Concordia University

Heather Igloliorte, PhD

Associate Professor , Art History
Concordia University Research Chair in Indigenous Art History and Community Engagement
Co-Director, Indigenous Futures Cluster, Milieux Institute for Arts, Culture and Technology, Hexagram-Concordia

@ Concordia University, photo by Lisa Graves
Office: S-EV 3811 
Engineering, Computer Science and Visual Arts Integrated Complex,
1515 St. Catherine W.
Phone: (514) 848-2424 ext. 5563
Website(s): MICH Nunatsiavut
SakKijâjuk: Art and Craft from Nunatsiavut


Heather Igloliorte is an Inuk scholar and independent curator who holds the University Research Chair in Indigenous Art History and Community Engagement at Concordia University, which is seated on unceded Indigenous lands of the Kanien’kehá:ka Nation,who are recognized as the custodians of the lands and waters of Tiohtiá:ke/Montreal. This area is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. 

Heather is the Co-Director of the Initiative for Indigenous Futures Cluster (IIF) in the Milieux Institute for Arts, Culture and Technology with Professor Jason Edward Lewis. Through Milieux, Igloliorte works with collaborators and students to explore how Indigenous people are imagining the future of their families and communities. Her teaching and research interests center on Inuit and other Native North American visual and material culture, circumpolar art studies, performance and media art, the global exhibition of Indigenous arts and culture, and issues of colonization, sovereignty, resistance and resurgence, and she is the current Lead or Co-Investigator on several funded research projects related to this work.

Igloliorte currently serves as the Co-Chair of the Indigenous Circle for the Winnipeg Art Gallery, working on the development of the new national Inuit Art Centre; the Board of Directors for North America's largest Indigenous art historical association, the Native North American Art Studies Association; the Editorial Advisory Committee of Inuit Art Quarterly; and the Faculty Council of the Otsego Institute for Native American Art History at the Fenimore Art Museum in Cooperstown, New York. Heather has previsously  served as an Executive Member of the Board of Directors for the Aboriginal Curatorial Collective (2005 - 2011) and as the President of artist-run-centre Gallery 101 (Ottawa, 2009 - 2011) in addition to other advisories, juries and councils. 

Research & Teaching Interests

  • Inuit art in Canada and circumpolar art studies
  • Historic and Contemporary Art History of Inuit, First Nations, and Métis art in Canada
  • Native North American and Global Indigenous Arts
  • Indigenous Exhibition and Collecting Histories
  • Curatorial Theory and Practice
  • Decolonizing Methodologies
  • Colonization, Survivance, Sovereignty, Resistance and Resurgence 
  • Indigenous Film, Performance and New Media Practices

