Liste des contributeurs à l'Annales

Sandra Alfoldy (1969–2019) received her PhD from Concordia University in 2001. After a sshrc-funded Postdoctoral Fellowship (University of Rochester), she was appointed Professor of Craft History at nscad University (2002). In 2008, along with her nscad professorship she became Associate Curator of Fine Craft at the Art Gallery of Nova Scotia. Sandra authored The Allied Arts: Architecture and Craft (2012), and Crafting Identity: The Development of Professional Craft in Canada (2005), edited NeoCraft: Modernity and the Crafts (2007), and co-edited with Janice Helland Craft, Space and Interior Design (2008). Additionally, she published a number of articles and book chapters, edited or contributed to exhibition catalogues, and presented papers at national and international conferences. Along with Rachel Gotlieb, she curated On the Table: 100 Years of Functional Ceramics in Canada (Gardiner Museum of the Ceramic Arts, Toronto, 2007), which exhibited objects made by studio potters together with commercial productions. Sandra was chief curator of Unity & Diversity (Cheongju International Craft Biennale, South Korea, 2009); pieces from the Korean exhibition were on display again during the 2010 Olympics Exhibition (Museum of Vancouver). She co-curated the international travelling exhibition Naked Craft (2016–17), which explored continuity and change, past and present, within two cultures, Canadian and Scottish, and travelled to locations in both regions. Her final research project explored the function of craft within popular culture.

Biographical note, 2019

Since 2000, Janice Anderson has worked as the Concordia University Faculty of Fine Arts Visual Resources curator in the Digital Image and Slide Collection. She is an affiliate associate professor in the Art History Department and has taught a variety of courses at Concordia, including Feminism and Art History and a graduate seminar in pedagogy for the Department of Teaching and Learning Services. In collaboration with Melinda Reinhart, Fine Arts Librarian, Concordia University, and Kristina Huneault, she co-founded the Canadian Women Artists History Initiative (http://cwahi.concordia.ca). She is the co-editor, with Krtistina Huneault, of Rethinking Professionalism: Women and Art in Canada, 1850-1970, and, together with Brian Foss, curated Quiet Harmony: The Art of Mary Hiester Reid for the Art Gallery of Ontario in 2000.

Biographical Note, 2013

Georgia B. Barnhill was the Andrew W. Mellon Curator of Graphic Arts at the American Antiquarian Society in Worcester, Massachusetts, for over forty years. She is now director of the Center for Historic American Visual Culture at the Society. During her tenure, she has lectured and written on American prints, book illustrations, and ephemera for a variety of audiences at academic conferences, meetings of collectors, museums and libraries. Among her publications is the Bibliography on American Prints of the Seventeenth through the Nineteenth Centuries published in 2006 by the American Historical Print Collectors Society.

Biographical Note, 2011

Valerie Behiery is an art historian whose area of research covers both historical and contemporary art and visual culture from or related to the Muslim world with a particular focus on gender, comparative aesthetics, and the representation of Islam and Muslims. She is presently a postdoctoral fellow affiliated with the Canada Research Chair in the Study of Religious Pluralism and Ethnicity held by Valérie Amiraux at the University of Montreal. Behiery’s Social Sciences and Humanities Research Council−funded project entitled “Objects of Mistranslation: Representing the ‘Burqa’ in Canadian Newspapers since 9/11” uses a cross-cultural visual studies perspective to analyse the reasons the image of the fully veiled Muslim woman so readily provokes cross- or intercultural misunderstanding in Euro-America. Her article analysing the discursive and visual uses of the Muslim veil in contemporary art, “Alternative Narratives of the Veil in Contemporary Art,” was published in French in Sociologie et sociétés and will appear this spring in Comparative Studies of South Asia, Africa, and the Middle East (CSSAAME). A text examining the relationship between gender, visual art, and Islam or Islamic self-identity, “Muslim Women Visual Artists Congregating in Cyberspace: A Study of IMAN and MWIA,” will appear in an anthology to be published early next year. Valerie Behiery has contributed entries to several reference works and currently serves as the Islamic art consultant at the Montreal Museum of Fine Arts, researching and writing about their permanent Islamic collection and preparing for the forthcoming opening of the new Islamic gallery.

Biographical Note, 2012

Lisa Binkley is an Assistant Professor in the Department of History at Dalhousie University in Halifax, ns. Her research focuses on Indigenous and settler women’s needlework and textile production, with a special focus on quiltmaking during the long-nineteenth century. She is the co-editor of an edited volume of essays, Stitching the Self: Identity and the Needlearts (Bloomsbury Academic), which includes her chapter “Whig’s Defeat: Stitching Scottish Identities in Quebec,” and has a monograph forthcoming with University of British Columbia Press, Material Identities: Quilts in Canada and their Makers. Her chapter “To Each her Own:  A Mi’kmaq Ribbon Skirt as Feminist Resistance,” appears in Location/Dislocation: Transnational and Translocal Perspectives on Feminism and Art, 1960–1980 (Duke University Press, Forthcoming). As part of her research, Lisa practices a form of creative research, stitching, spinning, weaving, embroidering, and quilting objects similar to those which she writes about. Lisa has an ma in Human Geography from Queen’s University and a PhD in Art History and Material Culture, Queen’s University. Most recently she was the W.P Bell Postdoctoral Fellow in the Centre for Canadian Studies at Mount Allison University.

Biographical Note, 2019

Shannon Black is a PhD Candidate in the Department of Geography and Planning at the University of Toronto. As a cultural geographer, her current research focuses on the various ways in which visual, material, and digital cultures intersect within craft and creative industries, and the complex impacts these intersections have on structures and subjectivities. Combining performance, photography and fibre-based craft practices with geographical inquiry as part of her research methodology and outputs, Shannon’s work also explores the possibilities and politics of pairing academic research with creative and artistic practice. Her upcoming research will examine the role of grassroots initiatives aimed at tackling pre-consumer textile waste produced by fashion and textile industries in the Global North. Shannon’s recent writing on art, craft, work and politics can be found in Gender, Place and Culture: A Journal of Feminist Geography (2017, 2019), and in the forthcoming edited volumes Craft Communities: Making, Social Media and Alternative Economies of the Handmade, Nicola Thomas and Susan Luckman (eds) and Geographies of Creativity, Lily Kong and Anjeline de Dios (eds). Shannon’s research is funded by the Social Science and Humanities Research Council of Canada (SSHRC).

