2012—Study Day Participants
Janice Anderson completed her M.A. (1995, Art History) and her Ph.D. (2002, SIP) at Concordia University. She has worked since 2000 as the Faculty of Fine Arts Visual Resources Curator. In 2000 she curated, with Dr. Brian Foss, the exhibition Quiet Harmony: The Art of Mary Hiester Reid for the Art Gallery of Ontario. She is an Affiliate in the Art History Department and has taught a variety of courses, including Feminism and Art History and a graduate seminar in pedagogy. In conjunction with Kristina Huneault, Concordia Research Chair, Department of Art History, she co-founded the Canadian Women Artists History Initiative. The Initiative has developed a Documentation Centre devoted to Canadian women artists born before 1925, and several online research tools. The Initiative held an inaugural conference in 2008 and published a collection of essays, Rethinking Professionalism: Essays on Women and Art in Canada in 2012. A second conference took place in May 2012 and a publication is forthcoming.
Sara Angel is a Trudeau Doctoral Scholar at the University of Toronto in the Department of Art. Her academic writing has appeared in the Journal of Canadian Art History and Leonardo, the Journal of the International Society for the Arts, Sciences and Technology. Angel is also the founding director of the Art Canada Institute/Institut de l'art du Canada, a research organization based at Massey College, dedicated to the education and promotion of Canadian art history. She is one of Canada's leading visual arts journalists, and writes frequently on contemporary visual culture for publications including Maclean's, Canadian Art, The Walrus, and The Globe and Mail. Angel has been a guest lecturer at Harvard University, the University of Toronto, Ryerson University, the Royal Ontario Museum, and the Art Gallery of Ontario. The Trudeau Foundation and SSHRC support her academic research.
Guylaine Beaudry is Director, Webster Library at Concordia University. She was previously Director of the Digital Publishing Centre at Université de Montréal and Executive Director of Érudit, a publishing platform for humanities and social sciences scholarly books and journals. She wrote many publications on scholarly publishing, notably, the books La communication scientifique et le numérique, published by Hermès/Lavoisier (Paris), Le nouveau monde numérique et les revues scientifiques published by Les Presses de l'Université de Montréal and La Découverte (Paris, France), that was translated and published by University of Calgary Press (Scholarly Journals in the New Digital World) and Profession : bibliothécaire published in 2012 by Les Presses de l'Université de Montréal. She holds a doctorate in history of the book from École pratique des hautes études (Paris). Her thesis is entitled "Scholarly communications and the digital revolution: Analysis of a mutation period in a historical perspective".
Mark A. Cheetham is the author and editor of a dozen books on art theory, art, and visual culture from c. 1700 to the present and is active as a curator. His book Artwriting, Nation, and Cosmopolitanism in Britain: The "Englishness" of English Art Theory was published in 2012. He is the recipient of a John Simon Guggenheim Memorial Fellowship, a Sterling & Francine Clark Art Institute Fellowship, as well as several SSHRC research grants, the Edward G. Pleva Award for Excellence in Teaching (Western University), and the Northrop Frye Award for teaching (University of Toronto). In 2006, he received the Art Journal Award from the College Art Association of America for "Matting the Monochrome: Malevich, Klein, & Now." His co-curated exhibit Jack Chambers: The Light From the Darkness / Silver Paintings and Film won an exhibition of the year award from the Ontario Assoc. of Art Galleries in 2011. Cheetham teaches art history at the University of Toronto.
Mark Clintberg is an art historian, artist based in Montreal. He is currently a Ph.D. student in the Inter-University Doctoral Program in Art History at Concordia University. He earned his M.A. at Concordia University (2008), and his B.F.A. from the Alberta College of Art & Design. His research interests as an art historian include artists' restaurants, collaborative practices, public art, and the unique challenges offered to collecting institutions by ephemeral and performative practices. He has held positions at the Art Gallery of Calgary, the Rubell Family Collection (Miami), and Artcity (Calgary). Publications that have featured his work include The Domestic Queens Project, (Montreal: FOFA Gallery, 2011), The Edmonton Journal, Canadian Art, Border Crossings, The Art Newspaper, and The Fillip Review. Public and private collections across Canada and in the United States, including the National Gallery of Canada and the Alberta Foundation for the Arts, have acquired his work.
