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Vol 34, No 1 - 2 (2019): Feminist Gift Economy

Shirley McDaniel, “Girlscape 1,” 2013, acrylic on canvas, 130cm x 80cm


Gioia Albano, "Babywearing in a Beautiful Garden," 2013, acrylic on canvas board, 20 x 30 cm.  Gioia Albano is an Italian artist living in the south of France. Visit her website at:

Vol 33, No 1-2 (2018-2019) : Women's Human Rights

Gioia Albano, "Babywearing in a Beautiful Garden," 2013, acrylic on canvas board, 20 x 30 cm.

Gioia Albano is an Italian artist living in south of France. Womanhood has always been at the centre of her art and, as a mother, she has also embraced the theme of motherhood in her work. In her art, she also celebrates every individual's need to find their true self as they walk their path in this world. Visit her website at


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Vol 31, No 1-2 (2016-2017):Women and Social and Environmental Justice

Xochitl Rubio, “cop 20 protests, Lima, Peru, December 2014,” photograph.


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Vol 30, No. 2-3 (2015-2016): Women and Water

Kate Brown, “The Meeting,” 2014, 8" x 10", acrylic on canvas.

Kate Brown grew up in the Village of Clarkson, Ontario. She earned her MFA from the School of Visual Arts In New York and now divides her time between her Creative Reserve Studio at Lilac Hill in Huntsville, Ontario and New York City. <>.

Artist statement: Four years ago when I began to work in my forest studio, like a character from a fairy tale wandering into the woods, I entered into the unknown. After more than twenty years working on large installation pieces which you can see and read about at www.KateBrownArt. com, I set about to return to abstract painting with the knowledge that I had gained from installations. I began to make tiny clay tear catchers like the ones I had seen in theTibilisi museum in Georgia many years before. These are small vessels designed to capture the tears of a lover as a relic of their being. In fairy tales, tears are also the catalyst for the miraculous — at the touch of tear, still things move, dead creatures awaken, new things are created. My journey had begun. I started to think alot about drops and the word ‘drop’ and how it is used — how drops use gravity and how women use gravity to give birth. Today, when a new cd is launched they say it is ‘dropped’ — the creation has been born. These thoughts then stirred fond memories of being a little girl feeding injured birds with an eye dropper, and then ... the Drop Paintings began.


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Vol 29, No 3 (2012)

Illustration: Pegi Eyers


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Vol 29, No 1-2 (2011)

Front Cover: Janet Stahle-Fraser, “The Harvest,” 1999, 28" x 48", acrylic on canvas.

Back Cover: Janet Stahle-Fraser, “Garden Door,” 1998, 22" x 30", acrylic on canvas.


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Vol 28, No 2-3 (2010)

Front Cover: Diane Driedger, "Self-Portrait with Bandaged Breast (After Van Gogh's Self-Portrait with Bandaged Ear," 2010, watercolour, 18.25" x 21.5"

Back Cover: Diane Driedger, "Me and Frida Kahlo," 2006, watercolour on paper, 19" x 20"

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Vol 28, No 1 (2010)

"Virus/White Wedding," 2009, plaster and lace, 76cm x 137cm x 46cm.


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Vol 27, No 1 (2009)

Photo: Coordinadora Nacional en Defensa de la Vida y la Soberania (National Coordination for the Defence of Life and Sovereignty)
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Vol 27, No 2-3 (2009)

Front Cover: Vishakha Gandhi, "I Bite my Tongue (on the vowels),", oil and found image on canvas, 10" x 8", 2004. Photo: V. Gandhi.


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Vol 26, No 3-4 (2008)

Front Cover: Leah Dorion, "Invocation Medicine" acrylic and beads on canvas, 24" x 30", 2005. These women are praying to the sacred grandmother spirit. They call to her to help all women on this earth. As they call to the grandmother, she arrives to bless them with loving kindness and healing energy.

Back Cover: Leah Dorion, "Lady in the Sky Medicine" acrylic and beads on canvas, 20" x 24", 2005. This female spirit on Grandmother moon blows medicine from the palm of her hand and it transforms into four warrior turtles who are going to help humans living on Mother Earth re-learn the sacred balance between all the colours of man, the white, the red, the yellow, and the black. It is said that our world has been out of balance and harmony because the four colours of humanity have not been able to share their own special gifts with the world family and we are suffering because of this unbalance. (Leah Dorion's artwork also appears on pgs. 5, 134, and 212.)


