Art + Feminism Wikipedia Edit-A-Thon panel discussion with Johanna Householder

photo of hands at a laptop computer
Saturday, March 24, 2018 - 11:00am to 5:00pm

Art + Feminism Wikipedia Edit-A-Thon

Saturday, March 24th

Panel Discussion from 11 am - noon, Editing noon - 5 pm, Tutorials at 12:30 pm and 2 pm

The Art Gallery of Ontario Library & Archives celebrates International Women's Day by hosting a satellite event of the 5th annual international Art+Feminism Wikipedia Edit-A-Thon.  This event is a chance to put the AGO's thousands of artist files and books to excellent use as reference material for building up Wikipedia content on topics related to art and feminism.

The event will kick off with a panel discussion exploring collaboration as a feminist strategy. Amy Furness, the Head of the E.P. Taylor Library & Archives will moderate the discussion featuring Toronto-based artists Madelyne Beckles, Amy Wong, Johanna Householder, and FAG (Feminist Art Gallery). The editing starts at noon.

People of all gender identities and expressions are welcomed and encouraged to attend. No Wikipedia editing experience is necessary – there will be tutorials and one-on-one coaching available.  Come and take part, or just come have some snacks and cheer us on.

Please bring a laptop and create a Wikipedia account in advance.

Children are welcome at the event!
An AGO children's art instructor will be offering two free hands-on mixed media studio workshops available for children aged 5-12 whose caregiver is participating in the Edit-A-Thon. The studio workshops will run from 11 am - 1 pm and 2-4 pm, with a one hour lunch break.

Preregistration for workshops required by March 20. Register for free childrens' workshops now.

Venue & Address: 
Art Gallery of Ontario 317 Dundas St. W, E.P. Taylor Library & Archives Toronto ON
1-877-225-4246 or 416-979-6648
Saturday, March 24th @ 11:00 am - 5:00 pm THIS IS A FREE EVENT

Geoffrey Shea and Johanna Householder, Faculty of Art, participating in New Toronto Works 2016

NTW letters/logo on black background
Thursday, November 3, 2016 - 11:30pm to Friday, November 4, 2016 - 3:00am

A favourite Pleasure Dome ritual now in its 23rd year, the 2016 edition of New Toronto Works is upon us. A submission-based program curated from local works, this year’s edition features artists exploring a variety of formal methods, challenging the different ways we communicate across time-based media, and investigating different spatial and media-based practices. NTW 2016 is a collection of 14 media artworks that stretch between screen and space to reveal how we live as humans and navigate our path forward.

From interrogating the land we stand on and the pixels that stand in our place, to challenging conventions of “civilization” and what it means in a borderless space, to exploring how we constrain our emot...ions to recover space for ourselves, NTW 2016 showcases the ever-changing ways artists in Toronto consider and respond to the world around us – at home and abroad. Featuring two installations and a program of moving image work, join Pleasure Dome at the Gladstone Hotel and celebrate some amazing media artists from one of the most vibrant cities around.
Daniel McIntyre and Katrina Orlowski, curators of NTW 2016.

Substratae (4:30) Margie Kelk
In the Net (5:00), Rachel Crummey
A Drownful Brilliance of Wings (8:00), Sofia Bohdanowicz and Gillian Sze
Pitching Tents in Terra Nullius (5:00), Matt Macintosh & Keesic Douglas
Temple Drone 3, (5:00), David Jones
The Dead Never Go Back To Europe (5:00), Maximilian Suillerot
Mutter (7:30), Mikel Guillen
3 Minutes of Attention (3:45), Geoffrey Shea & Tony Massett
We did everything that adults would do. What went wrong? (9:00), Frances Leeming and Johanna Householder
Antenna (5:25), Vlad Lunin
Stretto (6:45), Serena Le
Field (2:00), Dan Browne
Lalbagh, Meera Margaret Singh
Ritual of the Moon, Kara Stone

Venue & Address: 
Gladstone Hotel 1214 Queen Street West, Toronto, Ontario M6J 1J6

Johanna Householder, Faculty of Art, presents: Residuals

A photo of Johanna Houesholder speaking with a video image behind her
Wednesday, November 2, 2016 - 11:00pm

Wednesday, November 2, 7 pm
Signy Eaton Gallery
Free with Gallery admission


plural noun

1. quantities remaining after other things have been subtracted or allowed for.

2. the differences between actual and theoretical.

3. royalties paid to a performer, writer, etc., for a repeat of a play, tv show, etc.

