Dr. Annmarie Adams is William C. Macdonald Professor at the School of Architecture, McGill University, Montreal. She is the author of Architecture in the Family Way: Doctors, Houses, and Women, 1870-1900 (McGill-Queens University Press, 1996), Medicine by Design: The Architect and the Modern Hospital, 1893-1943 (University of Minnesota Press, 2008) and co-author of Designing Women: Gender and the Architectural Profession (University of Toronto Press, 2000). Focusing on the cultural landscapes of houses and hospitals, she is particularly interested in the intersections of architecture and medicine. She is currently working on a spatial biography of physician Maude Abbott, a study of interwar operating rooms, and depictions of longterm care in film. She is co-authoring a paper on Pierre Trudeau’s domestic environment in retirement. This semester, Adams will give lectures/presentations at the Association of Architecture School Librarians (AASL) conference in Toronto, Cornell University, the University of Pennsylvania, and the British Association for Canadian Studies (BACS) conference in London. Her research has garnered numerous awards, including the Jason Hannah Medal from the Royal Society of Canada, a CIHR Health Career Award, and a YWCA Woman of Distinction prize. She is a Mentor in the University of Toronto’s CIHR-training program, Heath Care Technology and Place (HCTP) and has held research funds from CIHR, the Hannah Institute for the History of Medicine, SSHRC, Heritage Canada, and the Australian Research Council. She is a board member of the Vernacular Architecture Forum, Winterthur Portfolio, and the Royal Architectural Institute of Canada. At McGill University she is involved in a project to revive the university’s medical museum, another to host a conference on the McGill superhospital, and is a devotee of the Osler Library. Adams’ current post-professional Masters and PhD students are working on a range of topics regarding the social and cultural power of architecture: Forillon National Park, the legacy of Olmsted’s plan for Montreal’s evolution, modernist dollhouses, women in German bunkers, Montreal’s bridges, the domestic spaces of women artists, demolition in Montreal, housing in Nunavut, and women’s occupation of public space in Mexico City/New York/Montreal. Professional Masters advisees are designing a new circus school for Montreal, bringing new life to the Shriners’ hospital, and testing the limits of functional zoning in Manhattan.
Janice Anderson, Associate Member
Janice Anderson completed her MA (1995, Art History) and her PhD (2002, SIP) at Concordia University. She worked from 2000 to 2014 as the Faculty of Fine Arts Visual Resources Curator in the Digital Image and Slide Collection, retiring in 2014. 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, A History of Women Artists, and Beyond Disney: Popular Culture in Print. She also teaches a graduate seminar in pedagogy. In conjunction with Melinda Reinhart, Fine Arts Librarian, Concordia University, and 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 the resulting publication was a special issue of the Journal of Canadian Art History, 34:2 (2013). In May 2015 the third conference took place in Kingston, Ontario, as a collaborative project between Concordia University, Queen’s University and the Agnes Etherington Art Centre with the accompanying publication, The Artist Herself, authored by many of the conference speakers.
Carolyn Butler Palmer is Associate Professor and Williams Legacy Chair in the Department of Art History and Visual Studies at the University of Victoria. The Williams Chair is also endowed in recognition of the Legacy Gallery at the University of Victoria in the area of modern and contemporary art of the Pacific Northwest. Dr. Butler Palmer’s program of research emerges at the intersections between visual histories and issues in human rights, and especially the rights of Indigenous people. Questions about looking relations and the politicization of aesthetic relations significantly inform her research, as does challenging assumptions about the production of art historical knowledge and processes of knowledge mobilization. She is particularly interested in dark heritage and the preservation of intangible value systems with respect to the arts of the Pacific Northwest. Much of her research is intended to nourish the needs of community members. Dr. Butler Palmer has recently published articles in the Journal of Canadian Art History and the Journal of the Surrealism in the Americas. She is currently working on a book manuscript “From Ellen Newman Neel to Ellen Neel Newman: A Portrait of a Kwagiutl Family of Artists, 1916-2016.” This book project focuses on Ellen Neel (1916-1966), who is usually credited with being the first woman carver, and subsequent generations of artists that descend from her eldest son David Neel, Sr. (1937-1961). Dr. Butler Palmer’s academic affiliation with the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, a research space and home of the Journal of Canadian Art History, plays a vital link between her program of research in the arts of the Pacific Northwest and art historical debates across Canada.