Biographical Note, 2019

Alicia Boutilier is curator of Canadian historical art at the Agnes Etherington Art Centre and adjunct professor in the department of Art History and Art Conservation, Queen’s University. She has produced numerous exhibitions and publications on Canadian historical art and visual culture, with emphasis on women artists, artistic groups, regional scenes and collecting histories. Among her noteworthy curated and co-curated projects are The Artist Herself: Self-Portraits by Canadian Historical Women Artists (2015); A Vital Force: The Canadian Group of Painters (2013), for which she received an oaag Curatorial Writing Award for Major Essay; William Brymner: Artist, Teacher, Colleague (2010); Inspirational: The Collection of H.S. Southam (2009); Public Pictures/Private Homes: London’s Lending Library of Canadian Art (2007); An Intimate Circle: The F.B. Housser Memorial Collection (2005); and 4 Women Who Painted in the 1930s and 1940s (1998).

Biographical Note, 2015

Laura Brandon is the Historian, Art and War, at the Canadian War Museum. She is the author of Art or Memorial? The Forgotten History of Canada's War Art (2006) and Art and War (2007), a survey of Western war art. Her exhibition, A Brush with War: Military Art from Korea to Afghanistan, is currently travelling across Canada (2009–12). She holds an M.A. in Art History from Queen's University and a Ph.D. in History from Carleton University.

Graham Broad is assistant professor of Canadian history at King's University College at the University of Western Ontario. He has written for Ontario History, The Urban History Review, The Beaver, Canadian Military History, Canadian Literature, and Teaching History: A Journal of Methods. His textbook, Canada: A Country of Change (co-authored with Matthew Rankin), is in use throughout the Manitoba school system. His study of consumer culture on the Canadian home front, A Small Price to Pay: Canadian Consumers and the Second World War, is forthcoming with UBC Press.

Biographical Note, 2010

Elizabeth Cavaliere is a PhD candidate in the Interuniversity Doctoral Program in Art History at Concordia University. She received a BA in Art History from Mount Allison University (2007) followed by an MA in Art History from York University (2009). Elizabeth has taught courses on the history and historiography of photography in Canada at Concordia University and has published writings on the Canadian photographic landscape and topographical survey photographs of the 19th century. In 2012 she was awarded a Lisette Model/Joseph G. Blum Fellowship in the History of Photography to pursue her research at the National Gallery of Canada. Elizabeth has been greatly involved with Toronto artist run centres and is also an active photographer with several solo-exhibitions including one in conjunction with Toronto's CONTACT festival of photography.  

Biographical Note, 2014

May Chew is a Mitacs Postdoctoral Research Fellow at York University’s Sensorium Centre for Digital Arts and Technology, where her work centres on the potential for digital, nonlinear exhibit platforms to enable collaborative creative production and knowledge exchange. Before this, her sshrc-funded doctoral research in Cultural Studies at Queen’s University examined the uses of interactive and immersive technologies in diverse museological sites across Canada, and how these facilitate the material practice of nation and cultural citizenship. Chew collaborates on Houses on Pengarth, a research and curation project centred on developing a socially-engaged, experimental art lab in Toronto’s Lawrence Heights community. Her recent work includes a chapter in the anthology Material Cultures in Canada (Wilfred Laurier University Press Press, 2015), and articles in Imaginations (2017) and the International Journal of Heritage Studies (2016). Chew currently teaches in the Cinema Studies Institute at the University of Toronto. She also serves as Managing Editor for the journal, PUBLIC: Art/Culture/Ideas.

Biographical Note, 2016

Anithe de Carvalho détient un doctorat en Histoire de l’art. Ses recherches portent sur l’étatisation et l’institutionnalisation de l’art underground québécois à l’ère de la démocratie culturelle (1967–1977). Elle a publié un essai sur l'artiste Maurice Demers aux Éditions Lux en 2009. Chargée de cours à l’Université du Québec à Chicoutimi, de Carvalho poursuit également ses recherches au Post-doctorat en Sociologie à l’Université Laval sur le thème de la démocratisation de la culture et les programmes de l’organisme Culture pour tous.

Notice biographique, 2013

Leah Decter is a Winnipeg based inter-media artist and scholar who holds an MFA in New Media from Transart Institute and is currently undertaking a PhD in Cultural Studies at Queens University. She has exhibited, presented and screened her work widely in Canada including at the Winnipeg Art Gallery, Grunt Gallery, Dunlop Art Gallery and Trinity Square Video, and internationally in the US, UK, Australia, Germany, Malta, the Netherlands and India. Recent publications include (official denial) trade value in progress: Unsettling Narratives, (co-authored with Jaimie Isaac) in the West Coast Line Reconcile This! Issue (2012), and Addressing the Settler Problem’: Strategies of settler responsibility and decolonization in contemporary aesthetics, (co-authored with Carla Taunton) in Fuse Magazine’s Decolonizing Aesthetics Issue (2013). Decter’s work considers histories and contemporary conditions of settler colonialism in Canada through a critical settler lens, rendering counter-narratives to dominant nationalist mythologies through critical deployment of personal and historical narratives, embodied insertions into land and land/scape, and manipulation of iconic elements of nationalist visual culture.

