The book explores Weaver’s collaborative work with Split Britches and Spiderwoman as well as her solo projects, performance interventions, and work as a facilitator, teacher, and as Tammy WhyNot.
The first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive.
Spoken Word CD exploring, generating, and celebrating the themes of love and diversity.
Written by Simon Casson, producer of Duckie, this is a polemic letter responding to the consultation towards the McMaster Review for James Purnell and the Department of Culture Media and Sport, condemnning the state of art-funding.
Video recordings of two performances presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let’s create a place for ourselves” on public space and politics.
Review of performances from the Sydney Gay and Lesbian Mardi Gras at Performance Space, Carriageworks, Sydney, 13-15 Feb.
Collection of Shaw’s solo performance scripts
Critical text on the legacy of 1970s feminist artists.