Research activities

Current Research


  • Principal Investigator, SSHRC Partnership Grant, Inuit Futures in Arts Leadership: The Pilimmaksarniq/Pijariuqsarniq Project
  • Co-Investigator (PI Erica Lehrer, Concordia University), FRQSC, nouvelles methodologies pour le dialogue public culturel et l’action sociale
  • Principle Investigator, CISSC, Tools and Technologies for Critical Museology Workshop
  • Principle Investigator, International Grenfell Association and Tasiujatsoak Trust, SakKijâjuk: Art and Craft from Nunatsiavut (exhibition national tour funding) 
  • Co-Investigator (PI: Julie Nagam, U of W), SSHRC Insight Grant, Transactive Memory Keepers: Indigenous Public Engagement in Digital New Media Labs and Exhibition 
  • Principle Investigator, SSHRC Connections Grant, Theories and Methodologies for Indigenous Art History in North America Symposium  
  • Co-Investigator (with The Rooms Provincial Art Gallery), Canadian Heritage Museums Assistance Program (MAP) Grant, SakKijâjuk: Art and Craft from Nunatsiavut
  • Co-Investigator (with Dr. Erica Lehrer), Curriculum Innovation Fund, Public Culture in the City: Digital Humanities for Democratic Dialogue
  • Principal Investigator, Tasiujatsoak Trust, To Light the Fire Newfoundland and Labrador Indigenous Arts Symposium
  • Co-Investigator (PI: Tom Gordon, MUN), SSHRC Partnership Grant, Tradition and Transition Among the Labrador Inuit 
  • Co-Investigator (PI: Angela Failler, U of W), SSHRC Partnership Development Grant, Difficult Knowledge In Public: Thinking Through the Museum
  • Principal Investigator, Exceptional Grant Canada Council for the Arts, Indigenous Theories and Methodologies for Art History Workshop (co-edited volume with Dr. Carla Taunton)
2014 - 2019
  • Concordia University Research Chair in Indigenous Art History and Community Engagement
2014 - 2016 
  • Principal Investigator, SSHRC Insight Development Grant, Arts of the Labrador Inuit Visual e-database (ALIVE) 
  • Co-Investigator (PI: Anna Hudson, York University, Toronto, Ontario), SSHRC Partnership Grant, Mobilizing Inuit Cultural Heritage: a multi-media / multi-platform re-engagement of voice in visual art and performance  
  • Collaborator (PI: Nicholas Thomas, Director of the Museum of Archaeology and Anthropology, University of Cambridge) The Leverhulme Trust, United Kingdom, Multiple Modernities: Twentieth Century Artistic Modernisms in Global Perspective   
  • Co-applicant (PI: Julie Nagam, OCAD University, Toronto, Ontario), SSHRC Insight Development Grant, The Kanata Indigenous Performance, New and Digital Media Art Project  
  • Dean's Discretionary Fund for Presenting Student Work, THAW: Uncovering Inuit Visual Culture in the City, Vitrine Gallery, Department of Art History, Concordia University
  • Principle Investigator, Concordia University Aid to Research-Related Events (AARE), Publication, Exhibitions and Dissemination Activities, "Transmissions: Sharing Indigenous knowledge and histories in the digital era" (symposium)

  • Collaborator (PI: Sherry Farrell Racette), SSHRC Insight Development Grant, The Contemporary Aboriginal Art History (CAAAH) Project (responsible for the creation of Indigenous art history bibliography) 

  • Collaborator (With Erica Lehrer Vice-President Research & Graduate Studies Seed Funding Program), Concordia University Aid to Research-Related Events, VPRGS Team Seed Grant Application, Curatorial Experiments: Multivocality, Participation, and Dialogue in Exhibition Design

Teaching activities


ARTH 376 Topics in Amerindian and Inuit Art: Surveying Inuit Art Practices 
ARTH 450 Advanced Seminar in History of Art and Architecture: Exhibiting Aboriginal Art in Theory and Practice
ARTH 379 Postcolonial Theory in Art History
ARTH 390 Art and the Museum: Museums and First Peoples


ARTH 642 Aspects of Media: Indigenous Art: Experimental Film, New Media and the Digital
ARTH 615 Issues in Postcolonial Theory in Art and Art History: Postcolonial and Indigenous Theories and Methodologies for Art History in North America
ARTH 613K Special Topics in Amerindian and Inuit Art and Art History: Truth Before Reconciliation: The Art of Survivance
ARTH 613 Special Topics in Amerindian and Inuit Art and Art History: Inuit Art and the Intercultural Encounter

Thesis Supervision


Charissa von Harringa, Art History (in progress)
Amy Prouty, Art History (in progress)
Travis Wysote, HUMA (in progress)


Brittany Watson (in progress) 
Amanda Shore (in progress)
Christopher Gismondi (in progress)
Kathryn Math (in progress)
Lindsay Nixon (in progress)
Brittany Burdick (in progress)
Samantha Merritt “Ursula Johnson’s Mi’kwite’tmn (Do You Remember)” (completed 2017) 
Camille Usher “More than Just Flesh: Arts as Resistance” (
completed 2017
Clara Haskell “Changing Power Relations in Photography: The Potential of Photographic Returns Projects with Inuit Youth” (
completed 2017
Sarah Nesbitt “En/countering the Colonial: Aiako’nikonhraién:ta’neand You Are On A Mohawk Land: Two Case Studies on Art, Refusal and Recognition in Montréal,” (completed 2016)
Erika Ashley Couto “The EskimoRental Housing Program (1965-69): A Case Study in Cold War Authoritarian High Modernism” (completed 2015) 
James Jelinski “
Kakiniit and Other ‘Strange Blue Speckles’: Self-Representation and Qallunaat Images of InuitTattooing, 1567-1924” (completed 2015) 


