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Accueil > Sources historiques > Base de données bio-bibliographiques historiques sur les artistes canadiennes > WIELAND, Joyce

Base de données d'artistes

WIELAND, Joyce

Naissance
Toronto, Ont., 1930
Décès
Toronto, Ont., 1998
Notice biographique
Legendary artist who worked in various media and materials, Joyce Wieland initially studied fashion design at Central Technical School in Toronto before turning to painting with Doris McCarthy in the late 1940s. After graduating in 1948, she worked in the film studio Graphic Associates in Toronto where she met her future husband, artist Michael Snow. Wieland was an abstract painter and exhibited in Toronto galleries from early 1950s before moving to New York with Snow in 1962. She continued to explore painting in the context of pop and conceptual art, and also explored assemblages, collages and experimental films. Although she didn't exhibit in New York galleries, her experimental films received strong recognition and were included in international film festivals, including the Museum of Modern Art throughout her career. During this period Wieland became involved in political, feminist, and environmental causes; she worked with textiles, especially quilts and embroidery to underline importance of women's work. In 1971 she was the first living woman artist to have a solo exhibition at the National Gallery of Canada; entitled “True Patriot Love" it focused on national unity and identity related to Canadian socio-political, feminist, cultural and environmental concerns. She subsequently moved back to Canada where she became a member of the Royal Canadian Academy of Arts (1973) and an officer of the Order of Canada (1982). She also participated in CAR (CARFAC) Canadian Artists' Representation. In 1976 she produced her only feature film “The Far Shore.” Throughout the 1970s and 80s she returned to figurative drawing and painting, noted for color, humor and irony. She also completed commissions for public spaces. Retrospectives were held at the Art Gallery of Ontario (1987), Vancouver Art Gallery (1969), Cinematheque Quebecoise (2022) among other spaces. In 2025, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are collaborating on a major retrospective.
Médias
Artists' books
Assemblage
Collage
Drawing
Film
Painting
Sculpture
Textiles
Etudes
Central Technical School, Toronto, ? - 1948 (Sous la direction de Doris McCarthy)
Associations
Royal Canadian Academy of Arts, 1973
Canadian Artists' Representation
Lieux de conservation des dossiers et archives
Alberta Culture and Community Spirit - Arts Branch
Artexte Information Centre, QC - Documentation Centre
Edmonton Art Gallery, AB - Library
Hamilton Public Library, ON - Local History and Archives Department
Winnipeg Art Gallery, MA - Clara Lander Library
Vancouver Art Gallery, BC - Library
London Public Library
Library and Archives Canada / Bibliothèque et Archives Canada, ON
National Gallery of Canada, ON - Library and Archives
University of British Columbia - Fine Arts Library
University of Calgary Library, AB
Art Gallery of Ontario - Edward P. Taylor Research Library and Archives
Toronto Reference Library, ON
Montreal Museum of Fine Arts / Musée des Beaux-Arts de Montréal, QC
Musée d'art contemporain de Montréal, QC - Media Centre
BIBLIOGRAPHIE

Documents sur l'artiste
"A Soft Secret, Suspended in Plain Sight: The AGO just announced a Major Joyce Wieland Retrospective. One of her Greatest Works has been hanging here all along."  Toronto Star 12 Oct 2024..
"Joyce Wieland: An Internalview."  Canadian Woman Studies 8.4 (1987):33-37..
“Canadian Artists in N.Y. bravely waving our Flag.” Toronto Daily Star 7 Mar 1970: 61..
“Joyce Wieland’s Reason over Passion at Loyola’s Experimental Film Festival.” The Gazette (Montreal) 04 July 1969: 22..
“New York Fans stage Trudeau Quilt-in.” The Gazette (Montreal) 23 May 1968: 22..
Abrahams, Linda. "Wieland emerged Right on Time." Toronto Star 03 Jul 1998: 1..
Allen, Jan, Wieland, Joyce, et al. Joyce Wieland : Twilit Record of Romantic Love. Kingston: Agnes Etherington Art Centre, Queen’s University, 1995..
Angel, S. "True Patriot Love." Canadian Art. 28.3 (2011): 104-110.
http://canadianart.ca/features/joyce_wieland/.
Aquin, Stéphane, et al. Global Village : The 1960s Montreal: Montreal Museum of Fine Arts, Snoeck Publications, 2003..
