Annmarie Adams is an architectural historian specializing in the intersections of medicine, gender, and the built environment. She holds the Stevenson Chair in the Philosophy and History of Science, including Medicine, at McGill University in Montreal. Adams is jointly appointed in the School of Architecture and Department of Social Studies of Medicine (SSoM). Her books include Architecture in the Family Way (MQUP, 1996); Designing Women (UTP, 2000), and Medicine by Design (UMP, 2007). She is currently writing a “spatial biography” of cardiologist and museum curator Maude Abbott, funded by SSHRC (Social Science and Humanities Research Council of Canada).
Associate & External Members
Janice Anderson completed her MA (1995, Art History) and her PhD (2002, SIP) at Concordia University. She worked from 2000 to 2014 as the Faculty of Fine Arts Visual Resources Curator in the Digital Image and Slide Collection, retiring in 2014. In 2000 she curated, with Dr. Brian Foss, the exhibition Quiet Harmony: The Art of Mary Hiester Reid for the Art Gallery of Ontario. She is an Affiliate in the Art History Department and has taught a variety of courses, including Feminism and Art History, A History of Women Artists, and Beyond Disney: Popular Culture in Print. She also teaches a graduate seminar in pedagogy. In conjunction with Melinda Reinhart, Fine Arts Librarian, Concordia University, and Kristina Huneault, Concordia Research Chair, Department of Art History, she co-founded the Canadian Women Artists History Initiative. The Initiative has developed a Documentation Centre devoted to Canadian women artists born before 1925, and several online research tools. The Initiative held an inaugural conference in 2008 and published a collection of essays, Rethinking Professionalism: Essays on Women and Art in Canada in 2012. A second conference took place in May 2012 and the resulting publication was a special issue of the Journal of Canadian Art History/Annales d'histoire de l'art canadien 34:2 (2013). In May 2015 the third conference took place in Kingston, Ontario, as a collaborative project between Concordia University, Queen’s University and the Agnes Etherington Art Centre with the accompanying publication, The Artist Herself, authored by many of the conference speakers.
Eunice Bélidor, Associate Member
Born in Montreal, Eunice Bélidor is a curator, letter-writer, critic and researcher, and Affiliate Assistant professor in the Department of Art History at Concordia University. Her practice focusses on contemporary Haitian art, design, and correspondence; in her (little) free time, she’s interested in researching, feminism, fashion and architecture. She questions everything, believing that asking the right questions are the best ways to come up with creative and thoughtful answers. She holds a BA in Art History from Concordia University (Montreal), a MA in Art History & Visual Culture, and a graduate diploma in Curatorial Studies from York University (Toronto). She has organized and curated various exhibitions nationally and internationally, and her writing has been published in esse, Canadian Art, Hyperallergic, the Journal of Curatorial Studies, Invitation, InCirculation, and Espace Art Actuel. She is the creator of #CuratorialTips, a research and help tool for emerging curators. She regularly takes part in various juries and committees, such as the Conseil des arts de Montréal, the Canada Council for the Arts and the City of Montreal. Bélidor is the 2018 recipient of the The TD Bank Group Awards for Emerging Curator from the Hnatyshyn Foundation. She has worked at BAND Gallery, The Power Plant (Toronto) articule and as Director of the FOFA Gallery at Concordia University (Montreal). She is currently Curator of Contemporary Canadian and Québécois art at the Montreal Museum of Fine Arts. There she also holds the The Gail and Stephen A. Jarislowsky Chair in Quebec and Canadian Contemporary Art.
Carolyn Butler Palmer is Associate Professor and Williams Legacy Chair in the Department of Art History and Visual Studies at the University of Victoria. The Williams Chair is also endowed in recognition of the Legacy Gallery at the University of Victoria in the area of modern and contemporary art of the Pacific Northwest. Dr. Butler Palmer’s program of research emerges at the intersections between visual histories and issues in human rights, and especially the rights of Indigenous people. Questions about looking relations and the politicization of aesthetic relations significantly inform her research, as does challenging assumptions about the production of art historical knowledge and processes of knowledge mobilization. She is particularly interested in dark heritage and the preservation of intangible value systems with respect to the arts of the Pacific Northwest. Much of her research is intended to nourish the needs of community members. Dr. Butler Palmer has recently published articles in the Journal of Canadian Art History/Annales d'histoire de l'art canadien and the Journal of the Surrealism in the Americas. She is currently working on a book manuscript “From Ellen Newman Neel to Ellen Neel Newman: A Portrait of a Kwagiutl Family of Artists, 1916-2016.” This book project focuses on Ellen Neel (1916-1966), who is usually credited with being the first woman carver, and subsequent generations of artists that descend from her eldest son David Neel, Sr. (1937-1961). Dr. Butler Palmer’s academic affiliation with the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, a research space and home of the Journal of Canadian Art History/Annales d'histoire de l'art canadien, plays a vital link between her program of research in the arts of the Pacific Northwest and art historical debates across Canada.
