Includes magic lantern slide show scripts "In the heart of the Canadian Rockies with horse and camera, part I and part II" by Mary S. Warren. Most images used in book were scanned from original lantern slides taken or collected by Mary Schaffer Warren
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Believe and begin - Mt. Everest has followed Sharon Wood wherever she goes since her historic ascent of the peak in 1986. Over three decades later, her memoir Rising not only chronicles that achievement, but also culminates a writing process as challenging as the climb itself
When art critic Lucy Lippard named "the artist's wife" to be a socially-assigned identity for female artists in the early 1970s, she understood some of the significance of women's companionship status. This dissertation considers how "the artist's wife" was a diverse and hierarchical problem for six female artists during their efforts to access Canada's postwar exhibition market. Joyce Wieland of Toronto, Ontario, Marion Nicoll of Calgary, Alberta, Mary Pratt of St. John's, Newfoundland, and Kenojuak Ashevak of Cape Dorset, Nunavut all experienced this social phenomenon differently. Because the two studios of Wieland and Pratt were combined with domestic life they were also dubbed "kitchen artists." As Marion Nicoll learned, it took much conviction to pursue an art practice focused on abstract painting in traditional institutional and marital contexts. The category "Eskimo" added racial difference to Kenojuak's creative and marital identities. Frances Loring and Florence Wyle of Toronto were persistently called "the Girls," an identity that underscored their non-compliance with heterosexual marriage. Using feminist theories of sexual difference and representation, and intersecting the traditionally distinct fields of history and art history, this study illuminates that the female artist's companionship status mattered much more than has been historically understood. These artists' experiences provide opportunity to reflect on curatorial practice and subject representation and expose that the solo exhibition cannot be fully separated from the artist-couple exhibition when studying the female artist's exhibition history. Their experiences also make visible that gender and female artist identities, including the category "woman artist," are important when studying the female artist in postwar North American art and marriage histories if the social conditions of women's art production are to be fully understood.
Contents
Abstract
Acknowledgements
List of figures
List of abbreviations
Chapter One : introduction : beyond "the artist's wife"
Chapter Two : socializing women to marriage : the five artist-couple marraiges of Marion Nicholl, Joyce Wieland, Mary Pratt, Frances Loring, Florence Wyle and Kenojuak Ashevak
Chapter Three : two women's "one-man exhibitions" : the experience of abstract painting and the artist-couple marriages of Marion Nicholl and Joyce Wieland, 1959 - 1963
Chapter Four : two women's "one-man exhibitions" : Joyce Wieland, Mary Pratt and the identity "kitchen artist" 1963 - 1973
Chapter Five : two more women's "two-man" artist-couple exhibitions : the social emergence of Frances Loring and Florence Wyle as "the girls"
Chapter Six : one women's "two-man" exhibitions : Kenojuak Ashevak's artist-couple exhibitions with Johnniebo Ashevak, 1967 - 1970
Pertains to the Rockies Repeat Project which involves a group of women travelling to specific locations and re-creating the paintings of Peter Whyte and Catharine Robb Whyte with the end result of creating a documentary, exhibition and digital storytelling capsule
Pertains to a collection of business tips, information, and hints catered to both men and women. The publication serves as a guidebook, and was intended to help establish a sort of formal ruling based on societal expectations. Readers are granted an interesting insight into the minds of those in the early 20th century, as well as the societal expectations placed upon both men and women of the period.