Sherry Farrell Racette is an interdisciplinary scholar with an active artistic and curatorial practice. Her scholarly interests merge history, women's and gender studies, with contemporary and traditional First Nations and Métis art criticism and history. Recent essays include Nimble Fingers, Strong Backs: First Nations and Metis Women in Fur Trade and Rural Economies (Williams 2012), "I Want to Call Their Names in Resistance": Writing Aboriginal Women in to Canadian Art History (Hunault and Anderson 2011). Her paintings and textile works have been exhibited widely, and she has illustrated nine books for children and young adults. Racette has a PhD and BFA from the University of Manitoba where she is currently teaching in the Departments of Native Studies and Women and Gender Studies. She also has an MEd in curriculum and instruction from the University of Regina and was the 2009–10 Anne Ray Fellow at the School for Advanced Research.
Earning his PhD from the University of London in 1991, Brian Foss was a faculty member in Concordia's Department of Art History from 1988 to 2009, and is now Professor of Art History and Director of the School for Studies in Art and Culture at Carleton University. He specializes in Canadian art, twentieth-century British art, war and art, and intersections between art and nationhood. He has curated or written for several exhibitions of historical and contemporary Canadian art, including work by Mary Hiester Reid (co-curator, Art Gallery of Ontario, 2000) and Edwin Holgate (co-curator, Montreal Museum of Fine Arts, 2005), and is currently co-curating for the MMFA a major exhibition on the Beaver Hall Group and modernist art in Montreal during the 1920s. Foss's monograph War Paint: Art, War, State and Identity in Britain 1939–45 (Yale University Press, 2007) was one of five books shortlisted for that year's international William M.B. Berger Prize for British Art History. The Visual Arts in Canada: The Twentieth Century, co-edited with Anne Whitelaw and Sandra Paikowsky, was published first in hardcover in 2010 (Oxford University Press) and in paperback the next year. Since 2001 Foss has been a co-editor of RACAR, and is currently chair of the Advisory Board of the Journal of Canadian Art History.
Sylvie Gilbert is currently Head of the Visual Arts Section at the Canada Council for the Arts. She was director of Artexte, in Montreal from 2009 to 2013 where she lead the establishment of the digital repository e-artexte and a new exhibition programs inspired by Artexte holdings. She was Senior Curator at the Walter Phillips Gallery and the Banff International Curatorial Institute at the Banff Centre, the Director/Curator of the Lianne and Danny Taran Gallery at the Saidye Bronfman Centre for the Arts in Montreal. Gilbert acted as the Canadian Commissioner for Catherine Richards for the Sydney Biennale (2004). She has curated numerous exhibitions, edited various publications and organized many symposia over the years.
Dominic Hardy est professeur, historiographie et histoire de l'art au Québec/Canada avant 1900 à l'Université du Québec à Montréal. Il dirige les activités de deux équipes de recherche. la première, Caricature et satire graphique à Montréal (UQAM) mène le premier inventaire et la première analyse systématiques de la satire graphique au Québec depuis la période coloniale jusqu'à la Révolution tranquille. La deuxième est l'Équipe de recherche sur l'histoire de l'art au Québec. Les membres de l'équipe, en provenance de l'UQAM, de l'Université de Montréal et de l'Université Laval, prépare le premier projet de synthèse sur l'histoire de l'art au Québec (des débuts jusqu'en 1960).
Kristina Huneault is an associate professor at Concordia University, where she holds a research chair in Art History. Her published writings focus on aspects of subjectivity, gender, and colonial identity in art by and about women. She is the author of Difficult Subjects: Working Women and Visual Culture, Britain 1880–1914 and editor of a forthcoming volume of essays entitled Rethinking Professionalism: Essays on Women and Art in Canada, 1850–1970. Kristina Huneault is a founder of the Canadian Women Artists History Initiative and the winner of the 2010 Marion Dewar Prize for Canadian Women's History.