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Vol 26, No 1 (2007)

Fran Forman, “The Trunk,” photo collage, 12.5'' x 10'', 2005.


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Vol 25, No 3-4 (2006)

Alice Olsen Williams, “Healthy Land, Healthy People,” quilt, 14' x 5.66', 2005. Photo: Fred Cattroll, Courtesy Assembly of First Nations.
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Vol 25, No 1-2 (2006)

Shlomit Segal, "The Struggle to End Violence Against Women," Woodcut print and mixed media, 2006.


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Vol 24, No 4 (2005)

KY Hanewich, "Duck Dinner Dessert (tribute to Bonnard)" oil on canvas, 32" x 40", 2005.
Photo: Mikhail Hanewich-Hollatz
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Vol 24, No 2-3 (2005)

Terri Roberton, "Les Gukrillkres en farfelu," goache, 20" X 15", 2005.
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Vol 24, No 1 (2005)

Shlomit Segal, "Exuberance," 2005, mixed media digital image, 13" x 14".


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Vol 23, No 3-4 (2004)

Wendy Lewington, "Small Change," machine appliqué, machine quilting, stamping various fabrics, coins, dollar bill, found embroidery, 58" x 53", 1990.
Photo: Brenda Hemsing
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Vol 23, No 2 (2004)

Marie-Denise Douyon, "Massai," oils and engraving inks on masonite, 30" x 40", 2004.
Photo: Paul Simon


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Vol 23, No 1 (2003)

Leigh S. Brownhill, "Africans Resist Slavery, Colonialism, Neo-Imperialism," collage, 6.75" x 9.75", 1992
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Vol 22, No 3-4 (2003)

Rochelle Rubinstein, "Crawl With Me," hand-dyed linocut print, 24" x 24", 1990.
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Vol 22, No 2 (2003)

Muriel Duckworth protests the potential war against Iraq with fellow members of Voices of Women. White poppies were handed out in front of the Spring Garden Road Public Library in downtown Halifax on November 8, 2002. Photo: Denise Surette.


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Vol 21/22, No 4/1 (2002)

Sheena Singh, "Giant Turtle," acrylic on paper, l l" X 14", 2000.

Sheena Singh has been living her life on a broad canvas. She immigrated to the United States from India at the age of 20, and has made Toronto her home for the past 13 years. She is an artist who has used her gift of art by publishing the Multicultural Calendar through her non-profit company, Creative Cultural Communications. Her unique and universal themes impress the message that the essence of all human beings is the same. During the summer months she works as a Past Lives Therapist having completed her Masters in Counselling Psychology from Loyola Marymount University in Los Angeles.

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Vol 21, No 3 (2002)

Photo: Marlene Hielema

Marlene Hielema is a professional photographer who specializes in women's sport and fitness. For over ten years she has been shooting large scale sporting events, athletic portraits, and stock photography. Marlene's photos have been published numerous times in Canadian and U.S.magazines, used in advertising, and appeared on many athletes' resumes. She has also provided photographic services for various non-profit organizations including the CNIB, YWCA, and CAAWS. Marlene works at the Alberta College of Art and Design as a digital media technician during the college term, and as a continuing education instructor during the summer months. She is currently working on her Master's degree in Communication Studies. You can see other samples of her work on her website at


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Vol 21, No 2 (2001)

Becky Trotter, "First Painting," acrylic on canvas, 1992. Courtesy of the artist and the Visual AIDS Archive Project.
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Vol 20/21, Nos. 4/1 (2001)

Collage (excerpts from Sophie Ebache's Diary; artwork by students at the Linden School in Toronto, photographed by Brenda Cranney; sticker art from Pretty, Porky & Pissed Off, courtesy of Allyson Mitchell). Cover design: Luciana Ricciutelli, with Mirah Kirshner and Lorraine Hussey.


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Vol 20, No 3 (2000)

Jessica Prohaska, Courtney Radic, and Carry Ann Yeoman, "untitled," acrylic and impasto on cavas, 60" x 72", 2000. Photo: Ptere Moynes.