Biographical Note, 2014

Jacques des Rochers est conservateur de l’art québécois et canadien avant 1945 au Musée des beaux-arts de Montréal. Il a développé le concept d’exposition et dirigé le redéploiement des collections dont il a la responsabilité au nouveau pavillon Bourgie, de même que la publication Art québécois et canadien. La collection du Musée des beaux-arts de Montréal (2011). Il a été le commissaire de L’Héritage artistique des Sulpiciens de Montréal (et co-auteur pour Les Sulpiciens de Montréal, Fides, 2007; Wilson & Lafleur, 2013). Il agit à titre de co-commissaire de l’exposition et co-directeur de la publication Une modernité des années vingt à Montréal. Le Groupe de Beaver Hall (MBAM, 2015).

Notice biographique, 2014

Richard Gagnier est chef du Service de la restauration au Musée des beaux-arts de Montréal. Restaurateur spécialisé en art contemporain, sa pratique porte autant sur la peinture, la sculpture, l’installation que les œuvres à contenu médiatique. Ses intérêts de recherche l’ont amené à faire partie du groupe de recherche de l’alliance DOCAM (Documentation et préservation des œuvres du patrimoine médiatique canadien, 2005–2010) où il a dirigé les activités du sous-comité étude de cas restauration-conservation. Plus récemment il a été membre d’un groupe d’historiens de l’art dirigé par Francine Couture (auparavant professeur au département d’histoire de l’art de l’Université du Québec à Montréal) s’intéressant à la question de la ré-exposition de l’art contemporain. Avec ce groupe, il a publié un certain nombre d’études dont Les « impermanences » de la matérialité en art contemporain (2013).

Notice biographique, 2014

François-Marc Gagnon (1935–2019), professeur émérite de l’Université de Montréal et directeur fondateur de l’Institut de recherches en art canadien Gail et Stephen A. Jarislowsky à l’Université Concordia est heureux d’avoir maintenant le statut de professeur affilié au département d’histoire de l’art de l’Université Concordia. Ses recherches ont porté à la fois sur les débuts de l’art au Canada et sur la période des années quarante et cinquante en art au Québec. Ses recherches sur le Codex canadensis et les écrits de Louis Nicolas viennent de faire l’objet d’une publication aux McGill-Queen’s University Press. Son livre sur Paul-Émile Borduas. Biographie critique et analyse de l’œuvre, publié en 1978, lui a valu le Prix du Gouverneur général et fait maintenant l’objet d’une traduction anglaise. Il est membre de l’Ordre du Canada. 

Notice biographique, 2011 

Molly-Claire Gillett is a PhD Candidate in the Individualized Program at Concordia University in Montreal, Quebec, where she works with faculty members in the Departments of Art History, Design and Computation Arts, and Art Education, and in association with the School of Irish Studies. Her sshrc-funded doctoral work investigates the complex colonial relationship materially evidenced by the production of lace in Ireland and its consumption in England during the nineteenth century; it is guided and shaped by a research creation practice in lacemaking and engagement with contemporary Irish lacemaking groups. Molly-Claire has also worked in community arts programming in Canada and Northern Ireland. Her recent article “‘Home Charms’: unpacking an Irish immigrant woman’s home through speculative design” is forthcoming in Text and Performance Quarterly. 

Biographical Note, 2019

Rachel Gotlieb received her PhD from Queen’s University in 2016. She has curated over twenty exhibitions and published extensively on the subject of design, craft and ceramics.  She teaches design history at Sheridan College, in the Bachelor of Craft and Design program. Additionally, she is Adjunct Curator at the Gardiner Museum where she was previously Chief Curator and Interim Executive Director. Gotlieb was the founding curator of the Design Exchange and recently supervised the transfer of its permanent collection to the Canadian Museum of History and the Royal Ontario Museum. In 2017 and 2018 she served as the Theodore Randall Visiting International Chair in Art and Design at Alfred University in New York, and was awarded a Research Fellow Winterthur Museum, Garden and Library.

Biographical Note, 2019

Charles C. Hill, Curator of Canadian Art at the National Gallery of Canada, is the author of Canadian Painting in the Thirties (1975), John Vanderpant Photographs (1976), Morrice A Gift to the Nation. The G. Blair Laing Collection (1992), The Group of Seven: Art for a Nation (1995) and contributed essays to Louis-Philippe Hébert (2001), p. 216-41, Tom Thomson (2002) (awarded the Ontario Association of Art Galleries’ INCO Ltd. Curatorial Writing Award in the Historical category), Emily Carr: New Perspectives on a Canadian Icon (2006) (the catalogue was awarded the Melva J. Dwyer Award for Excellence in Canadian Art Publishing by the Art Libraries Society of North America in 2007). He was appointed a Member of the Order of Canada in 2000, received the medal of the Royal Canadian Academy of Arts, 2005 and was awarded an Honourary Doctorate by Concordia University, Montreal in 2007.

Biographical Note, 2011

Richard William Hill is a curator, critic and associate professor of art history at York University. His research focuses primarily, but not exclusively, on historical and contemporary art created by Indigenous North American artists. As a curator at the Art Gallery of Ontario, he oversaw the museum’s first substantial effort to include Indigenous North American art and ideas in permanent collection galleries. He also curated Kazuo Nakamura: A Human Measure at the Art Gallery of Ontario in 2004, co-curated, with Jimmie Durham, The American West at Compton Verney, UK in 2005 and, beginning in 2006, The World Upside Down, which originated at the Walter Philips Gallery at the Banff Centre in 2006 and toured across Canada. Hill’s essays on art have appeared in numerous books, exhibition catalogues and periodicals. He has a long association with the art magazine fuse, where he was a member of the board and editorial committee for many years and, until the magazine ended production recently, wrote Close Readings, a regular column reviewing recent art exhibitions.

Biographical Note, 2014

Andrew Horrall is a senior archivist at Library and Archives Canada and an adjunct professor of history at Carleton University. He attended Bishop’s and McGill universities and earned a doctorate in History from the University of Cambridge. He has published on popular culture in Victorian and Edwardian Britain and cultural responses to war. He is currently researching art, cultural propaganda, and nationalism in twentieth-century Canada. His interest in the Dorothy Cameron case was sparked while working on his 2009 book Bringing Art to Life: a Biography of Alan Jarvis, which was lauded for setting “a new standard for cultural biography in Canada” and received the City of Ottawa Book Award.