Heather Igloliorte is an Assistant Professor in Concordia's Department of Art History. Her teaching and research interests include the global exhibition of Indigenous arts, circumpolar Inuit arts and cultural history, and contemporary Native North American art. Igloliorte has recently contributed to Inuit Modern (2010); Curating Difficult Knowledge (2011); Manifestations: New Native Art Criticism (2011); and Changing Hands: Art Without Reservation 3 (2012). As an independent curator and museum consultant Igloliorte brings an interdisciplinary perspective and collaborative approach to the classroom and the gallery. Her most recent curatorial project, Decolonize Me (Ottawa Art Gallery, 2011) will be touring Canada through 2015. She was a Research Fellow at the Canadian Museum of Civilization in 2010 - 2011, and is currently an affiliate of the Jarislowsky Institute as well as Concordia's CEREV curatorial studies lab.
Bill Kirby is the founder of the Centre for Contemporary Canadian Art and creator of the CCCA Canadian Art Database. He is the former Head of the Canada Council Art Bank; a former Director of the Edmonton Art Gallery; and a former Curator of Contemporary Art at the Winnipeg Art Gallery. He has been Professor of Contemporary Canadian Art and Director of Gallery 1.1.1., at the School of Art, University of Manitoba; a lecturer in the School of Image Arts at Ryerson University; and Visiting Assistant Professor in the Department of Visual Art at York University. Over the past many years, he has advised and served on the Boards of a number of arts organizations. He was a member of the Acquisition Committee of the Portrait Gallery of Canada and is a recipient of the Royal Canadian Academy of Arts Medal for distinguished contributions to the visual arts in Canada.
Martha Langford is the Research Chair and Director of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and a professor of Art History at Concordia University in Montreal. The author of numerous articles on photography and contemporary art, Dr. Langford has published the following titles with McGill-Queen's University Press: Suspended Conversations: The Afterlife of Memory in Photographic Albums (2001); Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art (2007); A Cold War Tourist and His Camera, co-written with John Langford (2011); and an edited collection, Image & Imagination (2005). She is a contributing editor for Border Crossings (Winnipeg), Exit (Madrid); Photography & Culture (London); and Ciel variable (Montreal), and a regular book reviewer for Source (Belfast). She is also Editor-in-Chief of the Journal of Canadian Art History/Annales d'histoire de l'art canadien and Co-Editor (with Sandra Paikowsky) of the MQUP/Beaverbrook Foundation Series on Canadian Art History.
Loren Lerner is a professor of art history at Concordia University. In 2005, Lerner curated Picturing Her: Images of Girlhood at the McCord Museum, a project that led to her editorship of Depicting Canada's Children (Wilfrid Laurier University Press, 2009). Lerner's interest in Canadian art publications, first manifested in Art and Architecture in Canada: A Bibliography and Guide to the Literature (University of Toronto Press, 1991), more recently inspired her article on William Notman's Photographic Selections (1863), analysing this compilation as the first history of art book published in Canada. This article was published in Journal of Canadian Art History/Annales d'histoire de l'art canadien (JCAH/AHAC, Vol. XXXIII:1) in 2013. Research on the intersections of art and religion resulted in her guest editorship, in 2012, of a special issue on contemporary art and religion for JCAH/AHAC (Vol. XXXIII:2). A pedagogical commitment to student web publishing has guided Lerner's teaching and the development of websites such as Picturing Children and Youth: A Canadian Perspective and Canada's Got Treasures in 2010 and Canadian Portraits in 2012.
Dr. Alice Ming Wai Jim is a contemporary art historian and curator based in Montreal. She is currently Associate Professor of Contemporary Art at Concordia University where she teaches courses on contemporary art, media arts, ethnocultural art histories, global art histories, international art exhibitions and curatorial studies. Her main fields of research are in contemporary Asian art and Asian Canadian art with a particular interest in media arts and the relationship between remix culture and place identity from a global perspective. Jim was Curator of the Vancouver International Centre for Contemporary Asian Art (Centre A) from 2003 to 2006. Current research projects include essays on dOCUMENTA (13) and human rights art in China, a book on the representation of Hong Kong in urban-themed international art exhibitions, and a study of recent contemporary Chinese art exhibitions in relation to transnational urbanism, participatory media and issues of cultural representation.
Erin Morton teaches in the Department of History at the University of New Brunswick in Fredericton, Canada. Her research broadly examines categories and experiences of art and culture as being determined by and determining liberal capitalist modernity. She has published widely on historical and contemporary visual and material culture in Canada and the United States in such collections as Global Indigenous Media (Duke University Press, 2008) and journals as Utopian Studies and the Journal of Canadian Art History. She is currently working on two books, the single-authored monograph Historical Presenting: Placing Folk Art in Late Twentieth-Century Nova Scotia, and the co-edited volume, Negotiations in a Vacant Lot: Studying the Visual in Canada.