Armatage, K. "Joyce Wieland, Feminist Documentary and the Body of the Work." Canadian Journal of Political and Social Theory 13.3 (1989): 91-101..
Armatage, K. The Feminine Body: Joyce Wieland's Water Sark."  Canadian Woman Studies 8.1 (1987): 84-88..
Armatage, K. “Fluidity Joyce Wieland: Policital Cinema.” The Gendered Screen: Canadian Women Filmmakers. Waterloo: Wilfred Laurier University Press, 2010..
Armatage, K.. Artist on Fire: The Work of Joyce Wieland. Toronto: Dominion Pictures, 1987..
Arnold, G. et al. Traffic: Conceptual Art in Canada 1965-1980. Vancouver: Douglas & McIntyre : Vancouver Art Gallery, 2012..
Arthur, P. “Different/Same/Both/Neither: The Polycentric Cinema of Joyce Wieland.” Women's Experimental Cinema: Critical Frameworks, edited by N. Carroll Durham: Duke University Press, 2007..
Auchterlonie, B. "Joyce Wieland: Filmmaker "The Far Shore."" Artmagazine (Canada) 7.24 (1975): 6-11..
Augaitis, Daina, et al. MashUp : The Birth of Modern Culture. London, G.B.: Black Dog Publishing, 2016..
Baele, Nancy. "Art of Saving Planet: Ecology proves big Theme in Number of Shows." The Ottawa Citizen 3 May 1990: E3..
Baird, Daniel. "What Museums are for: The Art Gallery of Ontario, Transformed." Canadian Art 26.1 (2009): 58-65..
Banning, Ann Kathleen. Exceeding the Frame: Implications of Excess in Two Films by Joyce Wieland. (MFA thesis). Toronto: York University, 1989..
Banning, Kass. "Textual Excess in Joyce Wieland’s Handtinting."  CineAction 5 (Spring, 1986): 12-14..
Banning, Kass. "The Mummification of Mommy: Joyce Wieland as the AGO's First Living Other." C Magazine  13 (1987): 32-38..
Blaetz, Robin. "Rescuing the Fragmentary Evidence of Women's Experimental Film." Camera Obscura 21.3, 2006:152-156..
Bliss, Lauren. The Maternal Imagination of Film and Film Theory. London, U.K.: Palgrave Macmillan, 2020..
Bonin, Vincent, and Michèle Thériault, editors. Documentary Protocols / Protocoles Documentaires (1967-1975). Montreal: Galerie Leonard & Bina Ellen Art Gallery, 2010.
Borsa, Joan. "Rebels with a Cause."  N.Paradoxa 23 (2009): 20-28..
Broomer, S. Codes for North : Foundations of the Canadian Avant-Garde Film. Toronto: Canadian Filmmakers Distribution Centre, 2017..
Broomer, Stephen and Michael Zryd. Moments of Perception : Experimental Film in Canada. Fredericton: Goose Lane Editions, 2021..
Brown, Lorna, Gibson, Greg, and Jana Tyner. Beginning with the Seventies. Glut, Radical Change, Collective Acts, Hexsa'am. Vancouver: Morris and Helen Belkin Art Gallery, 2020..
Brunner, Bettina. "'What is a Mouth’: Joyce Wieland’s Pierre Vallières (1972) and the Politics of the Film Portrait." Moving Image Review and Art Journal 9.1 (2020): 10-23..
Bruno, Giuliana. "Women in Avant-garde Film: An Interview with Annette Michelson." Millennium Film Journal 16-18 (1986): 140-148..
Butler, Cornelia, and Lisa Gabrielle Mark, eds. WACK! Art and the Feminist Revolution. Los Angeles: CA: Los Angeles Museum of Contemporary Art; MIT, 2007..
Chidgey, Red et al. "Ladyfest: Material Histories of Everyday Feminist Art Production."  N.Paradoxa 24 (2009): 5-12..
Clintberg, Mark. "Wieland Effects." Journal of Canadian Art History/Annales d' art Canadien  41.1/2 (2020): 100-121..
Clintberg, Mark. “Passion Over Reason: Joyce Wieland, Margaret Trudeau, and Fogo Island.” CWAHI Conference 2015. Montreal: Concordia University, 2015
http://www.youtube.com/embed/6V5r7FMESa4.