Developed as a project in the learning community of "Strategies for Change in Violence Against Women," School of Women's Studies, York University, 2000. Course director: Eimear O'Neill.
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Vol 20, No 2 (2000)

Lisa Keedwell, "How Do I Know Thee," 10" x 20" x 66", zippers and fibreglass, 1985. Photo: Lisa Keedwell.

Lisa Keedwell is a Toronto artist who has shown extensively across the country, and her work is represented in collections in Canada, the United States, and Europe. She has received a number of awards and grants over the years and continues making media sculpture. She also works as a digital artist.
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Vol 20, No 1 (2000)

Diana Dean, "Seekers," Dyptich, 60" x 60", Oil on Canvas, 1995. Photo: Tom Moore.
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Vol 19, No 4 (2000)

Erika Simon Gottlieb, "Recollections: Away from the Light," oil on panel, 20" x 24," 1977. Courtesy of the Collection of Peter and Julie Klein.


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Vol 19, No 3 (1999)

"The Globalized Family:Yet Another Goodbye." Manju Mendiratta and Ram Pyari Trehan. Photo: Anuja Mendiratta, 1999.

As a new bride Manju Mendiratta emigrated from northern India to North America more than 30 years ago. She has seen her mother, Ram Pyari Trehan, only a handful of times over these past years. Upon leaving the soil of her birth, Manju could not imagine that such a vast ocean of space and time would grow to exist between them, as mother and daughter. After a short visit "home" in December 1998, Manju had to say yet another long goodbye to her mother.
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Vol 19, No 1-2 (1999)

Valerie Palmer, "Perpetua," oil on linen, 42" x 50", 1993. Courtesy of Nancy Poole's Studio, Toronto, Ontario, Photo: Tom Moore
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Vol 18, No 4 (1999)

Mary O'Brien, 1980. Photo: Pamela Harris. The text on the front cover is from Mary O'Brien book, The Politics of Reproduction (Boston: Routledge and Kegan Paul, 1981). These two sentences are the final lines of the book, page 210. Reprinted with permission.


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Vol 18, No 2-3 (1998)

Jacqueline Treloar, "Kirsten and Arianne," central detail, acrylic painted, stencilled, and textured nylon organza, 260cm x 343cm, 1997. Courtesy collection of Tim Dawson, Toronto. Photo: Jacqueline Treloar
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Vol 18, No 1 (1998)

Shlomit Segal, "The Second Shift," fabric collage, 3' x 3', 1995. Photo: Ashrok Charles.
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Vol 17, No 4 (1998)

Young women from Woburn Collegiate Institute's ongoing Grrrls' Coalition. Photo: R. Lautens.
Reprinted with permission, courtesy of the Toronto Star Syndicate


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Vol 17, No 3 (1997)

Marie Harding, Mary O'Keefe, Bernie Hanaphy, Christine Brazil, Marie Byrne, Rosie Collins, Margaret Bolger, Betty Murphy, Anna Denison, Ann Smith - Lourdes Youth and Community Services Project, "Mantle of the Past," installation for the Irish Museum of Modern Art, 174 x 126 cm, November 1992. (From 'Unspoken Truths', Irish Museum of Modern Art, 1996) Photo: John Kellett

"We called our piece Mantle of the Past because of the great significance the Mantle had in the old tenement rooms of our childhood's. The Mantle cloth was the first thing you would see as you entered the room and everyone always took great pride in this. We could all remember seeing clothes hanging underneath as most people didn't have much money and had to wash their kids' clothes each evening for wear the next day. Whilst working on the project we all reminisced of old stories about some of the more memorable characters who lived and died in our area. The objects on top of the Mantle each symbolize different characters all of whom were women. Each symbol represents a different story, a tale...."
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Vol 17, No 2 (1997)

Brenda Cranney interviewing members of "Atma Swasthya Kendra" (ASK), a women's functional literacy and self-empowerment group, in Ichasser, Himachal Pradesh, India, 1994.
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Vol 17, No 1 (1997)

Tamara Thiebaux, "Trintiy," watercolour, 22" x 15", 1993.