This program features three performances by the pioneering and influential Canadian performance artist Johanna Householder, including two recent works and a new adaptation of a work originally performed in 1978.

8-Legged Dancing (1978 - 2016)

1978 text by Brenda Nielson, danced by Johanna Householder

2016 text read by Carmen Householder-Pedari, danced by Bee Pallomina

An adaptation of a 1978 dance improvisation and quasi-Maoist polemic that captures a moment when dance artists recognized that the moving body itself has political implications. The term “8-legged” refers to an essay form that bureaucrats in pre-revolutionary China were required to write, indicating an elaborate formal structure that only those with an elite education would be able to execute.

Verbatim II: Badiou/Cobain (2007 - 2008)

This diptych on mastery works with found materials: an excerpt from a lecture (The Subject of Art, given by Alain Badiou at Deitch Projects, NY, 2005), and a song found online in 2008. Featuring Christina Zeidler and Allyson Mitchell

About the Artist

Johanna Householder has been working at the intersection of popular and unpopular culture in performance, dance, video and intermedia art since the late 1970s. As a member of the notorious feminist performance ensemble The Clichettes in the 80s, she helped re-establish lip sync as a viable medium for cultural critique. She has recently performed at Performancear o Mourir in Chihuahua, Mexico; at undisclosed territory in Java; M:ST in Calgary; and Art Nomade in Chicoutimi, QC. She is a founder of the 7a*11d International Festival of Performance Art. With Tanya Mars, she co-edited Caught in the Act: an anthology of performance art by Canadian women (2004), and More Caught in the Act (2016), and with Selma Odom contributed to Renegade Bodies: Canadian Dance in the 1970s (2012). She teaches at OCAD University.

Venue & Address: 
Art Gallery of Ontario Signy Eaton Gallery 317 Dundas Street West Toronto, Ontario
1-877-225-4246 or 416-979-6648
Free with Gallery admission

Useless Beauty: Notions of Beauty and Utility<br>Part of Scotiabank Nuit Blanche at OCAD

Scotiabank Nuit Blanche
Saturday, October 4, 2008 - 11:00pm to Sunday, October 5, 2008 - 11:00am

Useless Beauty, curated by OCAD Professor Johanna Householder and Jennifer Rudder, features work by artists KC Adams, Lois Andison and David Krippendorff that addresses notions of hybridity, gender, race, beauty, utility and fashion. The exhibition is presented in part as a response to ORLAN’S week-long residency at OCAD (part of OCAD’s Nomadic Residents program), and her video reading, presented at approximately 9 p.m.

The Works in Useless Beauty:

KC Adams: Cyborg Hybrids and Cyborg Hybrid Accessories
Winnipeg artist KC Adams explores the intersection of technological and socio-cultural evolutions. Adams presents a cross cultural-technological ideal, an intriguing interplay of contemporary race politics and analytical detachment. Useless Beauty showcases Adams’s Cyborg Hybrids photographic series, in which the artist theatrically stages celebrity-like portraits of models with mixed Aboriginal and European ancestry. The images belie their subversive and specific political edge. Her puns and double entendres, hand beaded and chosen by Adams’s subjects, speak to a shared politic in a way that is layered with cultural significance and poignancy. With her Cyborg Hybrid Accessories, Adams further animates her photographic works by subverting our obsession with portable, personal technologies with a sharp political and satiric edge.

Lois Andison: Camouflage 1 and 3 and maid of the mist
Toronto-based Lois Andison’s sculptural works examine the relationship of technology to nature and the body. With Camouflage 1 and 3, Andison proposes a kind of wearable technology that enables its wearer to employ actions of natural display, still only partly understood behaviors. Camouflage 1 is a stunning hybrid: a dress with an elaborate Elizabethan collar covered with Queen Anne’s Lace. The collar responds to a visitor’s approach by clicking into a series of positions, spectacularly articulating both seduction and protection. Camouflage 3 literally extends this metaphor in a couture garment with an extendible/retractable neck that spouts smoke, referencing both Sybiline riddles and prophecies and the joke of a woman blowing her top.

With maid of the mist, Andison twists a hatter’s steaming block into a complex metaphor for the female psyche by piercing an iconic portrait bust with holes that emit steam, finding a compelling vision inside the notion of a steaming brain.

David Krippendorff: Behind the Curtain and Night of 1000 Stars
Perhaps the strongest metaphor in the classic film The Wizard of Oz is the illusion of power. In Berlin-based artist David Krippendorff’s work Behind the Curtain we are presented with the slowed down movement of the curtain that hides the wizard himself. Here the “moment of discovery” is frozen — the curtain never opens to reveal the impostor behind it. The endless and mesmerizing motion creates a sense of expectation, which is never fulfilled.