Biographical Note, 2013

Gregory Humeniuk is curatorial assistant in the Department of Canadian Art at the Art Gallery of Ontario. He has researched and published aspects of Canadian art from the mid-nineteenth century through to the contemporary. At the AGO he has special focus on nineteenth and early twentieth century Canadian art. Areas of research and interest include art of the modern era and twentieth century with particular interests in the history of Canadian frames, the art market, the influence of the academy, abstraction, and the artists Jack Chambers, Ron Martin, and David Milne.

Biographical Note, 2014

Alice Ming Wai Jim is Associate Professor of Contemporary Art at Concordia University in Montreal, Canada where she teaches on contemporary art, media arts, ethnocultural and global art histories, international art exhibitions and curatorial studies. She is founding co-editor of the scholarly journal, Asian Diasporic Visual Cultures and the Americas (Brill, NL) and is the 2015 recipient of the Centre de documentation d’Artexte Award for Research in Contemporary Art. From 2003 to 2006, she was curator of the Vancouver International Centre for Contemporary Asia Art (Centre A). Recent publications include contributions to Third Text, Journal of Curatorial Studies, Journal of Visual Culture, Yishu Journal of Contemporary Chinese Art, Triennial City: Localising Asian Art (Asia Triennial Manchester, 2014), Negotiations in a Vacant Lot: Studying the Visual in Canada (2014), Human Rights and the Arts: Perspectives from Global Asia (2014), and Mass Effect: Art and the Internet in the 21st Century (2015).

Biographical Note, 2015

Louis Kaplan is professor of history and theory of photography and new media in the Graduate Department of Art at the University of Toronto and inaugural chair of the Department of Visual Studies at its Mississauga campus. He is also a member of the Centre for Jewish Studies at the University of Toronto. Professor Kaplan has published widely in the areas of photography studies, art history, Jewish studies, visual culture, and deconstruction. His book Laszlo Moholy-Nagy: Biographical Writings (Duke, 1995) rethinks the Bauhaus master through the lens of postmodernism and deconstruction. It was translated into Mandarin and published by Zheijiang Photographic Press in 2010. Other books include American Exposures: Photography and Community in the Twentieth Century (Minnesota, 2005), and The Strange Case of William Mumler, Spirit Photographer (Minnesota, 2008). Kaplan curated the exhibition Command J: Jewish Laws, Digital Arts in 2005 that included works by Simon Glass, Melissa Shiff, Helene Aylon, and Jeffrey Shaw. He is currently co-investigator on a Social Sciences and Humanities Research Council of Canada−supported Insight Development Grant entitled “Mapping Ararat: An Imaginary Jewish Homelands Project.” His keynote lecture at the ART+RELIGION conference in Montreal in 2010 serves as the basis for his essay here. Kaplan is a senior research consultant for the Shpilman Institute for Photography in Tel Aviv and a member of the international editorial boards of History of Photography, Topia, and Photography and Culture. He is currently researching a book on Photography and Humour for the Exposures series of Reaktion Books in London.

Biographical Note, 2012

Kathy Kranias is an artist, educator and art historian. Her clay sculptures reside in the public collections of the Canadian embassies in Washington D.C., Belgrade, and Beijing. Solo exhibitions include Becoming the Persephone at the Art Gallery of Peterborough and Archetypes in Clay: Recent Work at the David Kaye Gallery, Toronto. Kranias served as sessional studio faculty in the Craft and Design Program at Sheridan College, 2004–2018, and as high school art teacher with the Toronto District School Board, 1990–1998. She has written articles, essays, and reviews for numerous publications, including The Journal of Modern Craft, Studio: Craft and Design in Canada, Stained Glass Quarterly, Journal of the Society for the Study of Architecture in Canada, and contributed to A Thousand Colours: Sarah Hall Glass (2017). Kranias holds a bfa cum laude in Studio Art from Concordia University (1986), a BEd from University of Toronto (1990), and a ma cum laude in Art History from York University (2015), where she was awarded a sshrc Joseph-Armand Bombardier Canada Graduate Master’s Scholarship. Currently she maintains her studio practice in Toronto and explores movement, the body and emotion through clay, a practice grounded in a feminist interpretation of Greek myth and archetype.

Biographical Note, 2019

Laurier Lacroix est professeur émérite de l’Université du Québec à Montréal où il a enseigné l’histoire de l’art et la muséologie. Ses intérêts de recherche portent sur les collections publiques et l’art au Québec et au Canada avant 1940, en particulier la peinture et le dessin. Parmi ses réalisations, notons les expositions et les catalogues François Baillairgé (1985), Peindre à Montréal entre 1915 et 1930 (1996), les rétrospectives consacrées à Ozias Leduc (1978 et 1996) et Suzor-Coté (1986 et 2002), ainsi que Les arts en Nouvelle-France (2012). Il s’intéresse également à l’art contemporain et a agi, entre autres, comme commissaire d’expositions des œuvres d’Irene F. Whittome (1990, 1998, 2004), Pierre Dorion (2002), Guy Pellerin (2004), Robert Wolfe (2006), Micheline Beauchemin (2009). Récipiendaire du Prix Carrière de la Société des musées québécois (1997) et du Prix Gérard-Morisset (2008), Laurier Lacroix est membre de la Société des Dix (2005) et de l’Académie des lettres du Québec (2012).

Notice biographique, 2014

Martha Langford is 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. Her publications include 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), all from McGill-Queen’s University Press. Recent journal articles on Canadian photographic history have appeared in History of Photography, Visual Studies and Intermédialités : histoire et théorie des arts, des lettres et des techniques/Intermediality: History and Theory of the Arts, Literature and Technologies.