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Vol 16, No 4 (1996)

Shira Spector, "Sarah and Emily's Chuppah," detail, screenprint on painted silk, 73" X 68", 1995. Text from Anna Margolin's poem, "My Ancestors Speak," in 'The Tribe of Dina'. Photo: Charles Spector.
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Vol 16, No 3 (1996)

NGO Forum on Women in Huairou, China 1995, United Nations Fourth World Conference on Women. Photographs by Brenda Cranney, Marion Lynn, Angela Miles, Milana Todoroff. Collage by Luciana Ricciutelli.
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Vol 16, No 2 (1996)

Winsom, "In the Garden," oil on canvas board, 30" x 24".


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Vol 16, No 1 (1995)

Arina Ailincai, "Clay Tablets," 1m x 50cm, 1993. Photo: Arina Ailincai
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Vol 15, No 4 (1995)

World champion speed skater, Sylvia Burka, 4-5 years old, Winnipeg.
Photo: Canada's Sports Hall of Fame
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Vol 15, No 2-3 (1995)

"I don't want to marry. I want to go to school then become a doctor in my village." Uma Kumari, 14 years old, Himachal Pradesh, India, 1994. Photo: Brenda Cranney.


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Vol 15, No 1 (1994)

"Juggler" by Carol Binns-Wood. Detail of "Maker" by Jane Garland, Mixed Media, 1994. Photo: Don Holman. (Please see page 77 for a detailed description and photograph of the sculpture).

Carol Binns-Wood lives in Flesherton, Ontario where she paints, raises two kids, and runs "Local Colour," a craft store and art gallery. Much of her artwork reflects her own life and uses the human figure as a way to express and communicate her own personal stories.
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Vol 14, No 4 (1994)

Pitaloosie Saila, "Untitled", Original Drawing, 20" x 26", 1977. Ward Collection. Photo: Yukon Government. Reproduced with permission of the West Baffin Eskimo Cooperative Ltd.

Pitaloosie Saila was born in Cape Dorset in 1942. Her drawings have been included in annual Cape Dorset collections since 1968.
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Vol 14, No 3 (1994)

Merlin Homer, "Guardian Spirits," Watercolour, 8" diameter, 1992
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Vol 14, No 2 (1994)

Winsom, "The Silencer", Acrylic on Canvas, 61 cm x 76 cm, 1994.


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Vol 14, No 1 (1993)

Lupe Rodriguez, "Modo de Bailar - Emily Carr," Acrylic on Canvas, 5' x 7', 1993. Photo: Jeff Nolte.
"In this work I pay tribute to Emily Carr, the artist and the writer. Through her work I have been invited to enter the forest and discover an enlightened world previously unknown to me."
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Vol 13, No 4 (1993)

Sheree Clarke, "Coming Out", 1992. Acrylic on canvas, 40" x 46".
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Vol 13, No 3 (1993)

Diana Thompson, "Foxglove," 1985. 22 x 30" Pastel.
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Vol 13, No 2 (1993)

Pat Davitt, "Margaret Lowe Benston."


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Vol 13, No 1 (1992)

Sharon Fernandez, Untitled, 1991. Acrylic on canvas, 2' x 3'.
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Vol 12, No 3 (1992)

Randy Velocci,"The Globe and Mail."
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Vol 12, No 2 (1992)

Deidre Scherer, "Await," April 1990. Fabric and thread. 7.5" x 7"


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Vol 12, No 1 (1991)

Mary Klassen, "Four Quail," Watercolour and acrylic. 30.5 x 23 cm. From John Unrau's book, "The Balancings of the Clouds: Paintings of Mary Klassen" (Winnipeg: Windflower Communications, in association with The Mennonite Literary Society, 1991).
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Vol 11, No 4 (1991)

Parvaneh Radmard, "Untitled," 1989, mixed media on mylar, 20 X 30 cm.


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Vol 11, No 2 (1990)

"A Room of One's Own," 1990, collage, colour photocopy and watercolour, 10.25"x10.5", by Carolyn Van Huyse
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Vol 11, No 1 (1990)

Jane Buyers, detail from "Interior Architecture II," 1988, polychromed wax on plaster.
Photo: Courtesy Garnet Press Gallery, photographer Lorne Fromer.