One of the first signs of human existence found in outer space was the transmission of television signals. Space has therefore “witnessed” our existence through endless television shows, films, newsreels and soap operas. Krippendorff’s video Night of 1000 Stars considers human significance in the context of the infinity of space and time, in contrast to the greatest of Hollywood aspirations — to be a “star”.

About Johanna Householder, Curator, Useless Beauty
Co-curator and OCAD Professor Johanna Householder, is a multidisciplinary artist and writer. She is a founder of the 7a*11d International Festival of Performance Art which takes place in Toronto, Oct. 23 to Nov. 2, 2008. With Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, in 2004.

About Jennifer Rudder, Curator, Useless Beauty
Jennifer Rudder is the Curator of Gallery Stratford. From 2003 to 2007 she was Director/Curator. Rudder is Editor of the monograph Ordinary Marvel: Susan Kealey, published in 2003 by YYZ Books in Toronto and Southern Alberta Art Gallery in Lethbridge, Alberta. She served as contributing editor for the art publications MIX and Canadian Art, and has written for Fuse and Lola magazines. As an independent, Rudder has curated numerous exhibitions including Crime and Punishment for the Agnes Etherington Art Centre in Kingston, Ontario which toured to Gallery 44 in Toronto and the Mendel Art Gallery in Saskatoon, Saskatchewan. Jennifer was Executive Director of the Toronto Outdoor Art Exhibition for five years and Director of YYZ Artists Outlet between 1983 and 1993. She is currently completing a Masters of Visual Studies at the University of Toronto and is an Instructor at Brock University.

Venue & Address: 
Auditorium 100 McCaul St., Toronto, Ontario

VERBATIM Film Festival

Friday, November 23, 2007 - 5:00am to Friday, November 30, 2007 - 5:00am

VERBATIM Film Festival presents collaborative works by Toronto-based artists and educators, Johanna Householder and b.h.Yael. Approximations: parts 1 ' 3, is a project series which takes an ironic and critical look at Hollywood films and their over-articulations of male power. The series includes The Mission, (4min 21sec) December 31, 2000 (7min 22sec) and Next to Last Tango (7min). The films referenced include Apocalypse Now, 2001: A Space Odyssey, and Last Tango in Paris. With much wit and wisdom, the gendered apocalyptic vision of Mel Gibson's Passion of the Christ is taken up in VERBATIM (7min 45sec).
When Gibson released the film in time for the Easter screenings of 2004, it had received an enormous amount of pre-publicity around Gibson's vaunted goal of verisimilitude, which included the cast speaking in Aramaic and Latin, but didn't exclude the studio set for the garden of Gesthemene, flooded with smoke and blue light, or the previously unreported presence of the Devil (herself) on the Via Dolorosa.
'Our strategy is to open up the question about accuracy versus interpretation, a tactic that Gibson used to ensure that the conservative Christian audiences, for whom it was made, would approach The Passion with proper, uncritical reverence. But then Pope John Paul II agreed: 'It is as it was,' he was reported as saying in the Wall Street Journal. This version just is.'
Both b.h.Yael, and Johanna Householder are professors of Integrated Media Program in the Faculty of Art at the Ontario College of Art and Design.
Johanna Householder has been making performances and other artwork in Canada since the late 1970s. She was a member of the notorious, satirical feminist performance ensemble, The Clichettes, who performed under variable circumstances, throughout the 1980s. Householder has maintained a unique performance practice, often collaborating with other artists. She is one of the founders of the 7a*11d International Festival of Performance Art, and with Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, YYZ Books, 2004.
b.h.Yael is a Toronto based filmmaker, video and installation artist. Yael's work has exhibited nationally and internationally and has shown in various settings, from festivals to galleries to various educational venues. Her works have been purchased by several universities. These include Fresh Blood, A Consideration of Belonging, In the Middle of the Street, and Trisk-aidekaphobia. In 2006, Yael premiered Palestine Trilogy, three videos that focus on activist initiatives, addressing the politics of Palestine and Israel in sites of solidarity. Yael has just completed Trading the Future, a video essay questioning the ways in which secular culture has embraced apocalypse as inevitable.

Venue & Address: 
Fleishman Gallery at WonderWorks 79a Harbord Street, Toronto, Ontario

Johanna Householder launches "MORE CAUGHT IN THE ACT"

book cover with multiple images of preformance art
Saturday, September 24, 2016 - 6:00pm to 8:00pm

PLEASE join us for the LAUNCH of MORE CAUGHT IN THE ACT: an anthology of performance art by Canadian women

Editors, Artists, Writers and Photographers in attendance!