Elizabeth Anne Cavaliere received her PhD from the Interuniversity Doctoral Program in Art History at Concordia University (2016). She received a BA in Art History from Mount Allison University (2007) followed by an MA in Art History from York University (2009). Her research interests center on the Canadian photographic landscape and the possibility of a Canadian national aesthetic therein and looks towards topographical survey photographs of the 19th century as markers of an early Canadian identity and aesthetic in landscape photography. Her dissertation, “Mediated Landscape/Mediating Photographs: Surveying the Landscape in Nineteenth-century Canadian Topographical Photography,” reclaims the images produced by four survey photographers for the collective imaginary by considering photographs as both mediated and mediating in their ability to bridge and accommodate a nexus of antithetical readings – maker and viewer, authorial intent and discursive function, art and document, subjective and objective, land and landscape. Her interest in interdisciplinary approaches to Canadian art, photograph, and history is reflected in her published writing. For example her examination of photographic histories of the city and the self-identification of its citizens therein in the Journal of Canadian Studies (2016); and examining the ways in which Americans and Canadians were instructed to learn about Canada through tourist books in Histoire Sociale/Social History (2016). Her research is also published in Imaginations: Journal of Cross-Cultural Image Studies (2017), in RACAR: Revue d’art Canadienne/Canadian Art Review (2016), and in the Journal of Canadian Art History/Annales d'histoire de l'art canadien (2014). She is an active member of the University Art Association of Canada, the Nineteenth Century Studies Association, the Network in Canadian History and Environment, and the American Society for Environmental History. In 2012 Elizabeth was awarded a Lisette Model/Joseph G. Blum Fellowship in the History of Photography to pursue her research at the National Gallery of Canada. In 2015 her dissertation was awarded the Michel de la Chenelière Prize by the Montreal Museum of Fine Arts. In 2017 she was a Jarislowsky Foundation Post-Doctoral Fellow at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art.
Mark Clintberg is an artist who works in the field of art history. He is an Associate Professor in the School of Critical and Creative Studies at the Alberta University of the Arts. He earned his PhD in Art History at Concordia University in 2013, where he was also an Assistant Professor, LTA. His doctoral dissertation, The Artist’s Restaurant: Taste and the Performative Still Life, was nominated for the 2013 Governor-General's Gold Medal. His research investigates the critical potential of sensory engagement in institutional settings, ephemeral art practices, public art, and the personal, affective outcomes of academic research on contemporary artworks. His recent conference papers and publications have focused on the art practices of Camille Turner, Alana Bartol, Felix Gonzalez-Torres, Luis Jacob, Joyce Wieland, Allyson Mitchell, and Geoffrey Farmer, and exhibition sites as diverse as the V&A Café (Victoria & Albert Museum, London), the restaurant FRANK (Art Gallery of Ontario, Toronto) and the Fogo Island Inn (Joe Batt’s Arm, Newfoundland). He completed his MA at Concordia University (2008), his BFA at the Alberta College of Art & Design (2001), and was an exchange student at the Nova Scotia College of Art & Design (1999-2000). He was Shortlisted for the 2013 Sobey Art Award for the region Prairies and the North. His art practice is represented by Pierre François Ouellette art contemporain.
Cynthia Cooper is Head, Collections and Research, and Curator, Dress, Fashion and Textiles at the McCord Museum. She holds an M.S. in Historic Costume and Textiles from the University of Rhode Island. She is a three-time recipient of the Richard Martin Exhibition Award from the Costume Society of America, most recently in 2018 for Fashioning Expo 67, in 2009 for Reveal or Conceal? and in 2003 as a member of the curatorial team of Clothes Make the MAN. She has taught courses on the intersections between fashion and art, and on fashion history, textile history and material culture in Concordia University’s Faculty of Fine Arts and Department of Art History, and on fashion history at LaSalle College. Her research centres dress and fashion that have become entangled with Canadian identity projects. She is the impetus behind EncycloFashionQC, the unique online encyclopedic reference for the history of fashion in Quebec.
