Contributors to the Journal

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 MA in Art History from Queen's University and a PhD in History from Carleton University.

Biographical Note, 2010

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

AA Bronson is an artist living and working in New York City. In the sixties, he left university with a group of friends to found a free school, a commune, and an underground newspaper. This led him into an adventure with gestalt therapy, radical education, and independent publishing. In 1969 he formed the artists’ group General Idea with Felix Partz and Jorge Zontal; they lived and worked together to produce the living artwork of being together, undertaking over 100 solo exhibitions and countless group shows and temporary public art projects. They were known for their magazine FILE (1972-89), and their early involvement in punk, queer theory, AIDS activism, and other manifestations of the other. Both Partz and Zontal died in 1994 and since then, AA has produced work focused on the subject of death, grieving, and healing, most recently his series Invocation of the Queer Spirits. He has had solo exhibitions at the Vienna Secession, the Museum of Contemporary Art, Chicago, and the Power Plant, Toronto, amongst other venues. His work is in the collections of the Whitney Museum of American Art, the Jewish Museum, and the National Gallery of Canada. AA Bronson’s work is dominated by the practice of collaboration and consensus. From his beginnings in a free school and commune, through his twenty-five years in General Idea, his deep involvement with founding and directing collaborative structures such as Art Metropole, the NY Art Book Fair, and The Institute for Art, Religion, and Social Justice, and his current collaborations with younger generations, he has focused on the politics of decision-making and on living life radically as social sculpture. In 2008 he was made an Officer of the Order of Canada and in 2011 he was named a Chevalier de l’ordre des arts et des lettres by the French government.

Biographical Note, 2012

Elizabeth Cavaliere is an instructor at Ontario College of Art and Design University where she teaches Canadian art histories with a focus on photographic and institutional histories. She is a member of Open Art Histories, a collective focused on addressing pressing pedagogical challenges confronting instructors including using Open Education Resources to advance accessibility and inclusion in the classroom, and co-authoring CanadARThistories: Reimagining the Canadian Art History Survey. In the field of Scholarship of Teaching and Learning (SoTL), she has held a pedagogy-focused postdoctoral fellowship at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, and has produced contributions that engage theory and best practices in learning and teaching at the Open Education Conference and at the Technology in Education Seminar and Showcase. She has writing on tourist views, instructed looking, survey photography, railroad bridges, photographic directories, royals on timberslides, and giant (really giant!) mounds of ice published in journals such as Environmental History, Journal of Canadian Studies, Histoire Sociale/Social History, Imaginations: Journal of Cross-Cultural Image Studies, racar, and Journal of Canadian Art History.

Biographical Note, 2022

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

Mark Clintberg is an artist and Associate Professor of Art History at the Alberta University of the Arts (Calgary, formerly the Alberta College of Art and Design). He has published art criticism, journalism, and scholarly work focused on contemporary art in publications such as The Senses and Society, C Magazine, Esse, The Art Newspaper, and The Papers of the Bibliographical Society of Canada. His research in studio practice and scholarly work alike study formations and distortions of queerness as found in archives, oral histories, and visual culture. His artistic practice, which has been exhibited across Canada and in the United States, Portugal, and Scotland, involvesquilting, weaving, installation, public art, and works on paper. In 2013 he was shortlisted for the Sobey Art Award, and his artwork is held in several collections including the National Gallery of Canada.

Biographical Notice, 2020

Ramsay Cook is Professor of History (emeritus) at York University in Toronto. His research interests include Canadian cultural history, nationalism in Quebec and the impact of Europeans on the people and environment of early North America. His publications include The Regenerators: Social Criticism in Late Victorian English-Canada (1985), which was awarded the Governor-General’s Literary Award for Non-Fiction; Canada Quebec and the Uses of Nationalism (1995); editor of The Voyages of Jacques Cartier (1993) and The Teeth of Time: Remembering Pierre-Elliott Trudeau (2006). From 1989 to 2005 he was the general editor of The Dictionary of Canadian Biography/Dictionnaire biographique du Canada. He is a member of the Curatorial Advisory Committee on Canadian Art at the Art Gallery of Ontario. In 2005 he was awarded the Canada Council’s Molson Prize.

