Roewan Crowe | |
---|---|
Born | Saskatoon, Saskatchewan, Canada |
Occupation | Artist, Writer and scholar |
Nationality | Canadian |
Notable works | Quivering Land |
Website | |
roewancrowe |
Roewan Crowe is a Canadian feminist artist, writer, curator, and educator. In 2011 she was honoured for her social justice work in the arts by the Government of Manitoba as part of their celebration of Women in the Arts: Artists Working for Social Change. [1] Her first book of poetry, Quivering Land, was published in 2013 by ARP Books. Roewan Crowe is currently an Associate Professor in the Women's and Gender Studies Department at the University of Winnipeg [2] and Co-Director of The Institute for Women's & Gender Studies. Her creative and scholarly work explores queerness, class, violence, queer ecology, and what it means to be a settler. She lives and works in Winnipeg, Manitoba.
Crowe was born to working class parents in Saskatoon, Saskatchewan, moving to Spruce Grove, Alberta in 1969. After completing an honours bachelor of arts degree at the University of Alberta, Crowe moved to Toronto to complete graduate studies in community psychology and arts-based research at the Ontario Institute for Studies in Education at the University of Toronto. After she completed her doctoral studies, she returned to the prairies. [3]
Roewan Crowe creates work through the use of performance, installation, video, text, and theory, and her recent work creates intimate landscapes, making space for feelings, connection, and queer encounters. [4] Noted work includes: stop-motion animation Queer Grit which has traveled to video and film festivals internationally; [5] digShift (ongoing), a decolonizing and environmental reclamation project using site specific performance and multichannel installation to explore the shifting layers of an abandoned gas station; [6] [7] Lifting Stone, a queer femme performance/installation creating intimate poetic encounters; [8] and My Monument, [9] a multimedia exhibition with artists cam bush, Steven Leyden Cochrane and Paul Robles. That video uses Crowe's book Quivering Land to explore vanished feminist/queer/alternative cultural sites. [10] Her longstanding community practice is concerned with creating space for and building engaged feminist/queer/artistic communities [ citation needed ]. In collaboration with Mentoring Artists for Women's Art (MAWA) in 2008, she curated Art Building Community, a project that saw the launch of ten new works and a weekend symposium. [11] [12]
Crowe is the author of the book Quivering Land as well as scholarly articles and several chapbooks.
Quivering Land is a queer Western, engaging with poetics and politics to reckon with the legacies of violence and colonization in the West. [13] Reviews of Quivering Land include: Herizons: Women's News and Feminist Views , [14] and Canadian Women in Literary Arts, an inclusive national literary organization. [15]
Roewan Crowe is particularly interested in exploring, and writing about, artistic practitioner knowledges and artistic processes. In 2014, with collaborator Michelle Meagher, she published the article, "Letting Something Else Happen: A Collaborative Encounter with the Work of Sharon Rosenberg." [16]
Other scholarly writing includes: "So You Want our Ghetto Stories: Oral History at Ndinawe Youth Resource Centre" [17] with Robin Jarvis Brownlie. Remembering Mass Violence: Oral History, New Media and Performance, [18] S. High, E. Little, Thi Ry Duong (eds). Toronto: University of Toronto Press, 2014, pp 203–217.
"Slow Art in a Time of Flash Floods: What's a Queer Feminist Settler To Do?" [19] Multimedia essay, Studio XX Electronic Review, .dpi, Issue No. 25, "Inevitable Transitions," 2013.
"digShift: a Queer Reclamation of the Imagined West," [20] Multimedia essay, No More Potlucks: Online Journal of Contemporary Arts, "Wound," Issue 7, Jan. 2010.
"Feminist Encounters with the Hollywood Western." T. M. Chen, D. S. Churchill (eds). London and New York: Routledge Press, 2007, pp 113–130.
"Crafting Tales of Trauma: Will this Winged Monster Fly?" Provoked by Art: Theorizing Arts-informed Inquiry, L. Neilsen, J. G. Knowles, & A. L. Cole (editors). Halifax: Backalong Books, 2004, pp 123–132.
"Angelic Artful Encounters." Journal of Curriculum Theorizing Special Issue: Performances in Arts-Based Inquiry, Mullen, C. A. & Diamond, P., Spring 2001, pp 81–94.
"She Offers Fragments." The Art of Writing Inquiry, L. Neilsen, J. G. Knowles, & A. L Cole, editors, Backalong Books, 2001, pp 125–131.