Peer-Reviewed Journal Articles

  • “Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum,” ArtJournal, Kate Morris and Bill Anthes (eds.). College Art Association, Vol. 76, No 2, Summer 2017: 100- 113. 
  • Lianne Mctavish, Susan Ashley, Heather Igloliorte, Kirsty Robertson, and Andrea Terry, “Critical Museum Theory/ Museum Studies in Canada: A Conversation,” Acadiensis: Journal of the History of theAtlantic Region / Revue d’histoire de la region atlantique, Vol 46, No 2, Summer/Autumn 2017: 223- 241.
  • "Annie Pootoogook: Depicting Inuit Modernity in Contemporary Inuit Art,” Artlink, Margo Neale (ed.). Issue 37.2, June 2017: 56- 61.
  • Heather Igloliorte, Julie Nagam, and Carla Taunton, "Introduction: The Future Possibilities of the Indigenous Digital and New Media Art ,” Indigenous Art: New Media and the Digital Special Issue, PUBLIC 54, Winter 2016: 5-13.
  • “Tillutarniit (Interview with Isabella Weetaluktuk and Stephen Agluvak Puskas),” Indigenous Art: New Media and the Digital Special Issue, PUBLIC 54, Winter 2016: 104-109.
  • Caquard, Sébastien, Stephanie Pyne, Heather Igloliorte, Krystina Mierins, Amos Hayes, and D.R. Fraser Taylor. "A'Living' Atlas for Geospatial Storytelling: The Cybercartographic Atlas of Indigenous Perspectives and Knowledge of the Great Lakes Region," Cartographica,Vol. 44, No. 2 (2009): 83-100.

Chapters in Books

  • Arctic Culture / Global Indigeneity." In Negotiations in a Vacant Lot: Studying the Visual in Canada. Eds. Lynda Jessup, Erin Morton and Kirsty Robertson. Kingston: McGill - Queen's University Press, 2014. 150-170.
  • "'We Were so Far Away': Exhibiting Inuit Oral Histories of Residential Schools." In Curating Difficult Knowledge. Eds. Cynthia Milton and Erica Lehrer. Basintoke, U: Palgrave Macmillan, 2011. 23-40. 
  • "The Inuit of Our Imagination." In Inuit Modern. Ed. Gerald McMaster. Toronto: Douglas and McIntrye Press, 2010. 41-49.
  • "Inuit Artistic Expression as Cultural Resilience." In Response, Responsibility, and Renewal: Canada's Truth and Reconciliation Journey. Eds. Gregory Younging, Jonathan Dewar and Mike DeGagne. Ottawa: Aboriginal Healing Foundation, 2009. 123-136.

Exhibition Catalogues

SakKijâjuk:Art and Craft from Nunatsiavut. With contributionsby Jenna Joyce Broomfield, Aimee Chaulk, Christine Lalonde and Barry Pottle.Heather Igloliorte Ed. St. John’s: The Rooms Provincial Art Gallery, (2017) (threeeditions: English, French and Inuktitut).

Inuit Art. The Brousseau Collection. Quebec City: Musée national des beaux-arts du Québec, 2016 (twoeditions: French, English).

Decolonize Me / Decolonisez-moi. With contributions by Steven Loft and Brenda Croft. Ottawa: OttawaArt Gallery, 2012.

'WeWere So Far Away': The Inuit Experience of Residential Schools. Ed. Heather Igloliorte. Ottawa: The Legacy of Hope Foundation,2010.

Exhibition Catalogue Essays

“Visiting / Echoes and Reverberations from the Land,” Jordan Bennett: Mniku,Vernon, BC: Vernon Public Art Gallery, 2016:11-15.