Clintberg, Mark and Johanne Sloan. "Joyce Wieland in the Twenty-first Century." Journal of Canadian Art History/histoire de l' art Canadien 41.1/2 (2020): 8-38.
Conley, Christine. “Ture Patriot Love: Joyce Wieland’s Canada.” Art, Nation and Gender: Ethnic Landscapes, Myths, and Mother-Figures. London, G.B.: Ashgate, 2003..
Conley, Christine Louise. Daughters in Exile : Negotiating the Spaces of the Avant-Garde Christiane Pflug and Joyce Wieland. (M.A. thesis) Ottawa, ON: Carleton University, 1991.
Crean, S. "Forbidden Fruit: the Erotic Nationalism of Joyce Wieland."  This Magazine 21. 4 (Aug, 1987): 12-20..
Czernis, Loretta. "The Canadian Experimental Camera-Child."   Cinemas 2.1 (1991: 155-167..
Dakovic, Edith et al. Within You and Without You: Edith Dakovic, Lyla Rye and Joyce Wieland. Sackville: Owens Art Gallery, 2009.
Dimendberg, Edward. "A Conversation with Annette Michelson."  October 169 (2019): 17-37..
Donnell, D. “Joyce Wieland at the Isaacs Gallery, Toronto.” Canadian Art 21 (Mar. 1964): 64..
Drobnick, Jim, et al.  Museopathy. Kingston: Agnes Etherington Art Centre, Queen’s University, 2002..
Duffy, Helen and Mariette Rousseau-Vermette. Canada Mikrokosma : An Exhibition of Contemporary Canadian Tapestries by Twenty-two Canadian Artists. /Exposition de tapisseries contemporaines de vingt-deux artistes canadiens. Kingston: Agnes Etherington Art Centre, 1982..
Elder, Bruce. Image and Identity: Reflections on Canadian Film and Culture. Waterloo: Wilfrid Laurier University Press, 1989..
Elder, Kathryn. The Films of Joyce Wieland. Toronto, ON: Toronto International Film Festival Group, 1999..
Everett-Green, R. "Bold Strokes: Joyce Wieland's Work is Renowned for its Unabashed Femininity and Nationalist Zeal." Saturday Night 102.5 (1987): 59-63..
Everett-Green, Robert.. "A Woman's Point of View JOYCE WIELAND / A Passion for her Country marked the Tumultuous Career of this Artist."  The Globe and Mail 30 Jun 1998: 1..
Farver, Jane et al. Global Conceptualism: Points of Origin, 1950s–1980s. Kingston: Queen’s Museum of Art, 1999..
Fenton, Terry and Karen Wilkin. Modern Painting in Canada: A Survey of Major Movements in Twentieth Century Canadian Art. Edmonton: Edmonton Art Gallery, 1978..
Fischer, Craig. “Why Feminist Film Theory?”  NWSA Journal 14.2 (2002):171–80..
Frampton, Hollis, and Joyce Wieland. "I Don’t even know about the Second Stanza."  The Films of Joyce Wieland. edited by Katherine Elder. Toronto: Toronto International Film Festival Group, 1999: 160-181..
Freedman, Adele. "Portraiture from a Daring Artist." The Globe and Mail 04 Jan 1983: 13..
Friel, P. "Crashing the Boy’s Club."   Afterimage 39.3 (2011) 36-37..
Fulford, R. “Now we get Psychedelic Quilts.” Toronto Daily Star 25 Mar. 1967: 40..
Fulford, R.. “Giving us a Sense of Ourselves.” Toronto Daily Star, 10 Jul 1971: 55..
Gagnon, Monika Kin. “Into the Archive with Joyce Wieland - Dans les archives avec Joyce Wieland. Bill’s Hat (1967).” Journal of Canadian Art History / Annales d'histoire de l'art Canadien 41:5 (2020): 129-146..
Gidal, Peter, editor. Structural Film Anthology. London, U.K.: British Film Institute, 1978..
Glasser, P. "Two Toronto Artists: Badanna Zack and Joyce Wieland." Artmagazine (Canada) 9: 38 (1978): 68-73..
Goddard, Peter. "Screenings focus on Wieland's Films: Toronto Star 10 Feb 1996: H10..