The Chosen Family was a Canadian comic strip, written and drawn by Winnipeg cartoonist Noreen Stevens from 1987 to 2004. The strip evolved from an earlier project, Local Access Only, published in the University of Manitoba newspaper, The Manitoban. The Chosen Family used social and political satire to shine a light on late 20th century queer experience through Stevens' lens as lesbian feminist. It featured four on-going characters, lesbians Kenneth-Marie and Weed, whose relationship was undefined, and the couple's friends and neighbours, Puddin' Head and The Straight Chick Upstairs. Later the strip also featured Kenneth-Marie and Weed's two fostered/adopted children, a daughter named Rosebud and an unnamed son.
Cherríe Moraga is a Xicana feminist, writer, activist, poet, essayist, and playwright. She is part of the faculty at the University of California, Santa Barbara in the Department of English since 2017, and in 2022 became a distinguished professor. Moraga is also a founding member of the social justice activist group La Red Xicana Indígena, which is network fighting for education, culture rights, and Indigenous Rights. In 2017, she co-founded, with Celia Herrera Rodríguez, Las Maestras Center for Xicana Indigenous Thought, Art, and Social Practice, located on the campus of UC Santa Barbara.
Jill Johnston was a British-born American feminist author and cultural critic. She is most famous for her radical lesbian feminism book, Lesbian Nation and was a longtime writer for The Village Voice. She was also a leader of the lesbian separatist movement of the 1970s. Johnston also wrote under the pen name F. J. Crowe.
The Woman's Building was a non-profit arts and education center located in Los Angeles, California. The Woman's Building focused on feminist art and served as a venue for the women's movement and was spearheaded by artist Judy Chicago, graphic designer Sheila Levrant de Bretteville and art historian Arlene Raven. The center was open from 1973 until 1991. During its existence, the Los Angeles Times called the Woman's Building a "feminist mecca."
KC Adams is a Cree, Ojibway, and British artist and educator based in Winnipeg, Manitoba.
Allyson Mitchell is a Toronto-based maximalist artist, working predominantly in sculpture, installation and film. Her practice melds feminism and pop culture to trouble contemporary representations of women, sexuality and the body largely through the use of reclaimed textile and abandoned craft. Throughout her career, Mitchell has critiqued socio-historical phobias of femininity, feminine bodies and colonial histories, as well as ventured into topics of consumption under capitalism, queer feelings, queer love, fat being, fatphobia, genital fears and cultural practices. Her work is rooted in a Deep Lez methodology, which merges lesbian feminism with contemporary queer politics.
A. L. Steiner is an American multimedia artist, author and educator, based in Brooklyn, New York. Her solo and collaborative art projects use constructions of photography, video, installation, collage, and performance. Steiner's art incorporates queer and eco-feminist elements. She is a collective member of the musical group Chicks on Speed; and, along with Nicole Eisenman, is a co-curator/co-founder of Ridykeulous, a curatorial project that encourages the exhibitions of queer and feminist art.
Kim Katrin is a Canadian American writer, multidisciplinary artist, activist, consultant, and educator. She was formerly credited as Kim Crosby and Kim Katrin Milan. She speaks on panels and keynotes conferences nationally, and facilitates radical community dialogues. Her art, activism and writing has been recognized nationally.
Ginger Brooks Takahashi is an American artist based in Brooklyn, New York, and North Braddock, Pennsylvania. A self-identified “punk,” Takahashi grew up in Oregon. She co-founded the feminist genderqueer collective and journal LTTR and the Mobilivre project, a touring exhibition and library. She was also a member of MEN (band). Her work consists of a collaborative project-based practice. Takahashi is currently an adjunct professor of Art at Carnegie Mellon University.
Mentoring Artists for Women's Art (MAWA) is a feminist visual arts education center based in Winnipeg, Manitoba. Created in 1984, this non-profit organization encourages and supports the intellectual and creative development of women in the visual arts by providing an ongoing forum for education and critical dialogue.
Herizons is a Canadian feminist magazine published in Winnipeg, Manitoba and distributed to subscribers throughout Canada. Billed as "Canada's answer to Ms. magazine," it is also sold on newsstands.