“Carving takes all kinds of knowledge”: Art Making and Inuit Qaujimajatuqangit in the Modern Arctic,” Listening to the Stone: Inuit Art from the Bieri Family Collection. Eds. Passalacqua, V. and H. Tsinhnahjinnie (eds.). University of California, Davis: C.N. Gorman Museum, 2015: 11-13.

"Assu's Masks:Art/Artifact/Artifice/Agent." In Sonny Assu: Longing, Vancouver: West Vancouver Museum, 2013. 7 - 11.

"Transformations: A New Era in Contemporary Inuit Art." In Changing Hands: Art Without Reservation 3. Eds. Ellen Taubman and David Revere McFadden. New York: Museum of Arts and Design, 2012. 85 - 88.

"Marcus Amerman"; "Susie Qimmiqsaq Bevins-Ericsen"; "Sonya Kelliher-Coombs"; "Mario Martinez"; "Susie Silook." In Manifestations: New Native Art Criticism. Ed. Nancy M. Mithlo. Santa Fe: Museum of Contemporary Native Arts, Insitute of American Indian Arts, 2011. 78-79; 84-85; 118-119; 140-141; 160-161.

"The Arctic and Subarctic Collections:Innovation and Ingenuity." In NativeAmerican Art at Dartmouth: Highlights from the Hood Museum of Art.Dartmouth: Hood Museum of Art & University Press of New England, 2011. 81-87.

"Whalebone Sculpture in the Permanent Collection." In Sanattiaqsmiajut: These Things That Are Finely Made. Ed. Sandra Dyck. Ottawa: Carleton University Art Gallery, 2009. 89 - 92.

Books and Exhibition Reviews

Book Review. "Mediating Indigenaity: The Journals of Knud Rasmussen: A Sense of Memory and High definition Inuit Storytelling" Fuse, Vol. 31, No. 3 (July 2008): 31- 33. 

Non-Refereed Publications

“SakKijâjuk: Art and Craft from Nunatsiavut,” Newfoundland Quarterly,Vol. 109, No. 1 (summer 2015): 12 – 15.

“Change on the Horizon: The Intertwined History of Politics and Art in Nunatsiavut,” Inuit Art Quarterly 29.2 (Fall / Winter 2015): 22 – 29.

“Women of Labrador,” Inuit Art Quarterly 29.2 (Fall / Winter 2015): 52 – 57.

“Greater Detail: The Sculptural Work of Billy Gauthier.” FUSE Vol. 35, No. 2“North” (Spring 2012): 26 – 31. 

In Memoriam

“Annie Pootoogook: 1969 – 2016,” Canadian Art online, September 27, 2016. Accessed October 16.

“Marybelle Mitchell, 1940 – 2016,” Inuit Art Quarterly 29.2 (summer 2016): 48.

Peer Reviewed Works in Progress

  • "Chapter 2: “Hooked Forever on Primitive Peoples”: James Houston and the Transformation of “Eskimo Handicrafts” to Inuit Art,” Mapping Modernisms: Indigenous and Colonial Networks of Artistic Exchange and the Dialectics of Discourse, Elisabeth Harney and Ruth Phillips (eds.). Durham: Duke University Press (September 2018, 7400 words) 




  • Curator, Permanent Installation of the Brousseau Inuit Art Collection, Musée national des beaux-arts du Québec, Quebec City, Québec (forthcoming)
  • Curator, Radical Indigenous Feminisms (working title), La Centrale Galerie Powerhouse, Montreal, Quebec (forthcoming)
  • Co-Curator with Dr. Carla Taunton, "Transforming Tomorrow: Indigenous Performance and Media Art Program," Art in the Open: Contemporary Art Festival, Charlottetown, Prince Edward Island (forthcoming, August 22 - 24)
  • Curator, Interrelations: the Brousseau Inuit Art Collection, temporary exhibition of the Brousseau Inuit Art Collection, Musée national des beaux-arts du Québec, Quebec City, Québec
  • Curatorial text author, ARTiculations in Print: Kenojuak Ashevak, Main Gallery, Museum of Contemporary Native Art, Santa Fe, New Mexico

  • Curator. aboDIGITAL: Jordan Bennett, Alternator Gallery for Contemporary Art, Kelowna, British Columbia.
  • Curatorial Consultant, Inuit Art Centre Task Force, Winnipeg Art Gallery, Winnipeg, Manitoba.
  • Curatorial Advisory Committee, Wearing Our Identity: The First Peoples Collection, Musée McCord Museum, Montreal, Quebec.


