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Judith Anderson: Work
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Judith Anderson is a graduate student at the University of Manitoba; she is currently researching gender and sexuality in medieval and early modern drama. Although it often feels like it, she has not always been a student. She has written, directed, and produced Fringe plays in addition to taking any and all theatre-related work she can find. In between BA programs at the University of Oxford and the University of Winnipeg, Judith has done some apprenticing in stage management and directing. In past lives, Judith has been a DJ, a hockey goalie, and a spoken-word performer, and when she grows up she'd like to combine all of this into a very strange one-woman show.
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Judith Anderson is a lawyer at Harris & Company a law firm in Vancouver. She represents employers and works for school boards and independent schools on a wide variety of labour and education matters, and has given workshops and presentations on legal issues across Canada. She is currently on the Editorial Board of the Education and Law Journal, publishes the School Law Commentary, and is an adjunct professor at Simon Fraser University where she teaches graduate-level courses in education and the law. Judith is a member of the law societies of Alberta, Yukon, and British Columbia, and is a member of the Education Law Association.
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Judith Anderson is a member of the National Association of Women Artists and has exhibited widely in national juried shows and invitational shows. Her work is in the Archives on Women Artists slide registry of the National Museum for Women in the Arts in Washington, D.C. Anderson's prints have been published in a number of books and periodicals and in Bill Moyers' PBS program (and video) Spirit and Nature. Her work is in numerous private and public collections, and she is represented by the R. Michelson Galleries, Northampton and Amherst, MA and by In Her Image Gallery, Portland, OR.
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Judith O. Anderson lives on 20 acres at the end of a dead end road in St. Clair County. She recently obtained her first Confederate Rose plant and points with pride when it blooms, but as much as she loves flowers, she is more famous as a "seed undertaker" than gardener. She is more successful as a grandmother and wife and mother, and to fill out her life, she works with her husband in a non-profit organization.
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[F]or feminism, Anderson's work might have remained obscure: the strong and skillful work of a suburban faculty wife, known only by a regional audience and in the national community of printmakers. Feminism changed her subject matter, her audience and her life. Her marriage failed, after nineteen years, in 1978 (a circumstance with which neither the church nor the Great Mother had much to do); within two years she had moved from the church to the women's movement and the lesbian community, from the church choir to a small and uproarious feminist singing group that experimented with rituals, from using lines from the Psalms as titles to making a series of erotic-fantastical ink drawings for the group's songbook. In the university library, where she took a clerical job, her prankish sensibility and irreverence for hierarchy kept her and her co-workers sane (among other things, she once set a page of the departmental procedural manual to Anglican chant for an office party). She became for almost twenty years a fixed star of the women artists' community in Lansing. Her work was published in books and journals, including ElinorW.
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Eventually realizing that age was creeping up on her, Anderson began moving out of regular porn acting and into the production aspects of the industry. During the 1980s, she worked as a producer and is credited with having discovered Nina Hartley, who herself ... started in porn at a later age than most actresses. Currently, she is semi-retired, but has made occasional cameo appearances on TV and in non-porn films.
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