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

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From around the 4th dynasty onward, Wadjet was claimed as the patron goddess and protector of the whole of Lower Egypt and became associated with Nekhbet, depicted as a white vulture, who held unified Egypt. After the unification the image of Nekhbet joined Wadjet on the crown, thereafter shown as part of the uraeus. The religious epithet for these patron deities of the entire county was, "nebty (' Two Ladies')". [8] Her image also rears up from the staff of the "flagpoles" that are used to indicate deities, as seen in the hieroglyph for "uraeus" and for "goddess" in other places. As we wrestle with climate change, energy crises and the threat of new global conflict, Conway shows why these substances matter more than ever before, and how the hidden battle to control them will shape our geopolitical future. This is the story of civilisation - our ambitions and glory, innovations and appetites - from a new perspective: literally from the ground up.

In 2008 Jo was Associate Scholar at the Canadian Centre for Architecture, Montreal, and in 2012 she was the recipient of a Philip Leverhulme Prize. In 2016 she was Visiting Scholar at the University of Cambridge Centre for Gender Studies, a Fellow of Corpus Christi College, and Senior Scholar at the Terra Foundation Summer Residency in Giverny. In spring 2022 she was invited professor at Université Paris 1, Panthéon-Sorbonne. London Art Worlds: Mobile, Contingent, and Ephemeral Networks 1960-1980, eds. Jo Applin, Catherine Spencer and Amy Tobin (University Park: Penn State University Press, 2018). H.C. Westermann’s Complex Present’ in H.C. Westermann: Goin’ Home, ed. Beatriz Velázquez (Madrid: Museo Nacional Centro de Arte Reina Sofia, 2019), 51-76.I’m Here but Nothing: Yayoi Kusama’s Environments’ in Yayoi Kusama, ed. Frances Morris (London: Tate Publishing, 2012), 176-186. Optical Noise: The Sound of Sculpture in the 1960s’ in Art or Sound, eds. Chiara Costa and Germano Celant (Venice: Fondazione Prada, 2014), 207-214. Yayoi Kusama: Without Beginning, Middle, or End’ in Traumata, ed. Emma Baker (London: Sothebys S/2, 2017), 66-80.

Eccentric Abstraction’, ‘Eva Hesse’, and ‘Louise Bourgeois’, entries for Elles font l’abstraction (Paris: Centre Pompidou, 2021), 236-240. Conceptual Devices: Anj Smith’s Painted Worlds’ in Anj Smith, ed. Sarianne Soikkonen (Tampere, Finland: Sara Hildén Museum, 2018), 12-21. a b c d e f Bianchi, Robert Steven (2022). "A Bronze Reliquary for an Ichneumon Dedicated to the Egyptian Goddess Wadjet". Arts. 11 (1): 21. doi: 10.3390/arts11010021. ISSN 2076-0752. Yayoi Kusama: Infinity Mirror Room-Phalli’s Field (London and Cambridge, Mass: Afterall and MIT Press, 2012)In the relief shown in the gallery, which is on the wall of the Mortuary Temple of Hatshepsut at Luxor, there are two images of Wadjet: one of her as the Uraeus with her head through an ankh and another where she precedes a Horus hawk wearing the pschent, representing the pharaoh whom she protects.