Biographical Note, 2012

Laurie Dalton is the Director/Curator of the Acadia University Art Gallery and an Ddjunct Professor in the Department of History & Classics at Acadia University. She holds a Master of Arts in art history from Queen’s University and a PhD in Canadian studies from Carleton University where she examined world’s fairs in the context of national narratives, visual branding, tourism, digital technologies, and audience engagement. She is a champion of cross-disciplinary initiatives, and the central role that the arts can play in this process.  She has led research teams and collaborated on projects that champion the transformative role of arts and the importance of interdisciplinary dialogue. Her research interests lie in Canadian visual culture, museum and exhibition history, in particular how “meaning” is a process of display, didactics, and audience exchange. Her recent book, “Painted Worlds: The Art of Maud Lewis, a critical perspective” (2022) challenges audience to situate the artist more widely with the canon of art history, modernity and museum histories. Dalton is currently working on a book length manuscript related to Canada’s representation in world’s fairs as example of cultural diplomacy and transnational narratives. 

Biographical Note, 2022

Jean-Jacques Danel est historien d’art, diplômé de l’École du Louvre, et licencié en Théologie catholique. Enseignant et conférencier, il s’est spécialisé dans l’étude conjointe de la peinture et des courants spirituels du Grand siècle. En particulier, à travers l’œuvre du récollet Claude François, dit frère Luc (1614–1681), en France et en Nouvelle France. Menant ses recherches en France et au Québec, il est l’auteur de différents articles et contributions à des colloques : « Frère Luc, nouvelles découvertes, nouvelles questions et appel à collaboration ! », La Tribune de l’art, juin 2015 ; « Frère Luc, peintre et récollet, son œuvre en Nouvelle-France », à l’occasion du colloque : Les Récollets en Nouvelle-France Traces et Mémoire, Université Laval 2015, Paul-André Dubois, dir., Les Récollets en Nouvelle-France. Traces et mémoire, Université Laval, 2018 ; « Frère Luc, peintre et récollet son œuvre à Amiens et en Picardie », Paru dans le bulletin de la Société des Antiquaires de Picardie, 2020. Il entretient également des contacts avec les musées des Beaux-Arts de Québec et Amiens et avec des historiens d’art canadiens et français ; afin de promouvoir l’œuvre de ce peintre dont l’œuvre constitue un patrimoine commun Franco-Canadien.

Notice biographique, 2021

Jon Davies is a curator, writer and independent scholar from Montreal. He received his PhD in Art History (Modern and Contemporary Art) from Stanford University, where he wrote the dissertation “The Fountain: Art, Sex and Queer Pedagogy in San Francisco, 1945–1995.” He received his BFA in film studies and sexuality studies from Concordia University and an MA in film/video studies from York University. He was formerly Assistant Curator at The Power Plant Contemporary Art Gallery, Toronto (2008–12) and Associate Curator at Oakville Galleries (2012–15). His book about Andy Warhol and Paul Morrissey’s 1970 film Trash was published by Arsenal Pulp Press in 2009 and his edited anthology of video scripts and other texts, More Voice-Over: Colin Campbell Writings, was published by Concordia University Press in 2021. His writing on film, video and modern/contemporary art has been published in numerous anthologies, catalogues, journals, and periodicals over the past two decades including Archives of American Art Journal, American Quarterly, Border Crossings, C Magazine, Camera Austria, Canadian Art, Canadian Journal of Film Studies, Criticism, Fillip, Frieze, GLQ, Journal of Curatorial Studies, Public, and RACAR. In 2023, he co-curated the 68th Robert Flaherty Film Seminar on the theme of “Queer World-Mending” with the artist Steve Reinke. 

