Ed and Jo: Love, Art and Gloucester in the Summer of 1923

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Conceptual Devices: Anj Smith’s Painted Worlds’ in Anj Smith, ed. Sarianne Soikkonen (Tampere, Finland: Sara Hildén Museum, 2018), 12-21.

It’s important to note that some people believe both spellings are incorrect, because they’re new contractions. However, it’s difficult to work in a business setting without seeing these terms used.Same Old: Ryman’s Repetitions’ in Robert Ryman, eds. Stephen Hoban and Courtney J. Martin (New Haven and London: Yale University Press and Dia Art Foundation, 2017), 311-321. Talking To The Work of Philippe Vandenberg: A Seminar’ in Phillipe Vandenberg: Absence, etc, with Anna Dezeuze, Maarten Liefooghe, Raphäel Pirenne, Merel van Tilburg, and John C. Welchmann (New York: Hauser and Wirth, 2017), 89-145. Eccentric Abstraction’, ‘Eva Hesse’, and ‘Louise Bourgeois’, entries for Elles font l’abstraction (Paris: Centre Pompidou, 2021), 236-240.

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She was associated with the land and depicted as a snake-headed woman or a snake—usually an Egyptian cobra, a venomous snake common to the region; sometimes she was depicted as a woman with two snake heads and, at other times, a snake with a woman's head. Her oracle was in the renowned temple in Per-Wadjet that was dedicated to her worship and gave the city its name. This oracle may have been the source for the oracular tradition that spread to Greece from Egypt. [9] Wadjet was closely associated in ancient Egyptian religion with the Eye of Ra, a powerful protective deity. [5] The hieroglyph for her eye is shown below; sometimes two are shown in the sky of religious images. Buto also contained a sanctuary of Horus, the child of the sun deity who would be interpreted to represent the pharaoh. Much later, Wadjet became associated with Isis as well as with many other deities. Feminist Domesticities’, eds. Jo Applin and Francesca Berry, Oxford Art Journal, 40: 1 (Spring 2017) Alberto Burri and Niki de Saint-Phalle: Relief Sculpture and Violence in the Sixties’, Source: Notes in the History of Art, 27:2 (Winter 2008), 77-81. Carolee Schneemann’s Constructed Environments’ in Carolee Schneemann: A Retrospective (London: Barbican Art Gallery, 2022), 48-53.