John O'Brian joined the University of British Columbia in 1987, where he is Professor of Art History and Faculty Associate of the Peter Wall Institute for Advanced Studies. He has published primarily on modern art history, theory and criticism, producing more than a dozen books and seventy articles. His current research is on nuclear photography in North America and Japan. He is preparing an exhibition for the Art Gallery of Ontario called "Camera Atomica," and a related book, Atomic Postcards: Radioactive Messages from the Cold War, co-authored with Jeremy Borsos, was published in 2011. His other books include: Beyond Wilderness, edited with Peter White; Ruthless Hedonism; and David Milne and the Modern Tradition of Painting. He is also the editor of the four-volume edition of Clement Greenberg: The Collected Essays and Criticism. The volumes were named to The New York Times list of "best" books of the year, and have received hundreds of scholarly citations.
Pablo Rodriguez is a PhD student in the Department of Art History at Concordia University. His research interests include photographic history, contemporary art, and cultural theory. A graduate of Concordia's MA program, Pablo wrote a thesis about the work of Raphaëlle de Groot, and is now starting a dissertation on the photographic culture of Canadian art magazines in the 1970s and 1980s.
Lora Senechal Carney is an art historian who studies primary source material on Canadian art 1930–1960 to explore concepts of the modern in relation to rapidly changing historical, social, and political backgrounds. This is the subject of her chapter in Visual Art in Canada (Oxford University Press 2010), of a chapter in a book in preparation on graphic satire in Canada, and of a book manuscript. Her other major field of research is contemporary North American public art, in particular, collaborative projects. She is a co-editor of RACAR.
Erin Silver is a PhD candidate in Art History and Gender & Women's Studies at McGill University. Her dissertation focuses on the historiography of North American feminist and queer art, framed by key feminist and queer alternative art institutions and spaces, from 1970 to the present. Silver has curated several exhibitions, including inter–, the fifteenth edition of Concordia University's HIV/AIDS exhibition, in 2009, and Coming through the Fog: les rencontres de Matthieu Brouillard et de Donigan Cumming in 2012. She has worked as curatorial assistant to the Artistic Director of Le Mois de la Photo à Montréal, and sat on the Board of Directors of Montreal's La Centrale Galerie Powerhouse, Canada's oldest feminist artist-run centre, from 2009 to 2010. Silver has taught art history at Concordia University and at the University of Guelph. Her writing has been published in C Magazine, Ciel Variable, Fuse Magazine, and No More Potlucks.
Johanne Sloan, Deputy-Director of the Gail and Stephen A. Jarislowsky Institute, has a BFA from Concordia University, an MA from the Université de Montréal, and a PhD in the History and Theory of Art from the University of Kent, England (1998). Her recent book on Joyce Wieland's 1976 feature film The Far Shore is the culmination of a major research project on the artist, and concerns the question of how landscape was both critiqued and reinvented by this generation of Canadian artists. Other recent publications and conference papers address the artwork of Roni Horn, Mark Dion, Bill Vazan, Ron Terada, Lynne Marsh, Jack Chambers, Janet Werner, Althea Thauberger amongst others. Dr. Sloan is also interested in broader categories of visual culture and the urban environment, and these issues converged in the multi-authored book of essays about the world's fair held in Montreal during the summer of 1967: Expo 67: Not just a souvenir (University of Toronto Press, 2010).
Karen Stanworth is an associate professor, joint-appointed to the faculties of Fine Arts and Education at York University in Toronto, Canada. She has just completed a manuscript on visual culture in the Canadas, entitled Visibly Canadian, which examines the imaging and imagining of social identities through art and popular visual practices in 19th century Quebec and Ontario. Her current research project focuses on representations of bawdy bodies in 20th century Canadian art and popular visual culture, such as the research on nudes by artist, John Wentworth Russell. Throughout, she continues to develop an interdisciplinary methodology that focuses on the relationship between the subject, object and archive of research. Karen has recently returned to curatorial work with her project: Public Sins/Private Desires: Tracing lesbian lives in the archives, 1950–1980, which was mounted at the Canadian Lesbian and Gay Archives, in summer 2012.