Biographical Note, 2022

Ann Davis is retired as the Director of The Nickle Arts Museum at the University of Calgary, where she also initiated and taught in the program of Museum and Heritage Studies. Holding a phd from York University and a Certificate in Arts Administration from Harvard, Davis has been involved with museums and universities since 1965. Her publications include 8 books, most recently Museum & Place, numerous catalogues and articles.  She is the Past President of the Canadian Art Museum Director’s Organization, and the Past President of the International Council of Museums Committee for Museology. She organized the major pre-Columbian gold traveling exhibition Ancient Peru Unearthed: Golden Treasures of a Lost Civilization and was an external advisor to the Acquisition Committee of the National Gallery of Canada. Recently she was given an honorary doctorate by St. John’s College, University of Manitoba. She is working with a dedicated group attempting to create a Portrait Gallery for Canada.

Biographical Note, 2021

Leslie Dawn (1950–2016) was Professor in the Art Department at the University of Lethbridge University. His book National Visions, National Blindness: Canadian Art and Identities in the 1920s (UBC Press, 2006) won the Raymond Klibansky Prize for the best English-language book from the Canadian Federation for the Humanities and Social Sciences Aid to Scholarly Publications Program.  He received his PhD in Art History from the University in 2002 and published on both contemporary and historical art in Canada.  His work on the sculptor Mungo Martin and on Gitxsan culture in the early twentieth century was ongoing at his untimely death.

Biographical Note, 2019

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

Thirstan Falconer received his Doctor of Philosophy in History from the University of Victoria in 2018. He specializes in the intersections of ethnicity, identity, multiculturalism, and politics of Canada after 1945. He is a former Assistant Professor of History at St. Jerome’s University. 

Biographical Note, 2022

Ian C. Ferguson is an independent scholar and former Canadian diplomat who, during his 35-year career, served in a variety of regions (Latin America, Africa, Middle East, United Nations). He received his MA in Art History in 2014 from Carleton University under the supervision of Adjunct Professor Diana Nemiroff. The title of his thesis was “Contemporary American Art at the National Gallery of Canada (1967–75): The Surprising Legacy of Brydon E. Smith.” He authored the November 26, 2014 online article “Eiko Emori: Pioneering Graphic Designer” in the National Gallery of Canada Magazine (See: http://www.ngcmagazine.ca/features/eiko-emori-pioneering-graphic-designer). He serves on the board of Heritage Ottawa and volunteers as a docent at the National Gallery of Canada. Recently, he has lectured on the topic of the Art Deco architecture of Shanghai to the Canada-China Friendship Society of Ottawa, Art Deco Montreal, and the China Institute at the University of Alberta. (See http://www.ccfso.org/2016-art-deco-shanghai). He curated the exhibition Joseph Beuys (1921–1986): The Man and His Multiples, shown from October 2016 until January 2017 (National Gallery of Canada Library and Archives). Another area of research and ongoing interest concerns traditional, modern, and contemporary African art. 

Biographical Note, 2015

Blake Fitzpatrick holds the position of Graduate Program Director in the Documentary Media (mfa) program at Ryerson University. He has exhibited his photographic work in solo and group exhibitions in Canada and the United States and his recent curatorial initiatives include Arthur S. Goss: Works and Days (2013), War at a Distance (2009), Disaster Topographics (2005), and The Atomic Photographers Guild: Visibility and Invisibility in the Nuclear Era (2000). His writing and visual work have appeared in POV Magazine, Ciel Variable, Public, TOPIA, History of Photography, FUSE Magazine, and in the anthology The Cultural Work of the Photography in Canada (2010). An active photographer, curator, and writer, his current research interests include the photographic representation of the nuclear era, visual responses to contemporary militarism, and images of disaster in landscape photography.