Tammer El-Sheikh is an Assistant Professor of Art History at York University in Toronto. Previously he taught at Concordia University in the Faculty of Fine Arts. Since completing his PhD at McGill in 2013, Tammer has developed research and teaching interests in tandem. His dissertation and scholarly publications have focused on the impact of postcolonial criticism and theory on contemporary art and modern and contemporary art history. In addition to introductory courses in Art History and Cultural Studies he has lead senior undergraduate and graduate-level seminars in Postcolonial Theory and Art History, Art and Politics of the Middle East, Art of the 1960s in Europe and America, Global Contemporary Art and Ideas, Methods in Art History, Critical Methods and Practices, and the History and Practice of Art Criticism. In his posts at York and Concordia he has worked closely with both studio art and art history students, very often in the same classes. This has enabled Tammer to develop curriculum that is both historically grounded and keyed to developments in contemporary art. It has also provided opportunities for fruitful exchanges and collaborations between studio artists and art historians within and between his classes. Since his undergraduate days at the University of Toronto Tammer has maintained a practice as an art critic as well. He has written feature articles and reviews for Parachute, C Magazine, ETC Magazine and Canadian Art, and longer essays for a number of exhibition catalogues both in Canada and abroad. Most recently he contributed an essay to Berlin-based, Canadian artist Shannon Bool’s monograph Shannon Bool: Bombshell (Verlag fur moderne Kunst, 2019). He is currently working on a review essay of the National Gallery of Canada’s international Indigenous art exhibition Abadakone: Continuous Fire for Border Crossings. In the past few years he has written around thirty reviews of contemporary art exhibitions as a Montreal and Toronto correspondent for the website Akimbo.
Brian Foss holds a MA from Concordia University and a doctorate from the University of London. From 1988 to 2009 he was a full-time faculty member in Concordia University’s Department of Art History, and also served as Associate Dean of Academic and Student Affairs in that university’s Faculty of Fine Arts (2002-2009). In 2009 he moved to Carleton University, where he is Professor of Art History, and the director of the School for Studies in Art and Culture. He has taught a wide variety of undergraduate and graduate courses, especially in Canadian art. Over the course of his teaching career he has supervised some forty MA theses as well as a dozen PhD dissertations. In 2003 he was the recipient of that year’s Distinguished Teaching Award from Concordia’s Faculty of Fine Arts. Foss’s two principal areas of research are Canadian art from c.1870 to c.1970, and Canadian and international war art. His 2007 monograph War Paint: Art, War, State and Identity in Britain, 1939-45 (Yale University Press) was one of six books short-listed for that year’s William M.B. Berger Prize for British Art History. However, most of his many essays, book chapters and exhibition catalogue essays have focused on Canadian art. He has also curated or co-curated a number of thematic as well as monographic exhibitions. Recent work includes major shows of the work of Mary Hiester Reid (co-organized with Janice Anderson for the Art Gallery of Ontario, 2000) and Edwin Holgate (with Rosalind Pepall for the Montreal Museum of Fine Arts, 2005), and a comprehensive exhibition devoted to the Beaver Hall Group and 1920s modernism in Montreal (with Jacques Des Rochers for the MMFA, 2015). From 1996 to 2011 Foss served as associate editor of the Journal of Canadian Art History/Annales d’histoire de l’art canadien, where since 2011 he has been the Chair of the Advisory Board. He has also been co-editor of RACAR: Revue d’art canadien/Canadian Art Review (2001-2012). From 1999 to 2002 he was the vice-president of the Universities Art Association of Canada, and was the winner of the 2013 UAAC Recognition Award.
Lynda Gammon is an artist, curator and scholar. She is an Associate Professor Emeritus at the University of Victoria. A significant area of Lynda Gammon’s artistic production over the past several decades has dealt with the subject of space/place, which she has explored through installation works employing sculptural and photographic elements. Her work is positioned between the flat illusionistic space of photography and the volumetric physical space of sculpture. She is interested in the differences and connections that occur when represented space (i.e., the photograph) and presented space (i.e. the sculpture) meet. Lynda Gammon’s work has been exhibited at institutions including The Nickle Art Museum (Calgary), The Contemporary Art Gallery (Vancouver), Mercer Union Gallery (Toronto), Plug-In Gallery (Winnipeg), Presentation House Gallery (Vancouver), Vancouver Art Gallery, McMaster Museum (Hamilton), Simon Fraser Gallery (Burnaby), Gallery 44 (Toronto), Gallery 101 (Ottawa), The Art Gallery of Greater Victoria, The Galerie Jorge Alyskewycz (Paris), The Westergasfabreik, (Amsterdam), Salle de Bains (Rotterdam), Stride Gallery (Calgary), Platform centre for photographic + digital arts (Winnipeg), Vu, centre de diffusion et de production de la photographie (Quebec City), Oakville Galleries (Oakville ON); The Southern Alberta Art Gallery (Lethbridge), The Legacy Gallery (Victoria), The Slide Room Gallery (Victoria), the Equinox Gallery (Vancouver) and The Victoria Arts Council. In 2004 Gammon established flask an independent press dedicated to the production and publication of books by Canadian artists and writers. Gammon considers flask a curatorial project where she works collaboratively with artists and writers in the realization of art and poetic projects in book form. In addition Gammon has also curated gallery exhibitions of Canadian artists in exhibitions such as Work’PLACE‘ (Open Space, 2014), co-curated Realities Follies (Open Space, 2015) and curated the absence of the origin of its likeness (Open Space, 2016). Gammon has been the recipient of numerous BC Arts Council and Canada Council grants, is a member of the Royal Canadian Academy of Arts and serves on the board of the Art Gallery of Greater Victoria.