Biographical Note, 2015

Gilles Lapointe est professeur au Département d’histoire de l’art de l’Université du Québec à Montréal. Il s’intéresse aux enjeux théoriques liés à la modernité artistique québécoise dans une perspective interdisciplinaire. Ses recherches en cours portent sur l’artiste multidisciplinaire Edmund Alleyn et sur les rapports d’intertextualité qu’entretiennent les œuvres de Réjean Ducharme et d’Arthur Rimbaud. Il est l’auteur de plusieurs études et essais sur l’automatisme, dont L’Envol des signes. Borduas et ses lettres (1996) et La Comète automatiste (2008).

Notice biographique, 2011

Adam Lauder recently completed all of the requirements of a PhD in the Graduate Department of Art at the University of Toronto. His current research focuses on Canadian artists’ engagements with changing concepts of “information” in both the Modern and contemporary periods. He has contributed articles to scholarly journals including Amodern, Art Documentation, Canadian Journal of Communication, Future Anterior, Imaginations, Journal of Canadian Studies, Technoetic Arts, The Journal of Canadian Art History, TOPIA and Visual Resources as well as features and shorter texts to magazines such as Art Handler, Border Crossings, C, Canadian Art, e-flux, Flash Art, Hunter and Cook and Millions. He is the editor of H& IT ON (YYZ, 2012) and is the author of chapters appearing in Finding McLuhan (University of Regina Press, 2015), The Logic of Nature, The Romance of Space (2010) as well as Byproduct: On the Excess of Embedded Art Practices (2010). He was guest curator of Imaging Disaster (with Cassandra Getty, Museum London, 2013) and of It’s Alive! Bertram Brooker and Vitalism (Art Gallery of Windsor, 2009; Agnes Etherington Art Centre, 2009–10; Museum London, 2010–11). He is currently an instructor in the School of Creative Arts at the University of Windsor. 

Biographical Note, 2015

Depuis 1953, la carrière de Gérard Lavallée se partage entre l’enseignement, la muséologie, la recherche et les publications. D’abord professeur en arts plastiques et en histoire de l’art au Collège de Saint-Laurent où il a fondé, en 1962, le Musée d’art de Saint-Laurent, il n’a cessé de poursuivre des recherches sur la sculpture ornementale et iconographique du Québec (1667–1867) et celle de la France (xvii et xviii siècles) dans le but de découvrir les sources et l’originalité de l’art québécois ancien. Les fruits de ces recherches constituent un imposant fonds de documents maintenant déposés au Musée national des beaux-arts du Québec. En 1988, la Société des musées québécois lui a décerné le prix Pratt & Whitney « pour l’excellence de son travail en muséologie au Québec ». En 2002, Robert Derome, assisté de ses élèves de l’Université du Québec à Montréal, lui a consacré un colloque hommage suivi de la publication des actes du colloque.

Notice biographique, 2013

Carolyn MacHardy is associate professor and Program Chair of Art History and Visual Culture in the Department of Critical Studies at the University of British Columbia, Okanagan campus. Her publications include articles on the Canadian artists Clarence Gagnon, Donald Shaw MacLaughlan and Tom Thomson, and an epistolary history exploring social and religious strife in the village of Braemar, Scotland, between 1800 and 1809. Her research in recent years has focused on the interior of British Columbia, particularly the Okanagan Valley, and she has published journal and exhibition catalogue essays on the art and artists of this region.

Biographical Note, 2013

Anne Mackay is the head, conservation at the McCord Museum in Montreal, where she oversees all conservation and preservation activities. She has worked as a conservator in museums nationally and internationally, including the National Gallery of Canada, the Canadian Museum of History, the Metropolitan Museum in New York and the Museum of Anatolian Civilizations in Ankara, Turkey. She has published and lectured on conservation issues, is an associate editor of the Journal of the Canadian Association of Conservation and has taught courses on the history and theory of art conservation at Concordia University. Anne was accredited by the Canadian Association of Professional Conservators in 1995 in the conservation of sculpture.

Biographical Note, 2014

Catherine MacKenzie is a professor in the Department of Art History at Concordia University. Trained as an architectural historian and active over the years in a variety of administrative posts within the University, she has turned her attention more recently to the study of North American and British women artists living and working in China before the declaration of the People’s Republic of China.  This work has led to conference presentations in Canada, the United States and Great Britain, as well as articles in RACAR and JCAH and a chapter, "Securing Shanghai: British Women Artists and ‘Their' City," in  The British Abroad Since the Eighteenth Century, vol. 1. (2013).  Her other research activities centre  on Nazi art-looting – with her 2006 exhibition, Auktion 392: Reclaiming the Galerie Stern, having travelled in Great Britain, the United States and Israel  – and on German-Jewish collectors in Weimar Germany. She is currently completing a manuscript on the collecting practices of Dr. Ismar Littmann (1878–1934).

Biographical Note, 2013

Isabelle Masse est étudiante à la maîtrise en histoire de l’art à l’Université de Montréal. Ses intérêts de recherche touchent les thématiques liant portrait et subjectivité. Son projet de mémoire, financé par le Conseil de recherches en sciences humaines du Canada et le Fonds de recherche sur la société et la culture, étudie, à partir d’un corpus de portraits photographiques contemporains, le pouvoir de fascination des images et la dynamique d’interaction subjective inférée par celui-ci.

Notice biographique, 2011

Karla McManus is a SSHRC Postdoctoral Fellow at Queen’s University in the Department of Art History and Art Conservation. She received her PhD from Concordia University in 2015 and has taught courses on the history of art and photography at Concordia and Queen’s. Specializing in the study of photography and the environmental imaginary, her current research explores the work of wildfowl photographer Lorene Squire, whose images of Canadian wilderness and wildlife circulated in popular publications such as life and The Beaver during the 1930s and '40s. An essay on Canadian photographer Andreas Rutkauskas’ documentary series of the Canadian-U.S. border is forthcoming from Imaginations: Journal of Cross-Cultural Image Studies (2017). Her article on the curatorial, nationalist, and aesthetic decisions that informed the Walter Phillips Gallery’s first exhibition of photography was published in the Journal of Canadian Art History (2016). Karla’s writing on eco-photography and its influence on the global imagination can be found in Captures. Figures, théories et pratiques de l’imaginaire (2016). Her contribution to the Canadian Photography History/Histoire de la photographie canadienne group-authored article “Imaged Communities: Putting Canadian Photographic History in its Place,” was published in the Journal of Canadian Studies (2015).