Biographical Note, 2013

Élisabeth Forest a obtenu une maîtrise en restauration des peintures de l’Université Queen’s à Kingston (1997) et un baccalauréat en histoire de l’art de l’Université Laval à Québec (1993). En 1997, elle effectuait son stage de fin d’études en restauration au Frans Halsmuseum (Pays-Bas) sous la direction d’Ella Hendriks. Elle est restauratrice de peintures au Centre de conservation du Québec depuis 1998 où elle a restauré de nombreux tableaux, tant européens que canadiens, et développé un intérêt pour l’étude des matériaux et des techniques en peinture ancienne. Elle a publié quelques études de cas portant sur la restauration et la technique picturale de tableaux d’artistes tels que Claude Vignon, Aide-Créquy et William Berzcy. Elle est membre de l’Association canadienne des restaurateurs professionnels depuis 2002.

Notice biographique, 2015

Brian Foss taught art history at Concordia University (1988–2009) and is now professor of art history and director of the School for Studies in Art History at Carleton University. He is also the author of War Paint: Art, War, State and Identity in Britain, 1939–1945, but most of his publications deal with historical Canadian art. He is the co-editor with Anne Whitelaw and Sandra Paikowsky of The Visual Arts in Canada: The Twentieth Century, and has co-curated or curated thematic and retrospective exhibitions, including those on Mary Hiester Reid and Edwin Holgate. With Jacques Des Rochers he is currently co-organizing an exhibition on the Beaver Hall Group for the Montreal Museum of Fine Arts. Brian Foss is the chair of the editorial board of the Journal of Canadian Art History.

Biographical Note, 2012

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 

Leanne Gaudet works as a Historical Researcher at Know History Inc. in Ottawa, ON. She obtained her MA in Art History from Carleton University and has gone on to in exhibitions and collections at Library and Archives Canada and the National Gallery of Canada. Her work has appeared in the Journal of the Society for the Study of Architecture in Canada, Ornamentum: Decorative Arts in Canada, and The Island Magazine. Her research focusses on women’s histories, material culture studies, and architectural narratives. 

Biographical Note, 2016-2017

Samuel Gaudreau-Lalande est historien de l’art et directeur-conservateur du Musée Colby-Curtis. La photographie régionale est son terrain de recherche de prédilection, qu’il explore par l’écriture et le commissariat. Il a notamment contribué un texte à l’ouvrage « Wood & Wheeler », qui présente le travail des photographes estriens John Wheeler et Sally Wood au tournant du 20^e siècle. Ses récents projets d’exposition mêlent photographies historiques, art contemporain et culture matérielle; ils incluent notamment Sur la terre (Colby-Curtis, 2021), Bêtes et bestiaire – Animals from the Colby-Curtis collection (Colby-Curtis, 2020) et Traverser les rivières. Une exploration esthétique des photographies de ponts couverts (Colby-Curtis, 2019).

Notice biographique, 2016-2017

Michelle Gewurtz is the Supervisor of Arts and Culture | Chief Curator at the Peel Art Gallery, Museum and Archives (PAMA) located in Brampton, Ontario. She is also Adjunct Research Professor at Carleton University (Ottawa). She holds a PhD in the History of Art from the University of Leeds with a specialization in Feminism and Visual Arts. Her curatorial projects explore the convergence of gender politics and creative identity, and her research interests extend to both historical and contemporary art practices. She served as the Senior Curator at the Ottawa Art Gallery (OAG) from 2015-2020. Exhibitions she curated for the OAG include Facing Claude Cahun and Marcel Moore (2019), Howie Tsui: Retainers of Anarchy (2019), the gallery's inaugural exhibition, Àdisòkàmagan/Nous connaître un peu nous-mêmes/We’ll All Become Stories (2018) and A Window on Paraskeva Clark (2016).  She has also served in curatorial, educational outreach, and advisory capacities at saw Gallery (Ottawa); Visual Arts Centre Clarington (Bowmanville); A Space Gallery (Toronto); Gallery 44 (Toronto); Richmond Art Gallery (British Columbia); Kniznick Gallery (Waltham, MA, USA); and The Freud Museum (London, UK). 

