Abstract

This paper argues that autobiographical video art radically transforms intersubjective relationships with viewers, and in doing so deconstructs critical spectatorship by positioning the viewer as an interlocutor. Here I draw attention to the work of visual artists Lisa Steele, Colin Campbell, Peter Kingstone, and Irene Loughlin, who help to reconceptualize the interlocutor subject position by using unorthodox transmedial aesthetic strategies.

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