Kate Steinmann is Director of Publications and Senior Editor at the Museum of Contemporary Art Chicago. She is also an award-winning art writer and is Associate Editor at two Canadian contemporary art–focused magazines, Fillip and Yishu, both based in Vancouver. Steinmann has worked in the field of museum publishing for over a decade. She began her career as an editor in the Publications Department of the Art Institute of Chicago and has worked independently for a range of art institutions and art books publishers in Canada, the United States, and Europe. Steinmann has a B.A. in art history from Trinity College, University of Toronto, and an M.A. in art history from the University of British Columbia (UBC), Vancouver. She is currently ABD in her doctoral work in art history at UBC, where she is writing a dissertation on contemporary art, photography, and biopolitics under the supervision of Professor John O'Brian.
Carla Taunton is an Assistant Professor of Indigenous arts and visual culture at NSCAD University. She completed her PhD in Indigenous Visual Culture at Queen's University in the Department of Art and received the Governor General Gold Medal in 2011. Her dissertation, Performing Resistance/Negotiating Sovereignty: Indigenous Women's Performance Art in Canada explores Indigenous performance art as acts of resistance and self-determination that participate in the project of decolonization. In this work, contemporary Aboriginal women's performance art is argued as being connected to a history of Indigenous performative interventions throughout colonization in Canada. Committed to anti-colonial and anti-racist pedagogy Dr. Taunton's research investigates arts-based approaches and methodological strategies of decolonization. She is an alliance member of the Aboriginal Curatorial Collective, and an independent curator. One of her recent collaborative curatorial projects, ‘Acting Out/Claiming Space: Aboriginal Performance Art as Resistance' was co-curated with Daina Warren, (Spring 2010) in Kingston, Ontario.
Michèle Thériault is a curator, writer and editor who is currently director of the Leonard and Bina Art Gallery at Concordia University in Montréal. She is interested in translational issues in art, reflexive frameworks, knowledge in art and in the site of exhibition. As director of the Ellen Art Gallery she has developed a program that reflects critically upon contemporary artistic production and curatorial activity sometimes in relation to the recent history of contemporary art. She has curated many exhibitions with Canadian and international artists such as Timelength (2004); Claude Tousignant. 3 paintings, 1 sculpture, 3 spaces (2005); Walid Raad, The Atlas Group (2006); the first exhibition in North American of Harun Farocki's installations (2007); Silvia Kolbowski. Nothing and Everything (2009), Kent Monkman: My Treaty is With the Crown (2011). She also co-curated Traffic, Conceptual Art in Canada, 1965–1980 (2010–2013). She is the editor of numerous publications and the author of many essays.
Sarah Watson is an arts educator and curator living in Montreal. She is currently a doctoral student in Art History at Concordia University and her research is supervised by Martha Langford. Her current research examines the relationship between performance art and photographic documentation. Some recent curatorial projects include a performance and workshop of Yvonne Rainer's work Trio A for VIVA! Art Action in Montreal (2011) and Living Time, a pedagogical project and exhibition comprised of the selected archives of Tehching Hsieh's One Year Performances and the filmed performances of Guido van der Werve at DHC / ART in Montreal (2009). From 1996 to 2009 Watson taught art history at the Univeristià degli Studi in Bologna on a periodic basis and created and oversaw education and public programs for arts institutions in Europe and Canada. She currently oversees Public Programs and the Artist-in-Residence Programme at the McCord Museum in Montreal.
Anne Whitelaw is associate professor of Canadian art in the Department of Art History at Concordia University in Montreal. Her teaching interests lie in the history of visual culture in Canada, theories of museums and exhibitions and the history of advertising. Her research examines the intersections of art historiography and cultural institutions in Canada, with a particular focus on practices of exhibition and collecting as a means of understanding the formation of nationhood. Whitelaw has published extensively on the display of Canadian art at the National Gallery of Canada, on the integration of Aboriginal art in national museums; and on Canadian art historiography. She is co-editor with Brian Foss and Sandra Paikowsky of The Visual Arts in Canada: The Twentieth Century (Oxford University Press). Whitelaw's current research includes a book on the relationship between federal cultural institutions and art galleries in Western Canada, and an exploration of the work of women's volunteer committees in North American museums.