Biographical Notice, 2016-2017

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

Cynthia Imogen Hammond is Professor of Art History at Concordia University. Hammond is an interdisciplinary artist and a feminist historian of the built environment (cynthiahammond.org). Hammond is presently the lead investigator on a SSHRC Partnership Development project that explores the urban knowledge of diverse groups of older citizens (“La Ville Extraordinaire”). Her feminist research and creation explore the gendered relationships between women and urban and biological landscapes. In recent years she has undertaken several artist residencies and exhibitions that respond to the history of gardens and the women who create them. Hammond has published one book and numerous essays on art, architecture, gender, and the city. 

Biographical Notice, 2020

Michel Hardy-Vallée, phd (art history), is a historian of photography, independent curator, and critic. He is a Visiting Scholar at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University. His main research interests include the history of photography in Quebec since 1945, the photographic book and printing, visual narration, graphic novels, interdisciplinary artistic practices, and the archive. He has contributed articles to the journals History of Photography, Anales de Historia del Arte, and American Review of Canadian Studies in addition to numerous book chapters, and conferences, and he contributes regularly to Ciel variable : Art, photo, médias, culture. He is preparing his first scholarly monograph with McGill-Queen’s University Press, John Max: Belonging Photography.

Biographical Note, 2021

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

Luis Jacob is an artist based in Toronto whose work destabilizes conventions of viewing and invites collisions of meaning. Jacob has achieved an international reputation, with his work exhibited at the Museum der Moderne Salzburg, Württembergischer Kunstverein Stuttgart, and the Toronto Biennial of Art (2019); Musée d’art contemporain de Montréal (2018); Museion, Bolzano, Italy (2017); La Biennale de Montréal (2016); Tanya Bonakdar Gallery, New York (2015); Taipei Biennial 2012; Generali Foundation, Vienna (2011); Solomon R. Guggenheim Museum, New York (2010); Hamburg Kunstverein and the Power Plant Contemporary Art Gallery (both 2008); and Documenta12, Kassel (2007). In 2016 he curated the exhibition Form Follows Fiction: Art and Artists in Toronto at the Art Museum at the University of Toronto, with a catalogue co-published with Black Dog Press in 2020.

Biographical Notice, 2020

Michelle Jacques is a curator and writer who specializes in Canadian art of the twentieth and twenty-first centuries. Since 2021, she has been the Director of Exhibitions and Collections/Chief Curator at Remai Modern in Saskatoon. She began her curatorial career at the Art Gallery of Ontario (1995–2012), where she held various positions in the Contemporary and Canadian art departments before departing to become the chief curator at the Art Gallery of Greater Victoria in 2012. Her recent curatorial projects include Denyse Thomasos: just beyond, co-curated with Renee van der Avoird and Sally Frater (AGO and Remai Modern, 2022–23 and traveling); and Ken Lum: Death and Furniture, co-curated with Johan Lundh (Remai Modern and AGO, 2022). Over the course of her career, she has curated and written about the work of numerous contemporary artists, and she maintains a strong research interest in Canadian modernism, cultivated during her graduate studies. In 2022, Jacques was the recipient of the Hnatyshyn Foundation Award in Curatorial excellence, and she is currently the president of the board of the AAMC Foundation - Art Curators, a New York-based organization that supports and promotes the work of art curators around the world. 