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Vol 10, No 4 (1989)

Helen Lucas, "Russian Bourquet,: 1989, acrylic on board, 48.25" x 48.25"
Photo: Ouellette Associates Photography
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Vol 10, No 2-3 (1989)

Patricia Deadman, "Jingle Dancers," 1988, mixed media, 15 x 10 cm.
With thanks to the Native Indian / Inuit Photographers' Association
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Vol 10, No 1 (1989)

Lupe Rodriguez, "Tierra Ardiente," 1987, left panel (triptych), oil stick and acrylic on masonite, 48" x 40" Collection: Barbara Goldman Photo: Toronto Image Works
With thanks to The Leo Kamen Gallery for their assistance


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Vol 9, No 3-4 (1988)

Buseje Baily, [untitled portrait of the artist's daughter Cherrel], acrylic on canvas, 4" x 4", 1982.
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Vol 9, No 2 (1988)

Outi Heiskanen "Jag abjkagar," (etching, aquatint, dry point), 1986.


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Vol 8, No 4 (1987)

Joyce Wieland, "What They Do at Sunrise."
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Vol 8, No 3 (1987)

Alice Williams, "Loon Quilt," Photo: John Dawson.
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Vol 8, No 2 (1987)

Lupe Rodriguez, "Paseo," acryclic on canvas, (courtesy: The Leo Kamen Gallery), 5" x 7", 1987.
Photo: Toronto Image Works
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Vol 8, No 1 (1987)

Paula Youens, Family T.V., from Lone Thoughts from a Broad (London: The Women's Press, 1981).


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Vol 7, No 4 (1986)

Anon., "On the front steps of the Peterborough YWCA," ca. 1919. Coutresy: Peterborough YWCA.
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Vol 7, No 3 (1986)

Gathie Falk, Theatre in B/W and Colour: The Kitchen Chairs, 1984 (detail), oil on canvas, 198.1 x 167.6. Photo: Jim, Gorman, Vancouver Art Gallery
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Vol 7, No 1-2 (1986)

Phyl Kohut Sereda


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Vol 6, No 4 (1985)

"Sunrise," by Helen Lucas
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Vol 6, No 3 (1985)

Illustration by Helen Lucas
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Vol 6, No 2 (1985)

Design: Jane Northey
Galaxy Credit: William Ireland, McLaughlin Planetarium, Royal Ontario Museum
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Vol 6, No 1 (1985)

Charles K. Iruri, Charlie Hill Studio, Gatundu, Kenya
National Tree Planting Day festivities in Mitero, Kenya, April 1981
The women dancing are leaders of the self-help groups described in the article "Ngwatio: A Story of Co-operative Research on African Women," by Patricia Stamp and Rebecca Njeri Chege (2nd and 3rd from the right).


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Vol 5, No 4 (1984)

Photo: Ontario Hydro
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Vol 5, No 3 (1984)

Photo: Rafaela Winterfeld


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Vol 5, No 2 (1983)

"Anadyomene," sculpture by Maryon Kantaroff
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Vol 5, No 1 (1983)

Cover photo: Pamela Williams
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Vol 4, No 4 (1983)

Photo: Margaret Perkin
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Vol 4, No 3 (1983)

Maro Scattolini: girl gymnasts and high jumper; offical photo of Hilary Matte finishing Ironman Triathlon


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Vol 4, No 2 (1982)

Photo: Deborah Barndt
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Vol 4, No 1 (1982)

Photo: Pamela Williams
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Vol 3, No 4 (1982)

Photo: Margaret Perkin
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Vol 3, No 3 (1982)

Illustration: Banakonda


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Vol 3, No 2 (1981)

Illustration: Diane Fine
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Vol 3, No 1 (1981)

Illustration: Heather Brown


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Vol 2, No 4 (1980)

Photo: Helen McMullen, from Women see Woman
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Vol 2, No 3 (1980)

Eastman Kodak Comapny Archives, Rochester, N.Y.
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Vol 2, No 2 (1980)

Graphics: Gail Geltner
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Vol 2, No 1 (1980)

Photo by: Laura Jones


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Vol 1, No 4 (1979)

"Two female tennis players circa 1908," The James Collection, City of Toronto Archives
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Vol 1, No 3 (1979)

Photo: Sleepwalker by Lynne Munro taken by ess oh ess media productions, London, Ontario.


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Vol 1, No 1 (1978)

Graphics: Grafika Art Studios, Toronto

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