Samuel Gaudreau-Lalande is an art historian whose research and curatorial practice focus on regional photography, Canadian art and material culture. He is currently director-curator of the Colby-Curtis Museum. He holds master and bachelor degrees in art history from Université du Québec à Montréal and pursues a PhD in art history at Concordia University, where he was a Jarislowsky Foundation Doctoral Fellow. His doctoral research investigates the immense photographic production of the Service de cinéphotographie du Québec, a forgotten provincial government agency who produced some 150 000 pictures between 1940 and 1961. His recent curatorial projects include Bêtes et Bestiaire – Animals from the Colby-Curtis collection (Colby-Curtis Museum, 2020), River Crossings. An Aesthetic exploration of covered bridges photographs (Colby-Curtis Museum, 2019) and St-Francis and its affluents (Colby-Curtis Museum, 2019). His texts have been published in Ciel Variable magazine and the Journal of Canadian Art History/Annales d'histoire de l'art canadien. He sits on various boards and committees, notably the Commission du patrimoine et de la muséologie de l'Estrie and Tourisme Memphrémagog.
Dominic Hardy s’est joint au département d’histoire de l’art de l’UQAM en décembre 2008. Diplômé en histoire de l’art (PhD, Concordia), en études canadiennes interdisciplinaires (MA, Trent University) et en arts plastiques (BFA, Concordia), il est spécialiste de la caricature et de la circulation de l’image satirique au Québec (18e-20e siècles). Il a longtemps été impliqué dans l’éducation muséale, d’abord en Ontario à l’Art Gallery of Peterborough (1989-1998) et au Musée des beaux-arts du Canada (1998-99), et ensuite au Musée des beaux-arts de Montréal (1999-2008). Ses activités d’enseignement couvrent l’histoire des arts visuels sur les territoires regroupés sous les notions de Québec, Canada depuis la période de Contact jusqu’au 20e siècle, l’histoire de l’image satirique, la muséologie, les idées de narration et d’histoire dans l’histoire de l’art. Ses activités de recherche et de publication cherchent à fédérer des communautés de chercheur.e.s, à la fois établi.e.s et de la relève, autour de projets collaboratifs. Ainsi ont vu le jour les ouvrages collectifs Quand la caricature sort du journal : Baptiste Ladébauche 1876-1967 (avec Micheline Cambron, Fides 2015), Sketches from an Unquiet Country : Canadian Graphic Satire 1840-1940 (avec Annie Gérin et Lora Senechal Carney, MQUP 2018) et L’image railleuse. La satire visuelle du 18e siècle à nos jours (avec Laurent Baridon et Frédérique Desbuissons, INHA 2019). Depuis 2014, Dominic dirige les activités du Laboratoire numérique des études en histoire de l’art du Québec à l’UQAM, dont la publication numérique Le Carnet. Histoires de l’art du Québec voit le jour en 2016.