Elizabeth Anne Cavaliere received her PhD from the Interuniversity Doctoral Program in Art History at Concordia University (2016). She received a BA in Art History from Mount Allison University (2007) followed by an MA in Art History from York University (2009). Her research interests center on the Canadian photographic landscape and the possibility of a Canadian national aesthetic therein and looks towards topographical survey photographs of the 19th century as markers of an early Canadian identity and aesthetic in landscape photography. Her dissertation, “Mediated Landscape/Mediating Photographs: Surveying the Landscape in Nineteenth-century Canadian Topographical Photography,” reclaims the images produced by four survey photographers for the collective imaginary by considering photographs as both mediated and mediating in their ability to bridge and accommodate a nexus of antithetical readings – maker and viewer, authorial intent and discursive function, art and document, subjective and objective, land and landscape. Her interest in interdisciplinary approaches to Canadian art, photograph, and history is reflected in her published writing. For example her examination of photographic histories of the city and the self-identification of its citizens therein in the Journal of Canadian Studies (2016); and examining the ways in which Americans and Canadians were instructed to learn about Canada through tourist books in Histoire Sociale/Social History (2016). Her research is also published in Imaginations: Journal of Cross-Cultural Image Studies (2017), in RACAR: Revue d’art Canadienne/Canadian Art Review (2016), and in the Journal of Canadian Art History (2014). She is an active member of the University Art Association of Canada, the Nineteenth Century Studies Association, the Network in Canadian History and Environment, and the American Society for Environmental History. In 2012 Elizabeth was awarded a Lisette Model/Joseph G. Blum Fellowship in the History of Photography to pursue her research at the National Gallery of Canada. In 2015 her dissertation was awarded the Michel de la Chenelière Prize by the Montreal Museum of Fine Arts. In 2017 she was a Jarislowsky Foundation Post-Doctoral Fellow at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art.
Cynthia Cooper is Head, Collections and Research, and Curator, Costume and Textiles, at the McCord Museum in Montreal, where she oversees the largest museum collection of Canadian dress, consisting of 18,000 items, including a few Red River coats. She holds a M.S. in Historic Costume and Textiles from the University of Rhode Island. She received the Richard Martin Exhibition Award from the Costume Society of America in 2009 for the McCord exhibition Reveal or Conceal? and in 2004 as a member of the curatorial team of Clothes Make the man. She has taught courses on the intersections between fashion and art, and on fashion history in Concordia University’s Faculty of Fine Arts and Department of Art History. She is the author of Magnificent Entertainments: Fancy Dress Balls of Canada’s Governors General (Fredericton: Goose Lane Editions, 1997) and has contributed to other books including The Berg Encyclopedia of World Dress and Fashion (Joanne B. Eicher, ed., Oxford: Berg, 2010), The Fashion Reader (Linda Welters and Abby Lillethun, eds., Oxford: Berg, 2011), and Fashion: A Canadian Perspective (Alexandra Palmer, ed., Toronto: UTP, 2004).
Mark Clintberg is an artist who works in the field of art history. He is an Assistant Professor in the School of Critical and Creative Studies at the Alberta College of Art + Design. He earned his PhD in Art History at Concordia University in 2013, where he was also an Assistant Professor, LTA. His doctoral dissertation, The Artist’s Restaurant: Taste and the Performative Still Life, was nominated for the 2013 Governor-General's Gold Medal. His research investigates the critical potential of sensory engagement in institutional settings, ephemeral art practices, public art, and the personal, affective outcomes of academic research on contemporary artworks. His recent conference papers and publications have focused on the art practices of Felix Gonzalez-Torres, Daniel Spoerri, Joyce Wieland, Allyson Mitchell, and Geoffrey Farmer, and exhibition sites as diverse as the V&A Café (Victoria & Albert Museum, London), the restaurant FRANK (Art Gallery of Ontario, Toronto) and the Fogo Island Inn (Joe Batt’s Arm, Newfoundland). He completed his M.A. at Concordia University (2008), his B.F.A. at the Alberta College of Art & Design (2001), and was an exchange student at the Nova Scotia College of Art & Design (1999-2000). He was Shortlisted for the 2013 Sobey Art Award for the region Prairies and the North. His art practice is represented by Pierre François Ouellette art contemporain.
