Not Just for Laughs: Women, Performance, and Humour
Caught In the Act: an anthology of performance art by Canadian women, 2004, p. 20
Toronto: YYZ, 2004
An essay on the use of humour in performance art by Canadian women in the 1970s and 1980s. Mars questions the general assumption that extreme masochistic perfomance art was the only serious way of tackling feminist issues in performance. The notion of humour as an equally effective and respectable tool in perfomance art by women is introduced and argued for.
Humour as just as serious a performance art tool as trauma and the significance of women performance artists who used humour in the 70s and 80s is reinforced, when back then it was seen as the "lesser" form of art, and its artists as just "entertainers" rather than artists. Humour is argued to be an effective tool to entertain, escape, subvert, and establish solidarity among people.
Selected works by Shawna Dempsey and Lorri Millan, the Clichettes and Colette Urban, among others are discussed.
ITEM 2004.067 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
Mary Medusa – Shawna Dempsey
Mary Medusa – Lorri Millan
various works cited – Shawna Dempsey
various works cited – Lorri Millan
Go to Hell – Johanna Householder (the Clichettes)
Go to Hell – Janice Hladki (the Clichettes)
Go to Hell – Louise Garfield (the Clichettes)
various works cited – Johanna Householder (the Clichettes)
various works cited – Janice Hladki (the Clichettes)
various works cited – Louise Garfield (the Clichettes)
various works cited – Deanne Taylor (The Hummer Sisters)
various works cited – Janet Burke (The Hummer Sisters)
various works cited – Jenny Dean (The Hummer Sisters)
various works cited – Anna Banana
various works cited – Colette Urban