Goslawski, Barbara. "An Appreciation of the Films of Joyce Wieland." 16. Take 1 7. 21 (Fall 1998): 16..
Grace, Sherrill. Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions. Montreal: McGill-Queen’s University Press, 2004..
Grenville, Bruce et al. Entangled : Two Views on Contemporary Canadian Painting. Vancouver: Black Dog Publishing , Vancouver Art Gallery, 2017..
Hammond, Cynthia Imogen. "A Feminist Arcadian Landscape."  Journal of Canadian Art History/Annales d'histoire de l'art Canadien  41.1/2 (2020): 70-99..
Harcourt, Peter. “Joyce Wieland’s The Far Shore.”  Take One 2 (May 1976): 63–65..
Heller, Jules and Nancy. North American Women Artists of the Twentieth Century New York: Garland, 1995.
Holmes, K. Negotiating the Nation: The Work of Joyce Wieland, 1968-1976. Kingston: Queen's University, 2008.
Holmes, K. "Negotiating Citizenship : Joyce Wieland's Reason over Passion.” The Sixties: Passion, Politics, and Style. edited by D.Anastakis. Montreal: McGill-Queen’s University Press, 2008..
Holmes, K. “Imagining and Visualizing “Indianness” in Trudeauvian Canada: Joyce Wieland’s the Far Shore and True Patriot Love.”  RACAR : Revue d’Art Canadienne, 35.2 (2020): 47–64..
Holmes-Moss, K. ”Joyce. Wieland: Notes of Interview on Reason over Passion with Vallieres.” Canadian Journal of Film Studies  15.2 (Fall 2006): 114-124..
Hume, Christopher. "Artists and Friends honour Joyce Wieland."   Toronto Star 09 Jul 1998: 1..
Jacob, Luis. "Notes on Joyce Wieland’s The Water Quilt."  Journal of Canadian Art History 41.1/2 (2020): 60-69..
Jacob, Luis et al. Form follows Fiction : Art and Artists in Toronto. Vancouver: Black Dog Press, 2020.
James, Geoffrey.  “The Protean Vision of Joyce Wieland.” Maclean's 100.17 (Apr 27 1987): 53-56..
Kay, Karyn and Gerald Peary, editors.  Women and the Cinema : A Critical Anthology. New York: Dutton, 1977.
Kerkhoven, Marijke et al. Comfort Zones: Textiles in the Canadian Landscape. Toronto: Textile Museum of Canada, 2001..
Klunder, Harold and Ann Beam. Intervention: 31 Femmes peintres/ 31 Women Painters. Montreal: Visual Arts Centre, 2018..
Knelman, M.. “Film Happening taking over Cinecity.” Toronto Daily Star 15 June 1967: 42..
La France, Samuel. "Joyce Wieland: Word of Mouth."  CinemaScope 63 (2015): 26-29..
Lambton, Gunda. Stealing the Show: Seven Women Artists in Canadian Public Art. Montreal: McGill-Queen's University Press, 1994..
Langford, Martha. "The Inexhaustible Joyce Wieland." Journal of Canadian Art History/Annales d'histoire de l'art Canadien 41.1/2 (2020): 6-7..
Larivière, Maryse. “‘Phallus in Wonderland’: Role Plays with Joyce Wieland.”  C Magazine 138 (Summer 2018): 26-33..
Lariviere, Maryse and Joyce Wieland. "The Kiss–An Interview with Joyce Wieland." Journal of Canadian Art History/Annales d'histoire de l' art Canadien 41:1/2 (2020): 122-128..
Lind, Jane. Joyce Wieland : Artist on Fire. Toronto: J. Lorimer, 2001..
Lippard, Lucy. "Watershed, Contradiction, Communication and Canada in Joyce Wieland's Work." Joyce Wieland, edited by Marie Fleming Toronto: Art Gallery of Ontario, 1987: 1-16..
Lister, A. “Joyce Wieland Interview.”  Criteria  2.1 (February 1976): 14–17..
Longfellow, Brenda. “Gender, Landscape, and Colonial Allegories in The Far Shore, Loyalties, and Mouvements du désir.” Gendering the Nation: Canadian Women’s Cinema, edited by Kay Armatage et al. Toronto: University of Toronto Press, 1999: 65-82..
Low, Anne. "Otherwise Unexplained Fires: Joyce Wieland and the Experimental Film Scene in 1960s New York." C Magazine 99 (2008): 36-39..