Brian Foss holds a MA from Concordia University and a doctorate from the University of London. From 1988 to 2009 he was a full-time faculty member in Concordia University’s Department of Art History, and also served as Associate Dean of Academic and Student Affairs in that university’s Faculty of Fine Arts (2002-2009). In 2009 he moved to Carleton University, where he is Professor of Art History, and the director of the School for Studies in Art and Culture. He has taught a wide variety of undergraduate and graduate courses, especially in Canadian art. Over the course of his teaching career he has supervised some forty MA theses as well as a dozen PhD dissertations. In 2003 he was the recipient of that year’s Distinguished Teaching Award from Concordia’s Faculty of Fine Arts. Foss’s two principal areas of research are Canadian art from c.1870 to c.1970, and Canadian and international war art. His 2007 monograph War Paint: Art, War, State and Identity in Britain, 1939-45 (Yale University Press) was one of six books short-listed for that year’s William M.B. Berger Prize for British Art History. However, most of his many essays, book chapters and exhibition catalogue essays have focused on Canadian art. He has also curated or co-curated a number of thematic as well as monographic exhibitions. Recent work includes major shows of the work of Mary Hiester Reid (co-organized with Janice Anderson for the Art Gallery of Ontario, 2000) and Edwin Holgate (with Rosalind Pepall for the Montreal Museum of Fine Arts, 2005), and a comprehensive exhibition devoted to the Beaver Hall Group and 1920s modernism in Montreal (with Jacques Des Rochers for the MMFA, 2015). From 1996 to 2011 Foss served as associate editor of the Journal of Canadian Art History/Annales d’histoire de l’art canadien, where since 2011 he has been the Chair of the Advisory Board. He has also been co-editor of RACAR: Revue d’art canadien/Canadian Art Review (2001-2012). From 1999 to 2002 he was the vice-president of the Universities Art Association of Canada, and was the winner of the 2013 UAAC Recognition Award.
Monika Kin Gagnon, Associate Member
Monika Kin Gagnon is a professor in the department of Communication Studies at Concordia University. She is a Montreal-born writer and critic of Japanese descent. She holds a PhD in Communication Studies from Simon Fraser University. Gagnon’s body of work focuses on the multimedia connections between race, ethnicity, and representation. Her first book, Other Conundrums: Race, Culture, and Canadian Art (Arsenal Pulp/Artspeak/KAG, 2000), was nominated for the Quebec Writers’ Federation First Book Award and the Kiriyama Pacific Rim Book Prize in 2001. Gagnon co-authored 13 Conversations About Art and Cultural Race Politics (Artexte Editions, 2002) with video artist Richard Fung. Her numerous essays have been widely published and anthologized, both in Canada and internationally. Recently, Gagnon co-edited ReImagining Cinema: Film at Expo 67, examining several Canadian films and Pavilions from Expo ‘67, including multi-screen Labyrinth, A Place to Stand, Polar Life, The Telephone Pavilion’s Canada 67 made in 360-degree Circlevision (produced by Disney), and The Christian Pavilion’s The Eighth Day. The SSHRC-funded collaboration between Concordia and York, with researcher Janine Marchessault, the book was published by McGill-Queen’s University Press in 2014.
Dominic Hardy s’est joint au département d’histoire de l’art en décembre 2008. Diplômé en histoire de l’art (PhD, Concordia), en études canadiennes interdisciplinaires (MA, Trent University) et en arts plastiques (BFA, Concordia), il est spécialiste de la caricature et de la circulation de l’image satirique au Québec (18e-20e siècles). Ses recherches portent sur l’analyse théorique de la caricature politique en relation aux principales collections publiques québécoises. Il a longtemps été impliqué dans l’éducation muséale, d’abord en Ontario à l’Art Gallery of Peterborough (1989-1998) et au Musée des beaux-arts du Canada (1998-99), et ensuite au Musée des beaux-arts de Montréal (1999-2008). Il a aussi enseigné à l’Université Concordia et à l’Université de Montréal.
