Further Reading

Learn more by checking out our list of absolutely absorbing academic resources.

Banning, Kass. 1994. Reprinted in Sightlines: Reading Contemporary Canadian Art, edited by Jessica Bradley and Lesley Johnstone. Montréal: Artextes Editions.

Battcock, Gregory ed. 1984. The Art of Performance: A Critical Anthology. New York: Dutton.

Bronson, A. A. and Peggy Gale. 1979. Performance by Artists. Toronto: Art Metropole.

Cameron, Janice et al. 1972. Eclectic Eve. Toronto: Women’s Educational Press.

Dalton, Pen. 2001. The Gendering of Art Education: Modernism, Identity and Critical Feminism. Buckingham and Philadelphia: Open University Press.

Davis, Ann. 1991. Somewhere Waiting: The Life and Art of Christiane Pflug. Toronto: Oxford University Press.

de Beauvoir, Simone. 1989. The Second Sex. New York: Vintage.

Deepwell, Katy.
1970. The Energy Poker Game: The Politics of the Continental Resources Deal. Toronto: New Press.
1996. “An Interview with Catherine de Zegher, curator of Inside the Visible: An Elliptical Traverse of Twentieth Century Art, In, Of and From the Feminine,” n.paradox online no.1 (Dec. 1996): 63.

Duncan, Carol.
1995. Civilizing Rituals: Inside Public Art Museums. New York: Routledge.
1995. “The Art Museum as Ritual”, in The Art of Art History: A Critical Anthology,edited by Donald Preziosi. Oxford: Oxford University Press, 1998.
1987. “The Feminist Critique of Art History,” The Art Bulletin 69, no. 3 (Sept).

English, Darby. 2007. How to See a Work of Art in Total Darkness. Cambridge, Mass.: MIT Press.

Ezell, Margaret J. M. 1990 “The Myth of Judith Shakespeare: Creating the Canon of Women’s Literature,” New Literary History XXI, 11.

Galloway, Gloria. 2010. “‘Third wave’ of feminism urged by prominent Canadian women,” The Globe and Mail, September 9.

Garnet, Carla, Allyson Mitchell, Josephine Mills & Ann Cvetkovich. 2009. Allyson Mitchell: Ladies Sasquatch, in conjunction with the exhibition of the same name circulated by the McMaster Museum of Art, Hamilton ON, traveling to Winnipeg Art Gallery, Winnipeg, MB, and Lethbridge Art Gallery, Lethbridge, AB, 2009.

Garoian Charles. 1999. Performing Pedagogy: Toward an Art of Politics Albany, N.Y.: State University of New York Press.

Goldberg, RoseLee. 1979. Performance: Live Art 1909 to the Present. London: Thames and Hudson.

Griffin, Kevin. “Feminist Art Blockbuster Helps Women Make Claims to Their Own History,” Vancouver Sun (October 11, 2008), accessed February 9, 2011, www.canada.com/vancouversun/news/arts/story.html?id=d051b2d7-3701-4ea4-a913-8ea25667ddff.

Householder, Johanna and Tanya Mars, eds. 2004. Caught in the Act: An Anthology of Performance Art by Canadian Women. Toronto: YYZ Books.

Mark, Lisa Gabrielle, ed.
2007. The Returns of Touch: Feminist Performances, 1960-80,” in WACK!: Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art / Cambridge, Mass.: MIT Press.
2007. “Art and Feminism: An Ideology of Shifting Criteria,” in WACK!: Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art / Cambridge, Mass.: MIT Press.

Mitchell, Allyson, Sarah Quinton and Jenni Sorkin. 2009. When Women Rule the World: Judy Chicago in Thread and She Will Always Be Younger Than Us: Orly Cogan, Wednesday Lupypciw, Cat Mazza, Gillian Strong and Ginger Brooks Takahashi, published in conjunction with the exhibitions of the same names, by the Textile Museum of Canada and The Art Gallery of Calgary.

Morely, David and Kuan-Hsing Chen. 1996. “What is this ‘Black’ in Black Popular Culture?” in Stuart Hall: Critical Dialogues in Cultural Studies, Volume 1995. London and New York: Routledge.

Morgan, Robin. 1970. Sisterhood is Powerful: An Anthology of Writings from the Women’s Liberation Movement. New York: Random House.

Nochlin, Linda. 1971. “Why Have There Been No Great Women Artists?” ARTnews (January): 22-39, 67-71.

Phelan, Peggy. 1993. Unmarked: The Politics of Performance. London and New York: Routledge.

Pointbriand, Chantal ed. 1981. Performance: Text(e)s & Documents: Actes du Colloque, Performance et Multidisciplinarité: Postmodernisme. Montréal: Éditions Parachute.

Pollock, Griselda. 2007. Encounters in the Virtual Feminist Museum: Time, Space and the Archive. London and New York: Routledge.

Porsild, A.E. 1964. Illustrated Flora of the Canadian Arctic Archipelago (2nd edition revised), National Museum of Canada Bulletin 146 (Ottawa, 1964).

Reckitt, Helena. 2006. “Who Wants to be a Feminist Artist?,” http://www.turtlenosedsnake.com/ratsaladsite/reckitt.htm.

Reilly, Maura and Nochlin, Linda, eds. 2007. “Curator’s Preface,” Global Feminisms: New Directions in Contemporary Art. London and New York: Brooklyn Museum and Merrell Publishers.

Roth, Moira ed. 1983. The Amazing Decade: Women and Performance Art in America, 1970-1980. Los Angeles: Astro Artz.

Sandals, Leah. 2008. “Picture All This,” NOW (May 8-14).

Spivak, Gayatri Chakravorty. 1990. The Post-Colonial Critic: Interviews, Strategies, Dialogues, edited by Sarah Harasym. New York and London: Routledge.

Stevenson, Barbara K. The Political and Social Subject Matter in the Art of Joyce Wieland and Greg Curnoe (unpublished master’s thesis, Carleton, Ottawa, 1987),

Steele, Lisa. 1982.“The Limitations of The Dinner Party,” Fireweed 15. Winter: 40.

Taylor, Kate. 2008. “Open Your Eyes, There’s Art Around,” Globe and Mail (May 3).

Turner, Camille. “Proud to be Canadian,” Miss Canadiana, http://www.misscanadiana.ca/misscFrameset-1.html (accessed December 9, 2010).

Wane, Njoki Nathani, Katerina Deliovsky, and Erica Lawson, eds., 2002. Back to the Drawing Board: African-Canadian Feminisms. Toronto: Sumach Press.

Woolf, Virginia. 2002. A Room of One’s Own. New York: Penguin.