Biographical Note, 2015

Maggie Mills is an MA candidate in Communications Studies at McGill University. Her current research examines the nature of feminist and queer visual cultures on social media and the politics of digital culture. Previous research centred on the connection between craft and storytelling, which led to a curatorial project (Art Matters 18^th edition) and conference presentation (“[Dis]CONNECT: Alienation & Art,” 2018). Her research at the Canadian Craft Biennial led to the blog Concordia Craft Research (concordiacraftresearch.tumblr.com) and twitter page @concordia_craft. Her written work has been published in Yiara, an undergraduate feminist art and art history publication (2018), Concordia Undergraduate Journal of Art History (2017) and Afterimages (2015). She holds a BFA from Concordia University in Art History and Film Studies.

Biographical Note, 2019

Elizabeth Moffatt a obtenu un baccalauréat spécialisé en chimie de l’Université Memorial de Terre-Neuve, et une maîtrise, avec spécialisation en chimie organique, de l’Université d’Ottawa. Elle s’est jointe à l’Institut canadien de conservation (ICC) en 1978 où elle s’est spécialisée dans l’analyse d’un large éventail de matériaux dans les collections de musée par spectroscopie infrarouge à transformée de Fourier, spectroscopie Raman et microscopie électronique à balayage couplée à la spectrométrie des rayons x par dispersion d’énergie. Son principal intérêt de recherche était la caractérisation des matériaux et des techniques employés par les artistes canadiens, notamment Paul-Émile Borduas, Cornelius Krieghoff, Tom Thomson, David Milne et Alfred Pellan. Elle a pris sa retraite en 2015.

Noticesbiographique, 2015

Monique Nadeau-Saumier, PhD., histoire de l’art, UQAM, a enseigné l'histoire de l'art et de l’architecture au Canada, les arts décoratifs et la muséologie à l'Université Bishop’s durant quinze ans, tout en assumant le poste de directrice administrative du Centre de recherche des Cantons de l'Est à la même université. Son mémoire de maîtrise en histoire de l’art à l’Université Concordia était consacré au peintre Louis Muhlstock (1904-2001). Elle a collaboré à plusieurs expositions individuelles sur cet artiste, entre autres aux Galeries d'art des Universités Concordia et Bishop's, au Centre Saidye-Bronfman et au Musée des beaux-arts de Sherbrooke. Elle a été commissaire de l'exposition itinérante Muhlstock, produite et mise en circulation par le Musée du Québec en 1995-96. Elle a été chargée de recherche (2007-2009), à l'Institut de recherche en art canadien Gail et Stephen A. Jarislowsky de l'Université Concordia.

Notice biographique, 2012

Anne Newlands is a former art educator and researcher-writer at the National Gallery of Canada, and now works as an independent curator and freelance writer on Canadian art. Her publications include Canadian Art – From its Beginning to 2000 (2000), and introductory texts on Clarence Gagnon (2005), Emily Carr (1996), and Tom Thomson and the Group of Seven (1995). She recently received a Jean A. Chalmers Grant for the Crafts by the Canada Council for the Arts to assist with research and travel for her work on Mariette Rousseau-Vermette. Newlands holds an M.A. in Art History from Université Laval, Quebec.

Biographical Note, 2011

Kirk Niergarth is a historian of Canada in the interwar period with longstanding interest in Canadian visual culture. His book ‘The Dignity of Every Human Being’: New Brunswick Artists and Canadian Culture Between the Great Depression and the Cold War was published in 2015 by the University of Toronto Press. He is an Associate Professor at Mount Royal University in Calgary, Alberta.

Biographical Note, 2016

Sandra Paikowsky recently retired from the Art History Department of Concordia University. She is the First Distinguished Scholar at the Gail & Stephen Jarislowsky Institute for Studies in Canadian Art at Concordia. A founder of the Journal of Canadian Art History/Annales d’histoire de l’art canadien, she remains its Publisher and member of its board. She was a co-editor of The Visual Arts in Canada: The Twentieth Century (2010) and author of the chapter “Modernist Representational Painting before 1950.” Her other recent publications include an online history of the Maritime Art Association, “James Wilson Morrice’s Return from School: A Modernist Image of Quebec Children,” in Depicting Canada’s Children (2009), John Fox: Refiguration (2010), “The Girls and the Grid: Montreal Women Abstract Painters in the 1950s and Early 60s” in Rethinking Professionalism. Women and Art in Canada, 1850-1970 (2012) and “John Fox: The Sketchbook Drawings from the Early 1970s to the Mid 1980s” in John Fox. Abstractions (2012).

Biographical Note, 2012

Elaine Cheasley Paterson is Associate Dean, Academic and Associate Professor of Craft Studies in the Department of Art History at the Faculty of Fine Arts of Concordia University in Montreal, Canada. Her research concerns women's cultural philanthropy in early twentieth-century British, Irish and Canadian craft guilds of the home arts movement and tracing a lineage from this historical material to the current resurgence in Do-it-yourself, maker culture and craftivist practices. Another significant stream of her research, emerging from her teaching, is centred around questions of skill, hybridity, and pedagogy within a contemporary craft milieu. Some of her publications include Sloppy Craft: Postdisciplinarity and the Crafts (Bloomsbury Academic, 2015) with Susan Surette and “Crafting Empire: Intersections of Irish and Canadian Women’s History,” Journal of Canadian Art History/Annales d’histoire de l’art canadien (2014). Upcoming publication projects include her work co-editing a special issue on Identity, Craft, Marketing of the JCAH/AHAC (2019), and Craft and Heritage: Intersections in Critical Studies and Practice for Bloomsbury Academic in 2020. Her most recent publication “Our Lady of the Snows: Settlement, empire and ‘the children of Canada’ in the needlework of Mary Seton Watts” in L. Binkley and J. Amos, eds. Stitching the Self (2019) emerges from her initial forays into a new line of research concerned with education, settlement, social benevolence and imperial philanthropy (through the migration of people, craft practices and objects) in early twentieth-century Britain and Canada.