Steven High, Associate Member
Steven High is an interdisciplinary historian with a strong interest in working-class studies, immigration and forced migration, and oral and public history. His research interests have focused on four principal areas. First, he has published extensively on the history of deindustrialization and the post-industrial transformation of North American cities. His first book, Industrial Sunset: the Making of North America’s Rust Belt (2003), won awards from the American Historical Association, the Canadian Sociology and Anthropology Association, and the Federation of the Humanities and Social Sciences. This was followed by Corporate Wasteland: The Landscape and Memory of Deindustrialization (2007). He and PhD student, Lachlan MacKinnon, have submitted an edited collection, Deindustrialization & Its Aftermath to UBC Press. He has also co-produced two audio walks of the post-industrial Lachine Canal and the Pointe-Saintt-Charles district of Montreal. Among his current projects, is the pan-Canadian On the Move Project (PI - Barb Neis) that is examining employment mobility. His second area of expertise focuses on oral accounts of mass violence. Steven High led Montreal Life Stories, a seven year long project (2005-12) funded by SSHRC’s CURA program that recorded the life stories of Montrealers displaced by mass violence. Steven High co-edited (with Ted Little and Thi Ry Duong), Remembering Mass Violence (UTP, 2013), edited Beyond Testimony and Trauma (UBC, 2015), and authored Oral History at the Crossroads (UBC, 2014). His third area of expertise relates to oral history methodology, ethics and digital technologies. As co-director of the Centre for Oral History and Digital Storytelling, he is part of a diverse interdisciplinary community-of-practice. He has published extensively in this field. He is currently finishing a book project with Liz Miller (communications) and Ted Little (theatre) on Going Public with research. He is currently active in several new projects examining the intersections of oral history and oral literature (Jason Camlot, PI; Spoken Web Project; and the mapcollab project with Julie-Anne Boudreau and David Austin. Finally, Steven High has published extensively on the socio-economic and military history of World War II. He has written extensively on the wartime experience of the “base colonies” of Newfoundland, Bermuda, Trinidad, Guyana, Antigua, St. Lucia, Jamaica and the Bahamas. This project has resulted in a monograph, Base Colonies in the Western Hemisphere (Palgrave-MacMillan, 2009), as well as an edited collection, Occupied St John’s: A Social History of a City At War (McGill-Queen’s UP) – which was given Honourable Mention for the C.P. Stacey Prize in Canadian Military History.
Founder and Executive Director of the Centre for Contemporary Canadian Art (CCCA) and creator of the Canadian Art Database Project, Bill Kirby is the former Head of the Canada Council Art Bank and was a Visual Arts Officer responsible for the Council’s Program of Assistance to Art Galleries and Artist-Run Spaces. He is a former Director of the Edmonton Art Gallery, Professor of Contemporary Canadian Art and Director of Gallery 1.1.1., at the School of Art, University of Manitoba; and Curator of Contemporary Art at the Winnipeg Art Gallery. He has also been a lecturer at Ryerson University and Visiting Assistant Professor in the Department of Visual Art at York University in Toronto. Over the past many years, he has advised and served on the Boards of a number of arts organizations - including the Canadian Conference of the Arts, the Canadian Art Museum Directors Organization, the Canadian Museums Association, the Western Canada Art Association, the Ontario Association of Art Galleries, The Artists Foundation, and the OnDisc Alliance. 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. He received his Master of Fine Arts Degree in Contemporary Canadian Art from the University of British Columbia.
Vincent Lavoie est professeur au département d’histoire de l’art de l’UQAM depuis 2005. C’est à l’université d’Ottawa (1989-1992) tout d’abord qu’il enseigne l’histoire de la photographie, avant d’exercer cette même activité à l’université Paris viii puis à Paris I (1993-1998), parallèlement à un travail de critique et de rédacteur pour les magazines d’art contemporain. Conservateur adjoint de la photographie (2000-2001) au Musée des beaux-arts du Canada, conservateur de recherche (2001-2005) au sein du Musée McCord, commissaire général du Mois de la Photo à Montréal (2003), il réalise des expositions portant aussi bien sur la photographie contemporaine que sur les pratiques amateur et vernaculaires. Vincent Lavoie est membre régulier de figura, centre de recherche sur le texte et l’imaginaire. Chercheur au sein de l’Observatoire de l’imaginaire contemporain (OIC), il y tient un carnet sur les recherches et curiosités photographiques.
