Add to ORKGCollinson focuses on the notion of the artist as individual in her discussion of Dickson's fetish boxes, photo-etchings and prints, dating from 1975 to 1984. Includes a list of the artist's published works. Biographical notes. 42 bibl. ref
Lackey offers a biographical sketch of Carney, while Hagerman and Denny focus on the artist's repres...
As an art student at a historically women’s college, I place my self-portraits in conversation with ...
Eleanor Antin (born 1935) is widely regarded as a pioneer in the fields of conceptual, feminist, and...
Collinson focuses on the notion of the artist as individual in her discussion of Dickson's fetish bo...
Farr describes Dickson's prints as combining romantic, realist and symbolist tendencies which combin...
Defining collage as a way of working and thinking, Swain notes Dickson's use of different media and ...
Defining how Ibing re-positions the Gaze by painting the male nude and how her woodblock prints pres...
Catalogue to accompany Martin’s exhibition of paintings, drawings and prints which were inspired by ...
Presenting Kenneth Lochhead's work from 1952 to 1975, Douglas Lochhead remenisces on the artist's ea...
Ottawa artist Davison began painting in 1962, coming from a background in theatre. Her work incorpor...
For an exhibition of Daley's drawings, the artist (in an interview with Berins) positions her work a...
In explaining the artist's interest in symbolism and romanticism, Langford cites Dickson's artistic ...
Documenting the artist's first solo Canadian exhibition, a discussion of Clay's work within 1980's r...
The artist traces the progression of her production and the correlations to her study of Buddhism an...
Farrell describes the artist's background, the process of making "sculptographs" (life-size cast pap...
Lackey offers a biographical sketch of Carney, while Hagerman and Denny focus on the artist's repres...
As an art student at a historically women’s college, I place my self-portraits in conversation with ...
Eleanor Antin (born 1935) is widely regarded as a pioneer in the fields of conceptual, feminist, and...
Collinson focuses on the notion of the artist as individual in her discussion of Dickson's fetish bo...
Farr describes Dickson's prints as combining romantic, realist and symbolist tendencies which combin...
Defining collage as a way of working and thinking, Swain notes Dickson's use of different media and ...
Defining how Ibing re-positions the Gaze by painting the male nude and how her woodblock prints pres...
Catalogue to accompany Martin’s exhibition of paintings, drawings and prints which were inspired by ...
Presenting Kenneth Lochhead's work from 1952 to 1975, Douglas Lochhead remenisces on the artist's ea...
Ottawa artist Davison began painting in 1962, coming from a background in theatre. Her work incorpor...
For an exhibition of Daley's drawings, the artist (in an interview with Berins) positions her work a...
In explaining the artist's interest in symbolism and romanticism, Langford cites Dickson's artistic ...
Documenting the artist's first solo Canadian exhibition, a discussion of Clay's work within 1980's r...
The artist traces the progression of her production and the correlations to her study of Buddhism an...
Farrell describes the artist's background, the process of making "sculptographs" (life-size cast pap...
Lackey offers a biographical sketch of Carney, while Hagerman and Denny focus on the artist's repres...
As an art student at a historically women’s college, I place my self-portraits in conversation with ...
Eleanor Antin (born 1935) is widely regarded as a pioneer in the fields of conceptual, feminist, and...