Franklin, A. and Johnson, C.
Under consideration for publication in Journal of Gender Studies.
Available from: http://eprints.uwe.ac.uk/16159
Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1988).
Parallax, 16 (3).
Available from: http://eprints.uwe.ac.uk/10594
Preposterous histories: Maternal desire, loss and control in Carolee Schneemann's Interior Scroll and Tracey Emin's I've Got It All.
Feminist Media Studies, 10 (3).
Available from: http://eprints.uwe.ac.uk/10592
Performance photographs and the (un)clothed body: Yoko Ono's Cut Piece.
University of the West of England, Bristol, UK.
Available from: http://eprints.uwe.ac.uk/22036
What do radical feminist art films look like? Desire and duration in Sam Taylor-Wood’s David (2004).
Radical British Screens, University of the West of England, Bristol, UK, September 3rd 2010.
Available from: http://eprints.uwe.ac.uk/12871
The embodied intellectual: Impression and contact as political currency.
Intellectuals: Knowledge, Power, Ideas, Budapest, Hungary, May 2008.
Available from: http://eprints.uwe.ac.uk/10597
Femininity, time and feminist art.
Available from: http://eprints.uwe.ac.uk/16158