Ann Luja Cvetkovich is a Professor and former Director of the Feminist Institute of Social Transformation at Carleton University in Ottawa. Until 2019, she was the Ellen Clayton Garwood Centennial Professor of English and Professor of Women's and Gender Studies at the University of Texas at Austin, where she had been the founding director of the LGBTQ Studies Program, launched in 2017. She has published three books: Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism (1992); An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures (2003); and Depression: A Public Feeling (2012). She has also co-edited Articulating the Global and Local: Globalization and Cultural Studies (1996) with Douglas Kellner, as well as Political Emotions: New Agendas in Communication (2010) with Janet Staiger and Ann Reynolds. Furthermore, Cvetkovich has co-edited a special issue of Scholar and Feminist Online, entitled "Public Sentiments" with Ann Pellegrini. She is also a former co-editor of GLQ: A Journal of Lesbian and Gay Studies with Annamarie Jagose.
Jess MacCormack, formerly known as Jessica MacCormack and more commonly known as Jess Mac, is a genderqueer interdisciplinary artist whose work deals with the intersection of institutional violence with personal traumas. They work with oppressed communities to create collaborative art that engenders agency, both personal and political. Their recent work covers topics such as criminalization, HIV/AIDS, sexual assault, mental health, racism, and transphobia, and utilize animation, video, painting, and collage. Their art integrates various elements of interactivity, performance, intervention, installation, and video, in order to engage viewers in a meaningful way; at the same time, they aim to destabilize high art and culture in favor of socially and politically engaged content. In exploring and critiquing institutional structures that create systematic oppression, MacCormack’s work is frequently both collective and collaborative.
Anida Yoeu Ali is a Cambodian-American artist. Her works include span performance, art installation, videos, and images. Installation art is an artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space.
Marusya Bociurkiw is a Canadian born, Ukrainian film-maker, writer, scholar, and activist. She has published six books, including a novel, poetry collection, short story collection, and a memoir. Her narrative and critical writing have been published in a variety of journals and collections. Bociurkiw has also directed and co-directed ten films and videos which have been screened at film festivals on several continents. Her work appears in the collections of the National Gallery of Canada, the National Archives of Canada, and many university libraries. She founded or co-founded the media organizations Emma Productions, Winds of Change Productions, and The Studio for Media Activism & Critical Thought. She currently lives in Toronto, Ontario, Canada where she is an associate professor in the RTA School of Media Studies, Toronto Metropolitan University. She teaches courses on social justice media, activist media production, and gender/race/queer theories of time-based and digital media. She is also Director of The Studio for Media Activism & Critical Thought at Toronto Metropolitan University.
Lillian Beatrice Allen was a Canadian painter, teacher and nature photographer. She is known for her photographs which had been shown at the University of Manitoba and the publication of Frost: Photographs by Lillian Allen in 1990.
Kay Turner is an artist and scholar working across disciplines including performance, writing, music, exhibition curation, and public and academic folklore. She is noted for her feminist writings and performances on subjects such as women’s home altars, fairy tale witches, and historical goddess figures. She co-founded “Girls in the Nose,” a lesbian feminist rock punk band that anticipated riot grrl.
Katherine Boyer is a Métis artist, whose multidisciplinary practice focuses primarily on the mediums of sculpture, printmaking and beadwork. She was born and raised in Regina, Saskatchewan, but currently resides in Winnipeg, Manitoba—a location that has had a direct influence on her current artistic practice.
Dayna Danger is a Two-Spirit/queer, hard femme, Métis/Saulteaux/Polish visual artist. Danger was born and raised in Winnipeg, Manitoba on Treaty 1 territory, and now resides in Tio'tiá:ke (Montréal). Danger explores various mediums in their creations including sculpture, photography, performance and video. Danger's work explores the relationships between representation, objectification, and empowerment. They also engage with themes of intimacy, gender, sexuality, BDSM, kink, and mixed identities. Danger's artwork from their Big'Uns series was on the front cover of the Summer 2017 Canadian Art Magazine issue. A white male curator once commented that he "could not see himself" in Danger's art, and Danger's response was that "[t]his work is not for you." Later, when Danger's photo from Big'Uns was made the cover of the issue, the editor's letter for the issue was titled "This Work Is Not For You". Collaboration and creating work for underrepresented groups are among Danger's major focuses. Danger uses singular they/them pronouns.
Sarasvàti Productions, often stylized Sarasvati Productions, was a Canadian feminist theatre company. Sarasvati hosts several annual events including the International Women's Week Cabaret of Monologues, One Night Stand, and FemFest.