Jason Lewis, Associate Member
Jason Edward Lewis is a digital media poet, artist, and software designer. He founded Obx Laboratory for Experimental Media, where he directs research/creation projects devising new means of creating and reading digital texts, developing systems for creative use of mobile technology and using virtual environments to assist Aboriginal communities in preserving, interpreting and communicating cultural histories. Along with the artist Skawennati, he co-directs Aboriginal Territories in Cyberspace, Skins Workshops on Aboriginal Stortyelling and Video Game Design and the Initiative for Indigenous Futures. His other interests include computation as a creative material, emergent media theory and history, and methodologies for conducting art-led technology research. Lewis' creative work has been featured at Ars Electronica, Mobilefest, Urban Screens, ISEA, SIGGRAPH, and FILE, among other venues, and has been recognized with the inaugural Robert Coover Award for Best Work of Electronic Literature, a Prix Ars Electronica Honorable Mention, several imagineNATIVE Best New Media awards and five solo exhibitions. He's the author or co-author of chapters in collected editions covering mobile media, video game design, machinima and experimental pedagogy with Indigenous communities, as well as numerous journal articles and conference papers.
Lewis has worked in a range of industrial research settings, including Interval Research, US West's Advanced Technology Group, and the Institute for Research on Learning, and, at the turn of the century, he founded and ran a research studio for the venture capital firm Arts Alliance. Lewis is a Trudeau Fellow, and a former Carnegie Fellow. He is the Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary as well as Professor of Computation Arts at Concordia University, Montreal. Born and raised in California, he is Cherokee, Hawaiian and Samoan.
Charmaine Nelson is an Associate Professor of Art History at McGill University. Her research and teaching interests include postcolonial and black feminist scholarship, Trans Atlantic Slavery Studies, and Black Diaspora Studies. Her work examines Canadian, American, European, and Caribbean art and visual culture. She has made ground breaking contributions to the fields of the Visual Culture of Slavery, Race and Representation, and Black Canadian Studies. Nelson has published five books including: Racism Eh?: A Critical Inter-Disciplinary Anthology of Race and Racism in Canada (2004), The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America (2007), Representing the Black Female Subject in Western Art (2010), Ebony Roots, Northern Soil: Perspectives on Blackness in Canada (2010), and Legacies Denied: Unearthing the Visual Culture of Canadian Slavery (2013). Her sixth book Slavery, Geography, and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica (forthcoming 2016) delivers one of the first Slavery Studies books to juxtapose temperate and tropical slavery and the first such comparative work in Art History. Nelson has held several prestigious fellowships and appointments including a Caird Senior Research Fellowship, National Maritime Museum, Greenwich, UK (2007), a Fulbright Visiting Research Chair, University of California – Santa Barbara (2010) and a Visiting Professorship at the University of Wisconsin – Milwaukee, Department of Africology (2011). She was also awarded a Woman of Distinction Award from the Montreal’s Women’s ywca in 2012 (Arts and Culture Category).
Director of Curatorial Affairs, Visual Arts Collection, McGill University, is responsible for the University’s wide-ranging and expanding collection, which now includes more than 2500 works of art inside and outside buildings across three campuses. She has previously held curatorial positions at the university museums at Cornell University, Williams College, and the University of Maryland as well as the Canadian Centre for Architecture. An expert on university collections, collection management, and museum buildings, she has worked with many institutions, particularly universities, to help them organize their collections and follow professional standards. Her scholarly publications include articles, exhibition catalogues, and books on a wide range of topics including artist-architect Gordon Matta-Clark, on whom she has written extensively; mid-nineteenth century American landscape painting; painters Maurice Prendergast and David Milne; Montreal artist Melvin Charney; art markets in the 20th century; and kitchen wallpaper in Canada. The book Modern Nature: Georgia O’Keeffe and Lake George, to which she contributed one of the three essays, received honorable mention from the Association of Art Museum Curators in 2014. In 2017, she co-curated the exhibition Higher States: Lawren Harris and his American Contemporaries for the McMichael Canadian Collection. She is currently researching the work of Marian Dale Scott. Owens holds degrees from Tufts University and the Williams College Graduate Program in the History of Art.