  • Curator. Decolonize Me, Ottawa Art Gallery, Ottawa, Ontario. With contributions to travelling exhibition, 2011- 2015.
  • Curatorial Consultant. Inuit Cultural Dispossession, Canadian Human Rights Museum, Winnipeg, Manitoba.


  • Curator. "We Were So Far Away": The Inuit Experience of Residential Schools, the Legacy of Hope Foundation, Ottawa, Ontario. With contributions to travelling exhibition, 2009 - ongoing.
  • Co-curator.  Inuit Art Alive, online exhibition, Inuit Art Foundation, Ottawa, Ontario.


  • Curator. Inuit Cultural Memory: From the Tyler Brooks Collection, Carleton University Art Gallery, Ottawa, Ontario.
  • Curator. By the Book? Early Influences on Inuit Art, Carleton University Art Gallery, Ottawa, Ontario.
  • Curator. Drawn Together: Cape Dorset Graphic Artists, Carleton University Art Gallery, Ottawa, Ontario.


  • Curatorial Assistant (practicum). Urban Natives, supervised by Morgan Baillargeon, Curator of Plains Ethnology, Canadian Museum of Civilization, Gatineau, Quebec.


  • Co-curator. This Place, Anna Leonowens Gallery, Halifax, Nova Scotia.

Participation activities

Keynote Activities


Keynote,“Inuit Futures in the Arts Industry,” All Arts Summit, Government of Nunavut,Iqaluit, October 17-19. 


Keynote1, “Radical Collaboration: SakKijâjuk and Indigenous Curatorial Practice,"Pratiques de la trangression/Practices of Transgression Colloque internationalorganise, par la Section de Littérature comparée, Département de littératureset langues du monde, Université de Montréal International Conference organizedby the Comparative Literature Section of the Department of World Literaturesand Languages, University of Montreal, Le 11-12 décembre 2015/December 11-12.

Keynoteand Moderator, Southern Scene / Inuit Disenchantment, Indigenous Visual CultureProgram, OCAD University, September 15.

Peer-Reviewed Presentations


Panelist,“Curatorial Forum on Inuit Art,” Inuit PiusituKangit 20th Annual Inuit StudiesConference, St. John’s, NL (October 2016)

Panelist,“The Initiative for Indigenous Futures,” Native American and Indigenous StudiesAssociation (NAISA), Honolulu, Hawaii(May 2016)


Co-Chair(with Dr. Carla Taunton), Continuities Between Eras: Indigenous Art Historiesdouble sessions, Universities Art Association of Canada, NSCAD University,Halifax, Nova Scotia (November 2015)

Co-Chair(with Dr. Carla Taunton), Co-Chair (with Dr. Carla Taunton), Indigenous Art inPublic Spaces double session, 20th Native American Art Studies Association(NAASA) Conference, Buffalo Thunder, Santa Fe, New Mexico (October 2015)

Presenter(with Drs. Julie Nagam and Carla Taunton), “The Kanata Indigenous Performance,New and Digital Media Art Project and the Transactive Memory Keepers Database,”Joint CSDH/SCHN Digital Humanities Conference 2015, Congress of the Humanitiesand Social Sciences 2015, University of Ottawa, Ottawa, Ontario (June 2015)]


Speaker, IndigenousModernisms: Histories of the Contemporary, Multiple Modernisms:Twentieth-Century Artistic Modernisms in Global Perspective, Museum of NewZealand Te Papa Tongarewa, Wellington, New Zealand, forthcoming, December 11 –12.