Lussier, Julie, and Johanne Lamoureux. Michael Snow et Joyce Wieland Au Regard Des Politiques Culturelles Canadiennes, 1970-1971. Montreal: Université de Montréal, 2003.
MacDonald, Colin S. The Dictionary of Canadian Artists. (Volumes 1-8 by Colin S. MacDonald, and volume 9 by Anne Newlands and Judith Parker) Ottawa: National Gallery of Canada, 2009.
MacDonald, Shana. “Voicing Dissonance.”  Feminist Media Histories 1.4 (2015):89–107..
Magidson, Debbie, and Judy Wright. “Interviews with Canadian Artists: Joyce Wieland.”  Canadian Forum  54 (May–June 1974): 61–62..
Marchessault, Janine. “Feminist Avant-garde Cinema: from Introspection to Retrospection." CineAction. 24-25 (1991): 30-37..
Markle, Robert et al. Woman as Goddess : Liberated Nudes by Robert Markle and Joyce Wieland. Toronto: Art Gallery of Ontario, 2003.
McKay, Marylin. "Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art." University of Toronto Quarterly  78.1 (2009): 361-362..
McLarty, L.M. "The Experimental Films of Joyce Wieland." Ciné-Tracts 1 (1982): 51-62..
National Gallery of Canada, et al. The Maquette for True Patriot Love by Joyce Wieland. Ottawa: National Gallery of Canada, 2006..
Newlands, Anne. Canadian Art: From its Beginnings to 2000 Richmond Hill: Firefly Books, 2000.
Newlands, Anne. Canadian Paintings, Prints and Drawings Buffalo, New York and Richmond Hill: Firefly Books, 2007.
Nicks, Joan. "Sex, Lies and Landscape: Meditations on Vertical Tableaux in The Far Shore and J.A. Martin, Photographe."  Canadian Journal of Film Studies 2. 2 (1993): 81-93.
Nowell, Iris. Joyce Wieland : A Life in Art. London, GB: ECW Press, 2001.
Osterweil, Ara. "Color Field Film: Post-Painterly Landscapes in Experimental Cinema."  The Palgrave Handbook of Experimental Cinema. Cham, SW.: Springer International Publishing, 2024. 425-451..
O’Brian, John. .“Anthem Lip-Sync.”  Journal of Canadian Art History 21.1–2 (2000): 140–51..
Parker, Odessa P. "Time Traveller: Joyce Wieland’s Multifaceted Portfolio will soon make stops in Montreal and Toronto." The Globe and Mail 22 Nov 2024.
Parpart, Lee. "Mining for Joyce Wieland: A Salt in the Park and Other Treasures." Point of View 32 (1997): 17-21.
Penley, Constance, and Janet Bergstrom. "The Avant-Garde Histories and Theories." Screen 19.3 (1978): 113-128..
Pinney, M. "Joyce Wieland Retrospective, Vancouver Art Gallery.”  Artscanada 25 (June 1968): 41..
Purvis, Matthew. John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism. (PhD). Ottawa: Carleton University, 2020.
Rabinovitz, L. “The Far Shore: Feminist Family Melodrama.” The Films of Joyce Wieland, edited by K. Elder. Toronto: Cinematheque Ontario, 1999:119–28..
Rabinovitz, Lauren. Points of Resistance: Women, Power and Politics in the New York Avant-Garde Cinema, 1943-71. Champaign, IL.: University of Illinois Press, 2003..
Rabinovitz, Lauren. “After the Avant-Garde: Joyce Wieland and the New Avant-Gardes in the 1970s.” Points of Resistance: Women, Power, and Politics in the New York Avant-Garde Cinema, 1943–1971. Champaign, IL:: University of Illinois Press, 1991: 184–215..
Raphael, S.. “An Artists Plan for Canada.” The Gazette 110 Jul 1971: 38..
Rasky, Frank. “Passionate Painter and Film-maker directs a Classical Romance.” Toronto Star 18 Sep 1976: 1..
Robertson, Kristy. "Rebellious Doilies and Subversive Stitches: Writing a Craftivist History." Extra/Ordinary : Craft and Contemporary Art. Duke University Press, 2011. Duke University Press, 2011: 184-203..