Sherry Farrell Racette is cross-appointed to the Departments of Native Studies and Women and Gender Studies and Women and Gender Studies at the University of Manitoba, teaching for both departments and developing courses of interest to students in both disciplines. Farrell Racette is an interdisciplinary scholar with an active arts practice. Recent essays have appeared in Sources and Methods in Indigenous Studies (2016), Rethinking Canada: the Promise of Women's History (2016), The Cultural Work of Photography in Canada (2012), and Manifestations: New Native Art Criticism (2011). Her arts practice includes beadwork, painting and multi-media textile works. Curatorial and artistic projects include Resistance/ Resilience: Métis Art, 1860-2011 (Batoche Heritage Centre, Saskatchewan, 2011), We Are Not Birds (Canadian Museum for Human Rights, Winnipeg, 2014) and From Here: Story Gatherings from the Qu’Appelle Valley (2015), a public installation of paintings based on memories of Métis elders. She has also illustrated children’s books by noted authors Maria Campbell, Freda Ahenakew and Ruby Slipperjack. Farrell Racette is the 2016-2017 Distinguished Indigenous Faculty Fellow at the Jackman Humanities Institute and Kierans-Janigan Visiting Scholar at Massey College.
Erin Silver is Assistant Professor, History of Art, Architecture and Visual Culture in Canada in the Department of Art History, Visual Art & Theory at the University of British Columbia. She is a historian of queer feminist visual culture, performance, activism, and art history. She obtained a PhD in Art History and Gender and Women's Studies from McGill University in 2013. She is the co-editor (with Amelia Jones) of Otherwise: Imagining Queer Feminist Art Histories (Manchester University Press, 2016), co-editor (with taisha paggett) of the winter 2017 issue of C Magazine, “Force,” on intersectional feminisms and movement cultures, and the author of the forthcoming Suzy Lake: Life & Work (Art Canada Institute). Silver's writing has appeared in C Magazine, Prefix Photo, Visual Resources, and in the volume Narratives Unfolding: National Art Histories in an Unfinished World (ed. Martha Langford, McGill-Queen's University Press, 2017). She has curated exhibitions at the FOFA Gallery (Concordia), the Canadian Lesbian and Gay Archives (Toronto), and the Doris McCarthy Gallery (University of Toronto at Scarborough). Silver sits on the advisory committee of the Queer Media Database Canada-Québec Project and on the editorial advisory committee for C Magazine. From 2016-2017, she was the Horizon Postdoctoral Fellow in the Histories of Photography in Canada at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art (Concordia).
Damian Skinner is a New Zealand art historian and curator of Applied Art and Design at the Auckland Museum Tāmaki Paenga Hira. He was a Newton International Fellow at the Museum of Archaeology and Anthropology, University of Cambridge in 2012-13. He received his PhD in art history from Victoria University of Wellington in 2006, for a thesis exploring the dynamic relationship between customary and modern Māori art in the twentieth century. This was later published as The Carver and the Artist: Māori Art in the Twentieth Century (Auckland University Press, 2008). He has published a number of books about Māori art, including Ihenga: The Evolution of Māori Art in the Twentieth Century (Reed Publishing, 2007), and The Passing World, The Passage of Life: John Hovell and the Art of Kōwhaiwhai (Rim Books, 2010). He was an author for the book Art in Oceania: A New History, published by Thames and Hudson in 2012. Recent articles include ‘Indigenous Primitivists: The Challenge of Māori Modernism’, World Art 4:1 (2014); and “Settler Colonial Art History: A Proposition in Two Parts,” Journal of Canadian Art History/Annales d’histoire de l’art canadien 35:1 (2014). His new book, The Māori Meeting House: Introducing the Whare Whakairo, will be published by Te Papa Press in 2015. Skinner is currently part of the Multiple Modernisms project, focusing on indigenous modernisms from Africa, North America, Australia, New Zealand and the Pacific Islands and supported by the Leverhulme Trust in association with the Museum of Archaeology and Anthropology, University of Cambridge. He is also working on a project about New Commonwealth Internationalism, the period after the Second World War when many artists moved from moved from England’s ex-colonies to London to pursue their artistic practices as modernists. Alongside the widely recognized contribution of artists from Africa, South Asia and the Caribbean, Skinner is specifically exploring the contribution of artists from the so-called ‘white dominions’ and settler colonial societies of Aotearoa New Zealand, Australia and Canada. The role of settler artists in New Commonwealth Internationalism is hardly acknowledged or explored, even though it appears that, for example, Australian artists were the largest single population of Commonwealth artists living in the United Kingdom. To introduce settler artists is to challenge the dominant understanding of this moment as a story of ex-colonial native artists from India, Africa and the Caribbean operating within the broad trends of decolonization in the middle of the twentieth century.