Special Launch Price!

The long-awaited second book, More Caught in the Act: an anthology of performance art by Canadian women, edited by seminal performance artists Johanna Householder and Tanya Mars, is an indispensable compendium of original research and writing on Canadian women in performance art — covering work made from 1995 to 2015. Like the first volume, Caught in the Act: an anthology of performance art by Canadian women (2004), this book gives readers a tactile, first-hand glimpse into this vibrant and largely under recognized subject in contemporary Canadian art history.

Richly illustrated with a stunning colour cover and 264 black and white images, More Caught in the Act captures the depth and breadth of this exciting field, its artists and their practices. The book includes 30 comprehensive profiles of artists from across the country, along with five contextual essays that place current performance strategies by women within broader art historical and cultural contexts. Designed by Zab Design & Typography and published by Artexte, Montréal and YYZ Books, Toronto, More Caught in the Act includes profiles of OCAD alumnae Reona Brass, Shannon Cochrane, Louise Liliefeldt and Camille Turner and writing by OCAD U. faculty Lillian Allen, Jim Drobnick, Cheryl l’Hirondelle, Johanna Householder, and b.h. Yael.

Venue & Address: 
YYZ 401 Richmond St., #140

We did everything adults would do. What went wrong? Johanna Householder and Frances Leeming

black and white photo of a young girl
Friday, November 13, 2015 - 5:00am to Saturday, December 12, 2015 - 5:00am

Opening Reception November 13th 6 - 8 PM
Curator Taryn Sirove
Panel Discussion Saturday Dec 12th 3-5pm
With Ian Carr-Harris and Dr. Hannah Dyer, moderated by Taryn Sirove

Titled after a misquote commonly attributed to William Golding’s 1954 novel Lord of the Flies, the exhibition, We did everything adults would do. What went wrong? can be understood as a single, collaborative installation by Frances Leeming and Johanna Householder. In a large-scale video projection at the center of the exhibition, the artists consider adult representations of children in conflict in two twentieth century films: Wee Willie Winkie (1937) and Lord of the Flies (1963). Reworking footage from these allegories for expansionist promotions of “civilization,” the artists put the two iconic protagonists—Winkie (Shirley Temple) and Piggy (Hugh Edwards)—into dialogue. Householder and Leeming tease out a pattern of similarities across shifting articulations of the original literature, isolating narrative constructions that betray the way we as adults symbolically project our own anxieties and ambitions onto figures of children, in these stories, using Western colonial vocabularies around conflict and war.

Johanna Householder has been working at the intersection of popular and unpopular culture in performance, dance, video and intermedia art since the late 1970s. Shaping plundered source material in order to talk back to mass forms, Householder practices her own brand of cultural detournement, often in collaboration with other artists. She recently performed at Performancear o Morir in Chihuahua, at undisclosed territory in Java, and at M:ST in Calgary, AB. She is one of the founders of the 7a*11d International Festival of Performance Art and with Tanya Mars she edited Caught in the Act: an anthology of performance art by Canadian women (YYZ Books, 2005) - and they are currently at work on Volume Two.

Frances Leeming's performance, film and installation projects exploring the relationships between gender, technology and consumerism have been presented in Canada, Quebec, the U.S., Britain, Poland and Italy. Her feminist satire film animations The Orientation Express (1987) and Genetic Admiration (2005) have been showcased via film festivals and television broadcasts. Genetic Admiration is featured in Jackie Stacey's book The Cinematic Life of The Gene (2010). Leeming's performance history includes collaborations with Johanna Householder and Clive Robertson and kinetic installation works include Endeavour (2010) commissioned by the Media Gallery, Concordia University. Frances currently teaches Film and Media Studies at Queen's University, Kingston.

Taryn Sirove is a postdoctoral fellow in the Department of Law and Legal Studies at Carleton University, Ottawa. Her writing on the Ontario Censor Wars can be found in Explosion in the Movie Machine: Histories of Toronto Moving Image Culture (Images Festival, LIFT and YYZ Books, 2013). Sirove has completed curatorial projects for such institutions as A Space Gallery and Vtape Distribution Centre, in Toronto, Ontario, and written about media art for such publications as Fuse Magazine and (with Erin Morton) Postscript.

Venue & Address: 
A Space Gallery 401 Richmond Street West, Suite 110 Toronto, ON, M5V 3A8