Tusa Shea

B.A. Visual Arts (UVic)
B.A. History in Art Honours (UVic)
M.A. (UVic)
Ph.D. (UVic)

Areas of research:

  • Modern Art
  • Social history of Modern Dance
  • History of Modern Design
  • New Media Art
  • Women in Art
  • Film Studies
  • Museum Studies

How have your History in Art studies helped you since you graduated?
My studies in History in Art provided me with a foundation of knowledge that has been helpful in my work as Program Coordinator for Cultural Resource Management Programs at the Division of Continuing Studies, UVic. In order to program courses I have to constantly keep up to date on emergent issues in the museum, gallery, and heritage fields; my background in art history and my facility with research enables me to stay informed and makes this one of the most rewarding aspects of my job.

Brief Biography
I completed a Doctor of Philosophy (PhD), History in Art, in 2012.

Dissertation Title:
“Autonomy as a Temporary Collective Experience:Anna Halprin’s Dance Events, Deweyan Aesthetics and the Emergence of Dialogical Art.”

Activities and Societies: Participant: Program in University Teaching, University of Victoria Volunteer: Victoria International Arts Symposium, October 27- 30, 2006 CURA Conference, Panel Discussion: April 29-May 1, 2005. Office of the Vice President Research Community Based Research Forum Participant: University of Victoria, April 23, 2005. Adjudicator: Picturing Knowledge: Visual Culture and the Humanities Conference, University of Victoria, May 2003.


“Anna Halprin’s Ten Myths: Mutual Creation and Non-totalizing Collectivity,” Anarchist Developments in Cultural Studies 1 no. 2 (December, 2011). Anarchist Developments in Cultural Studies 1 no. 2, December 2011

“Fabric of the Nations Art: Appropriation of First Nations Motifs ,” in Paula Birnbaum and Anna Novakov eds. Essays on Women’s: Artistic and Cultural Contributions 1919-1939. Edwin Mellon Press, 2009

“Barbara Caruso: A Painter’s Journey", The Malahat Review, no. 156 (Fall 2006):105-107, 2006

“Beyond Recollection: The Early Art Education of Emily Carr,”Journal of the British Columbia Historical Federation, 35, no. 4 (Fall 2002), 4-6.

Conference Paper
November 2011. “Anna Halprin’s Ten Myths: Mutual Creation and Non-totalizing Collectivity,” Imagining/Creating/Producing, Department of History in Art 7th Annual Faculty Research Symposium, University of Victoria, Nov. 18, 2011.

Conference Paper
2008. “Women’s Appropriation of First Nations Motifs,” Connections, Canadian Women Artists History Initiative Inaugural Conference, Concordia University, Montreal, Oct. 4, 2008.

Conference Paper
2008. “Patterning to the Authentic Design,” Certified Authentic? Counterfeits, Copies, & Constructions of Culture, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York City, NY, April 25, 2008.

Conference Paper
2007. “ ‘A Gentle Industrial Age’: the Vancouver Island Hand Weaving Industry,” Working Girls: Women’s Cultural Production During the Interwar Years, Interdisciplinary Symposium hosted by St. Mary’s College of California and the University of San Francisco, CA, Oct. 19-20th, 2007.

Conference Paper
2006. “Martha Harris and the Vancouver Island Hand Weaving Industry,” Women & the Visual Arts in British Columbia’s History, Women’s History Network of British Columbia Fall Conference, Victoria, BC, St. Ann’s Academy, Sept. 30, 2006.

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