Dr. Carla Taunton is an Assistant Professor in the Division of Art History and Critical Studies at the Nova Scotia College of Art and Design (NSCAD) and an Adjunct Assistant Professor in the Department of Cultural Studies at Queen’s University as well as an Adjunct Assistant Professor in the Graduate Studies Department at Dalhousie University. Taunton is a co-investigator on The Kanata Indigenous Performance, New and Digital Media Art Project, a collaborative research partnership that traces Indigenous practices and methodologies in the areas of performance, digital and new media arts. She is also a co-organizer and collective members of the Art and Activism Project at NSCAD University and a member of the organizing committee for the Halifax-based “Indigenous Speakers Series.” She has received numerous internal SSHRC research grants at NSCAD (2012, 2013, 2014) for her current projects including Arts East: The Atlantic Arts Network and Art and Activism. In 2012, her PhD thesis received the Governor General’s Gold Medal. Taunton’s areas of expertise include Indigenous arts and methodologies, contemporary Canadian art, museum and curatorial studies, as well as theories of decolonization, anti-colonialism and settler responsibility. Through this work she investigates current approaches towards the writing of Indigenous-specific art histories, recent Indigenous and settler research/arts collaborations, and strategies of creative-based interventions that challenge colonial narratives, national/ist institutions and settler imagination. Her recent publications include, “Ursula Johnson: Embodying Indigenous Art Histories” in Ursula Johnson: Mi’kwite’tmn (Do You Remember), “Addressing the Settler Problem,” in fuse and “Indigenous (Re)memory and Resistance: Video works by Dana Claxton,” in Talking Back, Moving Forward: Conversations on Native Film. Her current projects include, Theories and Methodologies for Indigenous Arts, co-edited book project with Dr. Heather Igloliorte and “This is What I Wish You Knew”: Urban Aboriginal Artists Tell Their Stories of Identity and Reconciliation, a multi-institution community arts based project that will engage urban Indigenous youth in Halifax (Reconciliation Community Arts Project: Canada Council for the Arts Grant). She is also an independent curator and recently co-curated with Erin Sutherland, Memory Keepers: Methodologies of Memory, Mapping and Gender at Urban Shaman Gallery in conjunction with the 30th Anniversary of MAWA (2014) and Art in the Open – Indigenizing pei with Heather Igloliorte in Charlottetown (2014). Taunton will provide her working knowledge of artists in Nova Scotia and Ontario as well as her curatorial expertise.
Zoë Tousignant is a photography historian and curator specializing in Canadian photography. She works as an assistant curator in the McCord Museum’s photography collection and as a curator at the documentation centre Artexte. She holds a PhD in Art History from Concordia University and an MA in Museum Studies from the University of Leeds. Her doctoral thesis investigates the dissemination of photographic modernism in popular illustrated magazines published in Canada between 1925 and 1945. She is currently working on a book manuscript, based on the research carried out for her thesis, that seeks to draw out the connections between art, photography and print culture in Quebec during the Interwar period. Her recent curatorial projects include Gabor Szilasi: The Art World in Montreal, 1960–1980 (McCord Museum, 2017–2018); Canadian Photography Magazines, 1970–1990: Reconsidering a History of Photography in Print (Artexte, 2016); Marisa Portolese: Belle de Jour III – Dialogues with Notman’s Portrait of Women (FOFA Gallery, 2016); and Campeau, Carrière, Clément: Accumulations (Galerie Simon Blais, 2015). She has been a regular contributor to the magazine Ciel variable since 2008. Her essays have also been published in Canadian Art, Archivaria and Revue de Bibliothèque et Archives nationales du Québec, and in several catalogues and monographic books. She was the assistant editor on the book Notman: A Visionary Photographer (Hazan and McCord Museum, 2016), which received the Award for Outstanding Achievement in Research – Cultural Heritage from the Canadian Museums Association. Tousignant is a member of the FQRSC-funded research group Formes actuelles de l’expérience photographique: épistémologies, pratiques, histoires, based at Concordia University, Université de Montréal, Université Laval and UQAM.