Biographical Note, 2019

Après des études en histoire de l’art à l’université Laval, Claude Payer a complété une maîtrise en restauration à l’Université Queen’s, à Kingston, en Ontario. Il s’est ensuite perfectionné pendant deux ans en restauration de sculptures polychromes à l’Institut Royal du Patrimoine Artistique, à Bruxelles, en Belgique. Depuis 1985, il mène des travaux de restauration et des recherches en sculptures anciennes au Centre de conservation du Québec. On lui doit de nombreux articles touchant surtout la sculpture ancienne du Québec. En 2016, il signe avec Daniel Drouin une monographie sur les tabernacles du Québec des XVII^e et XVIII^e siècles.

Notice biographique, 2014

Rosalind Pepall recently retired as senior curator of Decorative Arts at the Montreal Museum of Fine Arts, and formerly curator of Canadian Art (1995–2000), and has assisted in a wide range of exhibitions, publications, conferences and research in the areas of the decorative arts and Canadian art and architecture for over thirty years. Since 2000 she has headed the curatorial committees for the exhibitions: Ruhlmann: Genius of Art Deco (2003–2004), in collaboration with the Metropolitan Museum of Art, NY, and the Musée des Années 30, Paris (awarded the Académie des Beaux-Arts de France’s Prix Houllevigue for the exhibition catalogue and the American International Critics Association award for best architecture/design exhibition of 2004); Edwin Holgate, Canadian Painter (2005–2007); and Tiffany Glass: Colour and Light, presented in Paris, Montreal, and Richmond, VA (2009–2010). Ms. Pepall co-edited the 400 page book on the MMFA’s collection of decorative arts and design (2012). From 2009, she served on the curatorial committee for the exhibition, Artists, Architects, and Artisans: Canadian Art 1890–1918, National Gallery of Canada, 2013–2014. She is presently a free-lance writer and curator.

Biographical Note, 2014

Ruth B. Phillips is Canada Research Professor and Professor of Art History at Carleton University in Ottawa. Her research focuses on the Indigenous arts of North America and critical museology. She is the author of Museum Pieces: Toward the Indigenization of Canadian Museums (2011); Trading Identities: The Souvenir in Native North American Art from the Northeast (1998); and Representing Woman: Sande Masquerades of the Mende of Sierra Leone (1995); and co-author, with Janet Catherine Berlo of Native North American Art (2nd edition, 2014);. She has served as director of the University of British Columbia Museum of Anthropology and president of CIHA, the International Committee on the History of Art. She is a fellow of the Royal Society of Canada.

Biographical Note, 2016

Sherry Farrell Racette is cross-appointed to the Departments of Native 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.

Biographical Note, 2015

Eduardo Ralickas est doctorant au Département d’histoire de l’art et d’études cinématographiques de l’Université de Montréal et au Centre d’histoire et de théorie des arts (CEHTA) de l’École des Hautes Études en Sciences Sociales (EHESS), Paris. Sa thèse, intitulée Naissance de l’art performatif. Étude sur les prémisses du moment romantique en Allemagne, porte sur la genèse du paradigme de la performativité artistique ayant motivé les pratiques esthétiques et politiques du premier romantisme allemand. À titre de critique d’art, il a publié plusieurs essais dans des périodiques canadiens. En 2010, il a été le commissaire de l’exposition Raymonde April : Équivalences I-IV. 

Notice biographique, 2010

Dennis Reid has been teaching Canadian art history for the past thirty-three years at the University of Toronto where he is a professor in the Department of Art. He also worked at the Art Gallery of Ontario, Toronto, as Curator of Canadian Historical Art (1979–99), as Chief Curator (1999-2005), and as Director, Collections & Research (2005–10). He first entered the field as Assistant Curator of Canadian Art at the National Gallery of Canada in 1967, subsequently serving there as Curator of Post-Confederation Canadian Art (1971–79). Author of the well-known A Concise History of Canadian Painting (1973, 2nd ed. 1988, 3rd ed. forthcoming), he has published widely on nineteenth and twentieth century Canadian art.

Biographical Note, 2011

Patricia Sheppard is a doctoral candidate in the Department of Art History at Concordia University and a recipient of the Bourses d'études Hydro-Québec de l'Université Concordia. The research presented here is the result of work completed during her master’s degree. She is continuing her study of personal albums compiled by women in Canada during the nineteenth century with her doctoral research.

Biographical Note, 2013

David P. Silcox has been a Senior Fellow of Massey College since 1992 and was President of Sotheby’s Canada from 2001–2013. His career has been in the broad cultural sector as professor and associate dean of the then new Faculty of Fine Arts, York University; first arts officer, Canada Council; first director of the cultural department, Metro Toronto; assistant deputy minister (culture), Department of Communications (federal); deputy minister, Ministry Culture and Communications (Ontario); and director, University of Toronto Art Centre, now Art Museum, University of Toronto. He has served on the boards of nearly forty cultural institutions including the Stratford Festival, Royal Conservatory of Music, National Museum of Broadcasting, National Film Board, Téléfilm Canada (chairman), and Canadian Producers and Artists Professional Relations Tribunal (chairman). He was the only Canadian on the Americas Nominating Committee for the prestigious international Japanese arts prizes, Præmium Imperiale. He is the Chairman of the Canadian Friends of Dulwich Picture Gallery, which mounted the startling exhibition Painting Canada: The Group of Seven and Tom Thomson and the recent Emily Carr: From the Forest to the Sea, and now is working on Aftermath: The War Paintings of David Milne scheduled for Dulwich in 2018. He chairs the annual Canadian Museum Awards jury. Silcox has written a great deal on Canadian artists and art in magazines and catalogues, and has done frequent radio and television interviews. His books include the much expanded and about-to-be-reissued (April 2017) Tom Thomson: The Silence and the Storm (with Harold Town), Christopher Pratt, The Group of Seven and Tom Thomson, and the definitive biography of David Milne, Painting Place, and the fully illustrated two-volume Catalogue Raisonné of Milne’s paintings, the only such work on a major Canadian artist.