Scott, Jay. “Full Circle: True, Patriot Womanhood: the 30-year Passage of Joyce Wieland."  Canadian Art 4.1, (1987): 56-63..
Scott, Kitty. “Brian Jungen’s Wieland (2006) - Wieland (2006), de Brian Jungen.”  Journal of Canadian Art History / Annales d’histoire de l’art Canadien 41.1/2 (2020): 160–166..
Sloan, Johanne. Joyce Wieland: Life & Work. Toronto: Art Canada Institute , 2014.
http://www.aci-iac.ca/art-books/joyce-wieland/.
Sloan, Johanne. Joyce Wieland’s The Far Shore. Toronto: University of Toronto Press, 2010.
Sloan, Johanne. “Joyce Wieland and Michael Snow: Conceptual Landscape Art.” Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art, edited by John O’Brian. Kingston and Montreal: McGill-Queen’s University Press, 2007: 73-84..
Sloan, Johanne. “Joyce Wieland at the Border: Nationalism, the New Left, and the Question of Political Art in Canada, Circa 1971.”  Journal of Canadian Art History 26 (Fall 2005): 81–104..
Spires, Randi. “True Matriot Love: Joyce Wieland’s One-woman Show.”  Canadian Forum 67.771 (1987): 30-32..
Stanners, Sarah. "A Labour of Love–Passion Over Reason." Journal of Canadian Art History/Annales d'histoire de l'art Canadien  41.1/2 (2020): 39-59.
Taylor, Kate. "One Artist’s Marble is Another’s Mystery: In a Performance Piece that investigates Joyce Wieland’s Legacy, Hazel Meyer takes Inspiration from Stone Slabs the late Filmmaker left behind." The Globe and Mail 25 Jan 2020, R7.
Tippett, Maria. By a Lady. Toronto: Viking, 1992..
Vykoukal, Monika. “The Mouth Is about Language. Joyce Wieland in Close-Up.”  Artforum 3 (Summer 2019): 62–63..
Welch, Adam. "Brillo Boxes, Fluorescent Light, and the Front de libération du Québec: Brydon Smith at the National Gallery of Canada." National Gallery of Canada Review  11 (2020): 55-105..
Westell, A. “Canada’s Nationalists are taking a big Risk in being Anti-American.” Toronto Daily Star Toronto Daily Star 10 July 1971: 12.
Whyte, Murray. "The McMichael's Not-so Odd Couple: Pioneer of Feminist Art has Unique Kinship with Woodsy Painter Tom Thomson."  Toronto Star 23 July 2017, E2..
Wieland, Joyce.  The Complete Works of Joyce Wieland. Toronto: Canadian Filmakers Distribution Centre, 2011.
Wieland, Joyce. "True Patriot Love (A Canadian Love, Technology, Leadership and Art Story): A Movie by Joyce Wieland." Film Culture 52 (Spring 1971): 64-73..
Wieland, Joyce.   Quilts in Context: The Art of Joyce Wieland. Hamilton: McMaster University Art Gallery, 1990.
Wieland, Joyce, and Concordia Art Gallery.. Joyce Wieland : A Decade of Painting / Dix Ans de Peinture. Concordia Art Gallery / Galerie d’art Concordia, 1985.
Wieland, Joyce, et al. Joyce Wieland : Heart On. Edited by Anne Grace and Georgiana Uhlyarik. Fredericton: Goose Lane Editions, 2025.
Wilson, Peter. “Artist treats our Culture as Folklore and draws Fire.” T Toronto Daily 20 Oct 1971: 74..
Wlasenko, Olexander. About Face: Portraits and Other Pictures Oshawa: Robert McLaughlin Gallery, 2005..
Zemans, Joyce. "A Tale of Three Women: the Visual Arts in Canada/ a Current Account/ing." RACAR (Canada)  25.1-2 (1988): 103-122..
Zemans, Joyce, and Amy C. Wallace. “Where Are the Women? Updating the Account!”  RACAR: Canadian Art Review / Revue d’art Canadienne 38.1 (Mar. 2013): 1–29.
http://www.erudit.org/en/journals/racar/2013-v38-n1-racar05071/1066661ar.pdf.

Documents rédigés par l'artiste
Wieland, Joyce and National Gallery of Canada. True Patriot Love. Ottawa: National Gallery of Canada, 1971..

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