Biographical Note, 2022

Harold Kalman is an architectural historian and heritage planner living in Victoria, BC. Born in Montreal, he studied at Princeton University and began his career teaching the history of art and architecture at the University of British Columbia. He holds a PhD from Princeton University and an LLD from the University of Victoria, where he is Adjunct Associate Professor of Art History and Visual Studies. He also has an appointment as Honourary Professor of Architecture at the University of Hong Kong. Kalman operated an international consultancy in heritage conservation for 35 years, working on hundreds of projects around the world. His books include A History of Canadian Architecture, Heritage Planning: Principles and Process (2 editions), Exploring Vancouver (5 editions), Exploring Ottawa, and Eric R. Arthur: Architect and Educator (in progress). He has contributed articles to many academic and popular journals. Kalman sits on the board of the Hallmark Heritage Society (Victoria), served for eleven years on the Historic Sites and Monuments Board of Canada, and is a past governor of the National Trust for Canada. He served on municipal heritage advisory committees in Ottawa, Vancouver, and Victoria, was the founding president of the Canadian Association of Heritage Professionals (CAHP) and is a Member of the Order of Canada. 

Biographical Note, 2017/2018

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

Monika Kin Gagnon is Professor of Communication Studies at Concordia University and a 2017 Concordia Research Fellow. Her books include Other Conundrums: Race, Culture and Canadian Art (2000), 13 Conversations about Art and Cultural Race Politics (2002) with Richard Fung, and the edited collections, Reimagining Cinema: Film at Expo 67 with Janine Marchessault (2014), and In Search of Expo 67 (2020) with Lesley Johnstone. She is curator and programmer of numerous exhibitions and media presentations since the early 1990s at Artspeak (Vancouver), the Vancouver Art Gallery, Galerie Oboro, DHC Art/PHI Centre (Montreal) and Musée d’art contemporain de Montréal. Since 2007 she has collaborated with scholars, filmmakers, and archivists to re-animate archival films through installations and new media platforms to explore expanded cinema’s histories for new viewers and scholars. She is currently working on a book, Posthumous Cinema: Unfinished Films in the Archives.

Biographical Notice, 2020

August Klintberg (formerly Mark Clintberg) is an artist who works in the field of art history. He is represented by Pierre-François Ouellette art contemporain in Montreal, and is an Associate Professor at the Alberta University of the Arts. He earned his PhD in Art History at Concordia University in 2013. Scholarly publications featuring his research include The Papers of the Bibliographical Society of Canada, Senses & Society, Journal of Curatorial Studies, and Printing History. Klintberg was Shortlisted for the Sobey Art Award for the region Prairies and the North in 2013. Public and private collections across Canada and in the United States have acquired his work, including the National Gallery of Canada, the Caisse de dépôt et placement du Québec, the Bank of Montreal Corporate Art Collection, TD Corporate Art Collection, the Edmonton Arts Council, the Dunlop Art Gallery, and the Alberta Foundation for the Arts. His work has been shown at Walk & Talk (Azores, Portugal), the Dunlop Art Gallery (Regina), the Art Gallery of Nova Scotia (Halifax), the Art Gallery of Alberta (Edmonton), the Illingworth Kerr Gallery (Calgary), and the National Gallery of Canada (Ottawa). 

Biographical Note, 2022

Ingrid Koenig is the inaugural Artist in Residence (2011 to 2021) at TRIUMF Canada’s particle accelerator centre. Her studio and research practice traverse the fields of physics, social history, feminist theory, and narratives of science. Her drawings explore the relational phenomena of physics and involve intuitive responses to specific sites through fieldwork in Canada’s Rocky Mountains, Germany, Iceland, Arctic Circle art + science expeditions, and through collaborations with physicists. She uses drawing as a method for mapping complex interactions of material systems. Randy Lee Cutler and Ingrid Koenig are co-investigators on a SSHRC (Social Sciences and Humanities Research Council) Insight grant (2016–2024) called Leaning Out of Windows: Art and Physics Collaborations through Aesthetic Transformations, which explores how knowledge is translated across disciplinary communities. Cutler and Koenig both teach at Emily Carr University on the unceded Coast Salish territories also known as Vancouver, Canada. 

Biographical Note, 2022