“Nunatsiavut visualarts and culture: affirmation of the Inuit cultural sovereignty overcenturies,” Inside Illusuak: Expressive Culture of the Labradorimiut / À l'intérieurd'Illusuak: expression de la culture des Labradorimiut, 19th Annual InuitStudies Conference: Qaumaniq – enlightening knowledge, Laval University, QuebecCity, Quebec, October 30

Presenter andPanelist, “Fostering Resilience / Gathering Strength: Continuities in LabradorInuit Women’s Arts,” and Chair, “Resistance and Resilience Part 2: GlobalIndigenous Women’s Art Histories,” Histories on the Edge/Histoires sur labreche, 16th Berkshire Conference on the History of Women, University of Toronto.Toronto, Canada, May 25, 2014.


"SakKijâjuk/ To be Visible: Community Knowledge and Nunatsiavummiut Visual Culture,"Questioning Authority: Bringing Community Knowledge to the Museum, NativeAmerican Art Studies Association (NAASA) Conference, Denver, Colorado, October18

"DecolonizeMe: Experiments in Indigenous Curatorial Practice," Experiments inDecolonizing Institutional Space, Decolonizing Future Intellectual Legacies andActivist Practices: Critical Ethnic Studies Conference, The Institute ForResearch on Race and Public Policy, University of Illinois at Chicago,September 19

"CigarStore Indians, Collectible Figurines, Sports Mascots and Sexy Avatars:Representations of Native North Americans in Canada and the USA," LittleBlack Sambos, Cigar Store Indians... and Lucky Jews with Coins? Minorities,Kitsch, and Stereotypes on Both Sides of the Atlantic, Jewish CulturalFestival, Krakow, Poland, July 2


Presenterand Panel Co-Chair (with Dr. Anna Hudson, York University),"Self-Determination and Sovereignty: A Recent History of Arctic Art,"Towards a new definition of Arctic Sovereignty: indigenous players in a globalcultural economy, 18th Inuit Studies Conference 2012: Learning from the Top ofthe World, Smithsonian Institution, Washington DC, October 25

"TheEmergence of Labradorimiut Art," Inuit Art: Contemporary Issues, 18thInuit Studies Conference 2012: Learning from the Top of the World, SmithsonianInstitution, Washington DC, October 25

"FromDefense to Interview: How to Plan for Your First Job," UAAC ProfessionalDevelopment Round-table, Universities Art Association of Canada (UAAC) AnnualConference, Concordia University, Montreal QC, November 3


"ResilientPractices: Asserting Arctic Sovereignty Through Inuit Art," College ArtAssociation 99th Annual Conference, New York, New York


"Sharingthe Difficult Histories of Inuit Residential Schools," Telling Stories/Storytelling, Canadian Historical Association, Congress of the Humanities andSocial Sciences, Concordia University, Montreal, Quebec

"ContestingCategorizations: Highs and Lows in Contemporary Inuit Art," NAISA 2010Conference, Native American and Indigenous Studies Association, University ofArizona, Tucson, Arizona


"WeWere So Far Away": The Inuit Experience of Residential Schools,"Curating Difficult Knowledge International Conference, Centre for EthnographicResearch and Exhibition in the Aftermath of Violence, Concordia University,Montreal, Quebec, April 18


"FromCraft and Curio to Stone Sculpture: James Houston, Modernist Primitivism, andInuit Art," Art and Survival in a Changing World, Native American ArtStudies Association, Fairbanks, Alaska, September 29

Visiting Scholar

2016 – 2018 International Delegation of Indigenous Curators, Canada Council for the Arts

2014 Visiting Scholar, Hood Museum of Art,Dartmouth College, Hanover, New Hampshire, funded by the Institute of Library and Museum Services, United States. 