Kathleen Vaughan, Associate Member
As an artist, scholar and educator, Kathleen Vaughan’s interdisciplinary practice integrates research-creation, methodological theorizing, and collaborative and community-based practices. Her research-creation has both an individual studio component and an orientation to collaborative, participatory projects, taking up questions of home, belonging and spirit of place. She is particularly compelled by the traces of histories that endure in places and the ways that human stories are built in place. Those places can be the urban streets of Toronto or Montreal (the two cities between which she has moved) or the more natural settings of waterways, woodlands and peat bogs. All – and the histories, dreams and myths that are sited there – have inspired her artwork. She works in drawing, painting, photography, textiles and text, often in collaged conjunctions. Her practice integrates analogue and digital technologies, and she is a research member of the Hexagram Concordia Centre for Research-Creation in Media Arts and Technologies. Intrigued by the application of fine arts methods to scholarship, Dr. Vaughan is elaborating collage as a framework for interdisciplinary research/creation/pedagogy. Her methodological theorizing often draws from and supports her own creative projects. As an artist in the community, Kathleen Vaughan mobilizes people in social service agencies, community sites, museums and galleries, after-school programs and more, in creating socially and personally relevant artwork. Research projects such as Vu d’ici: Artmaking and Storytelling with Seniors in Pointe-St-Charles have engaged residents of social housing, taking up questions of home and belonging. For her 2012 bilingual artist’s project, Dans le village…/In the village…, she partnered with curator Shauna Janssen and the Centre d’histoire de Montréal (with financial support from the Centre for Oral History and Digital Storytelling, cohds), creating an interactive artist’s workbook and community walk through the Montreal community of Goose Village, expropriated and demolished in anticipation of Expo 67. Dr. Vaughan often integrates oral history methods and content into her community-based research; she is a core member of COHDS. Kathleen Vaughan also locates her teaching within Montreal’s fertile community settings, with Graduate Studio classes (2013, 2014, 2015) being linked to place. For 2015-2016, Dr. Vaughan will join colleagues Dr. Cynthia Hammond (Art History), Dr. Steven High (History) and Dr. Edward Little (Theatre) in “The Right to the City,” a cross-disciplinary, community-engaged exploration of Pointe-St-Charles, one of Montreal’s most economically marginal neighbourhoods now contending with gentrification and increasing income inequality. Kathleen Vaughan holds a PhD in Education from York University (Toronto), where her multimodal PhD dissertation incorporating a visual art installation and illustrated text was the first of its kind at the university, and won four Canadian and international academic awards for innovation and excellence. Dr. Vaughan has also earned an mfa in Studio Arts from Concordia University (Montreal), a diploma in Fine Arts from the (then) Ontario College of Art (Toronto) and a ba in English and Art History from the University of Toronto. Prior to joining the Art Education faculty at Concordia in 2008, she taught in York University’s Faculty of Education, at the Ontario College of Art and Design, in Concordia’s Studio Arts department and through visiting artist programs in Toronto schools. Dr. Vaughan also works as a consultant on issues of arts, education, culture, and broadcasting for clients in the public and private sectors.
Dr. Jean-Philippe Warren is a Professor of Sociology at Concordia University and he holds degrees from the Université Laval, the Université de Montréal and the École Normale Supérieure, in Paris. He is particularly interested in the history of social sciences, social movements, indigenous peoples, and the Catholic Church. He has written studies on Quebec sociologist Fernand Dumont, painter Paul-Émile Borduas, and Honoré Beaugrand. He has published widely on the intellectual and cultural history in Quebec - including Edmond de Nevers, portrait d'un intellectuel (Boréal, 2005); Hourra pour Santa Claus. La commercialisation de la saison des fêtes au Québec (Boréal, 2006); Ils voulaient changer le monde. Le militantisme marxiste-léniniste au Québec (VLB, 2007); Une Douce anarchie. Les années 68 au Québec (Boréal, 2008). He is also the author of over a hundred articles in scholarly and intellectual journals. This work led him to question the social and political institutionalization of modernity in Quebec.