Biographical Note, 2015

Robin Simpson is an art historian, curator, and student based in Vancouver. He is currently enrolled in the PhD program in Art History at the University of British Columbia and holds a doctoral fellowship with the Social Sciences and Humanities Research Council of Canada. He earned his ma at Concordia University, Montreal (2011) where he completed a thesis on the experimental school and co-operative Rochdale College (1968–1975) and its influence within Canadian contemporary art. This research was conducted under the auspices of Fonds de recherche sur la société et la culture. His current research investigates video art of the 1970s and 80s and the interplay of video technology between the artist’s studio and clinical psychotherapeutic contexts. He is a contributing author to A Play to be Played Indoors or Out: This Book is a Classroom (ed. Corinn Gerber, Lucie Kolb, and Romy Rüegger, Passenger Books, 2012), Oh, Canada (ed. Denise Markonish, MassMOCA/MIT Press, 2012), Heteropolis (ed. Adaptive Actions, Leonard and Bina Ellen Gallery, 2013) and Sarai 9: Projections (ed. Raqs Media Collective and Shveta Sarda, Sarai/Centre for the Study of Developing Societies, 2013).

Biographical Note, 2015

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. His books include The Carver and the Artist: Māori Art in the Twentieth Century (Auckland University Press, 2008), The Passing World, The Passage of Life: John Hovell and the Art of Kōwhaiwhai (Rim Books, 2010), and he was an author for the book Art in Oceania: A New History (Thames and Hudson, 2012). His article “Provincial Primitivists: The Problem of Māori Modernism” was published in World Art 4:1 (2014).  He is currently working on a project about settler and indigenous artists in London in the postwar period, and is working with a group of international scholars to develop a methodology for art history in settler colonial societies, with particular focus on Aotearoa New Zealand, Australia, Canada, South Africa and the United States.

Biographical Note, 2014

Felicity Tayler is a PhD Candidate in the Interdisciplinary Humanities Program at Concordia University, with a major field of study in Canadian Art History. She also holds a Masters in Library and Information Studies from McGill University. Her doctoral research explores the aesthetic and social worlds constituted by literary and artistic neo-avant-gardes in the post-Centennial period as works of “conceptual nationalism.” This doctoral research complements her artistic and curatorial practice, which grows out of experience managing art library collections and digital assets. She has published in various scholarly and professional journals including: Art Libraries Journal, Art Documentation, C Magazine, Ciel Variable, Montreal Review of Books, and Matrix; and is the recipient of funding from SSHRC, Canada Council of the Arts and the Conseil des arts et des letters du Québec.

Biographical Note, 2015

Rosemarie L. Tovell is the former curator of the Canadian Prints and Drawings collection at the National Gallery of Canada. Her publications include catalogues raisonnés of the prints of David Milne, Betty Goodwin, Clarence Gagnon (with Michèle Grandbois), and the Canadian works of James Smillie (with Mary Allodi). Her catalogue on the Canadian Etching Revival, A New Class of Art, The Artist's Print in Canadian Art 1877–1920, won the Ewell L. Newman Book Award from the American Historical Print Collectors Society. She continues to lecture and write on Canadian Prints and Drawings in both Canada and the United States.

Biographical Note, 2010

Anne Whitelaw is Associate Professor, Art History and Associate Dean Research in the Faculty of Fine Arts at Concordia University in Montreal. 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. She has published extensively on the display of Canadian art at the National Gallery of Canada, on the integration of Aboriginal art into the permanent displays of national museums; and on the work of women in North American art museums. Whitelaw is co-editor with Brian Foss and Sandra Paikowsky of The Visual Arts in Canada: The Twentieth Century (Oxford University Press, 2010) and the author of Spaces and Places for Art: Making Art Institutions in Western Canada 1912–1990 (McGill-Queen’s University Press, forthcoming). She is the co-leader of a SSHRC-funded project examining the global circulation of objects from northern North America with Beverly Lemire, University of Alberta and Laura Peers, Pitt Rivers Museum, Oxford University.

Biographical Note, 2015

India R. Young, art historian and curator, studies Indigenous art, print media, and emerging modes of reproduction. Her curatorship and writing negotiate feminist, decolonial, and critical race frameworks to track the cultural geography of the contemporary North American art world. Young graduated in 2017 with a doctorate in Native American art history from the University of New Mexico. Currently, she works as the Research Specialist in Native American Art at the Princeton University Art Museum, a position funded through the Andrew W. Mellon Foundation. In her work on Indigenous prints she has collaborated on exhibitions with the Art Gallery of Greater Victoria and the University of Victoria’s Legacy Art Gallery and curated the exhibition Cultural imprint: Northwest Coast Prints, at the Tacoma Art Museum. Independently, she is organizing two new exhibitions, Mario Gonzalez: Los Pasos Perdidos, and Revisionist Histories; both centre on an intersectional discourse of inclusion and visibility. She has written for BlackFlash, Canadian Art, and First American Art on topics ranging from works on paper to new media. University of Washington Press will publish her dissertation on Northwest Coast Indigenous prints in the Bill Holm Center Series on Native Art of the Pacific Northwest.

Biographical Note, 2016