

past desires it unfolds along the lines of a complex struggle of young women to have a voice

and to be heard, to be respected, to be acknowledged, that Audrey Munson shared and shares

still today with many others. For me and you, passing by, now and again now, always only in

the present moment, these quiet sculptures can be a gentle reminder of this presence of
endless moments, of many radical condensations of personal and political struggles woven
into the fabric of New York City. (Geyer, 2007: 30)

The aim of this project is thus not so much to search for the reality of Munson's
existence as to attempt to draw, across the meaningful space of the montage, a
temporality in which past and present can coexist. Munson's time is thus as much
the conflicted past in which she lived as it is the feminist present that is able to
recognise her. In Geyer's research, Audrey Munson's real-fictional character is
appropriated as a palimpsest, in which the traces of a minor subject intersect with

Giovanna Zapperi fe m i n i St re V i e w 105 2013 43

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 the ways in which sexual difference structures the writing of history. Her enquiry
into Munson thus implies the undoing of her idealised image as an incarnation of
the city's virtues, in order to unveil the power relations, struggles and subjectivities
that lie beyond the production of her sculpted image.

conclusion: feminist genealogies

The three works I have discussed delineate complex forms of identification and
narrative across time and space, with specific forms of feminist genealogy
engaging each artist in different directions. For Zoe Leonard, Fae Richards' archive
conveys a desire to reclaim a queer genealogy that is not just a form of mourning
over traumatic violence against African-American lesbians, but also expresses a
collective aspiration for empowerment and agency (Cvetkovich, 2003: 239-241).
While Leonard focuses on fandom, biography and intimacy, adopting the form of a
private diary, Green and Geyer emphasise public space as a crucial dimension both
of women's agency and of their own archival research. Munson's 'presence' in city
buildings echoes Geyer's wanderings across Manhattan in search of tangible traces
of the woman's existence, while Notari's filmic gaze on Naples directs Green's
perception and representation of the city. Although in both cases displacement is
performed as a means of experience and knowledge, for Green it also constitutes
a way to avoid fixing Notari's (and her own) identity and history. In Some
Chance Operations, the camera's movement and the artist's wanderings describe
the impossibility of rescuing what is lost, while at the same time proposing an
alternative form of feminist genealogy—one that is predicated not on identifica
tion, but on displacement.

The three works also share an interest in early cinema and its racial and gendered
division of labour from the points of view of three women who, in different ways,
occupied exceptional and yet marginal positions within it: a woman filmmaker, a
black lesbian actress and a nude model in a time of censorship. All these real
fictional lives are strongly entwined with the production and consumption of
images, but Geyer's enquiry in particular stresses this link between woman and
image as a constitutive element of women's history. The status of woman both in
the image and as an image was a crucial starting point for the elaboration of a
feminist critique of art history, institutions and practices, for both artists and
theorists.

In this perspective, the three works are suggestive of the renewal of art practices
informed by feminism that has emerged in recent decades. Reclaiming women's
agency through the work of history has become an increasingly crucial concern for
women artists: archival research, re-enactments and other creative reworkings of
past events have gained a decisive role in the redefinition of critical feminist art
practice, up to the current re-evaluations of the history of 1970s feminism in

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 contemporary art (Grant, 2011). At a time marked by an ongoing historicisation of
second-wave feminism (in and outside of the art world), the need to reimagine the
past within the present is politically significant.

It is certainly no coincidence that artists' concern with feminist genealogies and

histories has been paralleled by institutional revisions of the history of twentieth
century art. The past decade has witnessed a series of large-scale exhibitions
5 See the exhibition focused on women's and feminist art in museums in the US and Europe.5 However,
WACK! Art and the
Feminist Revolution,
while for museums and institutional spaces this process always implies a certain
curated by Connie Butler, need to historicise, and thus to confine the works exhibited within a definite time
which toured significant
American museums in and space, for these artists the point is not the past as such, but its actualisation.
2007, including the Los
Leonard, Green and Geyer share a similar understanding of archival research not as
Angeles Museum of
Contemporary Art and the a nostalgic operation, but rather as a powerful form of reactivation. The feminist
Museum of Modern Art in
New york, or Global temporality elaborated in these works eludes nostalgia as a form of entombment,
Feminism, curated by
Linda Nochlin and Maura
as a sign of irretrievable loss. As I have argued, the factual documentation of
Reilly at the Brooklyn the women in the artworks is entirely made up, reinvented or recomposed in ways
Museum in 2007. European
events include, among
that can be appropriated by a present reader or spectator, so that the artwork's
many others, the restaging temporality is the past as much as it is the present, and a possibly feminist future.
of the Centre Pompidou's
collections in 2009-2011
under the title
elles@centrepompidou:
Women Artists from the
acknowledgements
Collection of the Museé
National d'Art Moderne
My deepest thanks go to Andrea Geyer, Renée Green, Zoe Leonard, Jocelyn Davis,
(curated by Camille Free Agent Media and Javier Anguera. I thank the anonymous referees and members
Morineau), and the
exhibition Gender Check:
of the Feminist Review editorial collective for their thoughtful suggestions on the
Femininity and Masculinity previous versions of this paper. Thank you also to Xabier Arakistain, Elisabeth
in the Art of (astern
Europe at Mumok in Lebovici and Maria Vanni Accarigi. I would also like to acknowledge that the writing
Vienna in 2010 (curated by
of this paper was made possible by a grant from the Centre National des Arts
Bojana Pejic).
Plastiques (France) and the Montehermoso Research Grant (Spain).

author biography
Giovanna Zapperi is Professor of Art History at Ecole nationale supérieure d'art in
Bourges, and research associate at Ecole des hautes études en sciences sociales
(Paris) working at the intersection between art history, visual studies and feminism.
She has published two books: L'artiste est une femme. La modernité de Marcel
Duchamp [The Artist is a bloman. Marcel Duchamp's Modernity] (Presses
Universitaires de France, 2012); and—with Alessandra Gribaldo—Lo schermo del
potere. Femminismo e regime délia visibilità [The Screen of Power. Feminism and the
Regime of Visibility] (Ombre Corte, 2012). She has also co-edited Narrations post
coloniales (Multitudes, 2007), among other publications. Her articles have been
published in various European languages and journals (Art History, Kritische Berichte,
Multitudes, Oxford Art Journal, Parachute, Rue Descartes, Studi Culturali, and so on).
She is currently a fellow at Villa Medici - French Academy in Rome, working on the
writings of Italian feminist and art critic Carla Lonzi.

Giovanna Zapperi fe m i n i st re vi e w 105 2013 45

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