Invited/Public Lectures


  • "Inside the Museum and Other Colonial Spaces: Imagining Decolonization through Indigenous Art and Curatorial Practice," Art and the Exhibition Space, Professional Panel (with Dr. Jennifer Carter and Dr. Barbara Clausen), Concordia Undergraduate Journal of Art History 4th Annual Conference, Concordia University, Montreal, Quebec, February 6
  • "Writing Inuit Art History," in conversation with Dr. Anna Hudson, Afternoons at the Institute, The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, March 28
  • "Exhibition as Activism: Decolonize Me Curatorial Discussion," Thunder Bay Art Gallery, Thunder Bay, Ontario, January 31
  • "Aboriginal Residential Schools in Canada," Guest lecture in CANS 310: Canadian Cultures: Issues and Context undergraduate course led by Dr. Shelley Butler, Dept. of Anthropology, McGill University, April 12
  • "Urban Indigenous People and Art," Guest lecture in ARTH 610: Contemporary Art and Urban Culture, graduate seminar led by Dr. Johanne Sloan, Dept. of Art History, Concordia University, March 11
  • "Inuit Culture and Curatorial Practice," Guest lecture in ARTE 398: Issues in Indigenous Art and Art Education, undergraduate course led by Dr. Christine Stocek, Dept. of Art Education, Concordia University, March 11
  • "Decolonize Me: Indigenous Art, Identity and Activism," Public lecture, Foreman Art Gallery, Bishops University, February 25
  • "The Presentation of Indigenous Arts and Cultures / Recent Aboriginal Curatorial Practice in Canada," Guest lecture in HIST 327: Museums & Heritage in a Globalized World, undergraduate course led by Dr. Erica Lehrer, Department of History, Concordia University, November 21
  • "Inuit Art: Modern Meets Contemporary," McCord Museum, Montreal, Quebec, August 1
  • "Inuit Art, Modern and Continuous," Representing Canada: Issues and Priorities, Department of Art, University of Toronto, Toronto, Ontario, October 10


  • "Inuit Drawings: Autobiography and Narrative in the Graphic Arts," Innovations and Interventions: Aboriginal Art and Art History Lectures, Concordia University, Montreal, Quebec, February 12


"A "Snapshot" of the Six Nations of the Grand River Reserve in the 1910s: The Living Cybercartographic Atlas of Indigenous Artifacts and Knowledge," Woodland Cultural Centre, Six Nations of the Grand River Reserve, Ontario, May 21

Workshops, Panels, Moderating


  • Workshop participant, Aboriginal Art History Workshop, Aboriginal Curatorial Collective / Jarislowsky Institute for Studies in Canadian Art History, Montreal, Quebec, November 14 -16
  • Workshop participant, Settler Art History Workshop, Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University, October 4 - 5
  • Panel Moderator, Revisioning the Indians of Canada Pavilion: Ahzhekewada [Let us look back], Aboriginal Curatorial Collective / Collectif des Conservateurs Autochtones (ACC/CCA) and the Aboriginal Visual Culture Program of OCAD University, Toronto, Ontario


  • Panelist, "Representing Canada: Issues and Priorities," Department of Art, University of Toronto, Toronto, Ontario
  • Workshop participant, Nations in the History of Art: Comparative and Revisionist Analyses, University of Toronto, Toronto, Ontario
  • Panel Co-Chair, "Indigenous Art: Decolonizing Practices," University Art Association of Canada, University of Guelph, Guelph, Ontario


  • Session Facilitator, Visual Arts Summit, Canadian Museums Association, Ottawa, Ontario
  • Panel Moderator, The Past in the Present: Historical Aboriginal Art in the Contemporary Museum, Carleton University Art Gallery, Ottawa, Ontario

Conferences - Planning and Coordinating


  • Co-Organizer, The Aboriginal Art Living Archive, Aboriginal Curatorial Collective / Collectif des Conservateurs Autochtones (ACC/CCA) 6th Bi-Annual Colloquium, Concordia Unviersity, Montréal, Québec, October 17-18
  • Organizer, Transmissions: Sharing Indigenous Knowledge and Histories in the Digital Era, Concordia University, Montreal, Quebec, February 28 - March 2


  • Organizer, the ACC Curators Camp Kabeshinàn, Aboriginal Curatorial Collective / Collectif des Conservateurs Autochtones (ACC/CCA), The National Gallery of Canada, Ottawa, Ontario, October 22 - 24

Awards and Distinctions

2014 - 2019

  • Concordia University Research Chair in Indigenous Art History and Community Engagement  
2014 - 2015 
  • Visiting Scholar, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, funded by the Institute of Library and Museum Services, United States
  • Critical Eye Award, Visual Arts Newfoundland and Labrador (VANL)

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