Steven High, Associate Member
Steven High is an interdisciplinary historian with a strong interest in working-class studies, immigration and forced migration, and oral and public history. His research interests have focused on four principal areas. First, he has published extensively on the history of deindustrialization and the post-industrial transformation of North American cities. His first book, Industrial Sunset: the Making of North America’s Rust Belt (2003), won awards from the American Historical Association, the Canadian Sociology and Anthropology Association, and the Federation of the Humanities and Social Sciences. This was followed by Corporate Wasteland: The Landscape and Memory of Deindustrialization (2007). He and PhD student, Lachlan MacKinnon, have submitted an edited collection, Deindustrialization & Its Aftermath to UBC Press. He has also co-produced two audio walks of the post-industrial Lachine Canal and the Pointe-Saintt-Charles district of Montreal. Among his current projects, is the pan-Canadian On the Move Project (PI - Barb Neis) that is examining employment mobility. His second area of expertise focuses on oral accounts of mass violence. Steven High led Montreal Life Stories, a seven year long project (2005-12) funded by SSHRC’s CURA program that recorded the life stories of Montrealers displaced by mass violence. Steven High co-edited (with Ted Little and Thi Ry Duong), Remembering Mass Violence (UTP, 2013), edited Beyond Testimony and Trauma (UBC, 2015), and authored Oral History at the Crossroads (UBC, 2014). His third area of expertise relates to oral history methodology, ethics and digital technologies. As co-director of the Centre for Oral History and Digital Storytelling, he is part of a diverse interdisciplinary community-of-practice. He has published extensively in this field. He is currently finishing a book project with Liz Miller (communications) and Ted Little (theatre) on Going Public with research. He is currently active in several new projects examining the intersections of oral history and oral literature (Jason Camlot, PI Spoken Web Project; and the mapcollab project with Julie-Anne Boudreau and David Austin. Finally, Steven High has published extensively on the socio-economic and military history of World War II. He has written extensively on the wartime experience of the “base colonies” of Newfoundland, Bermuda, Trinidad, Guyana, Antigua, St. Lucia, Jamaica and the Bahamas. This project has resulted in a monograph, Base Colonies in the Western Hemisphere (Palgrave-MacMillan, 2009), as well as an edited collection, Occupied St John’s: A Social History of a City At War (McGill-Queen’s UP) – which was given Honourable Mention for the C.P. Stacey Prize in Canadian Military History.
Founder and Executive Director of the Centre for Contemporary Canadian Art (CCCA) and creator of the Canadian Art Database Project, Bill Kirby is the former Head of the Canada Council Art Bank and was a Visual Arts Officer responsible for the Council’s Program of Assistance to Art Galleries and Artist-Run Spaces. He is a former Director of the Edmonton Art Gallery, Professor of Contemporary Canadian Art and Director of Gallery 1.1.1., at the School of Art, University of Manitoba; and Curator of Contemporary Art at the Winnipeg Art Gallery. He has also been a lecturer at Ryerson University and Visiting Assistant Professor in the Department of Visual Art at York University in Toronto. Over the past many years, he has advised and served on the Boards of a number of arts organizations - including the Canadian Conference of the Arts, the Canadian Art Museum Directors Organization, the Canadian Museums Association, the Western Canada Art Association, the Ontario Association of Art Galleries, The Artists Foundation, and the OnDisc Alliance. He was a member of the Acquisition Committee of the Portrait Gallery of Canada and is a recipient of the Royal Canadian Academy of Arts Medal for distinguished contributions to the visual arts in Canada. He received his Master of Fine Arts Degree in Contemporary Canadian Art from the University of British Columbia.
Vincent Lavoie est professeur au département d’histoire de l’art de l’UQAM depuis 2005. C’est à l’université d’Ottawa (1989-1992) tout d’abord qu’il enseigne l’histoire de la photographie, avant d’exercer cette même activité à l’université Paris viii puis à Paris I (1993-1998), parallèlement à un travail de critique et de rédacteur pour les magazines d’art contemporain. Conservateur adjoint de la photographie (2000-2001) au Musée des beaux-arts du Canada, conservateur de recherche (2001-2005) au sein du Musée McCord, commissaire général du Mois de la Photo à Montréal (2003), il réalise des expositions portant aussi bien sur la photographie contemporaine que sur les pratiques amateur et vernaculaires. Vincent Lavoie est membre régulier de figura, centre de recherche sur le texte et l’imaginaire. Chercheur au sein de l’Observatoire de l’imaginaire contemporain (OIC), il y tient un carnet sur les recherches et curiosités photographiques.
Jason Lewis, Associate Member
Jason Edward Lewis is a digital media poet, artist, and software designer. He founded Obx Laboratory for Experimental Media, where he directs research/creation projects devising new means of creating and reading digital texts, developing systems for creative use of mobile technology and using virtual environments to assist Aboriginal communities in preserving, interpreting and communicating cultural histories. Along with the artist Skawennati, he co-directs Aboriginal Territories in Cyberspace, Skins Workshops on Aboriginal Stortyelling and Video Game Design and the Initiative for Indigenous Futures. His other interests include computation as a creative material, emergent media theory and history, and methodologies for conducting art-led technology research. Lewis' creative work has been featured at Ars Electronica, Mobilefest, Urban Screens, ISEA, SIGGRAPH, and FILE, among other venues, and has been recognized with the inaugural Robert Coover Award for Best Work of Electronic Literature, a Prix Ars Electronica Honorable Mention, several imagineNATIVE Best New Media awards and five solo exhibitions. He's the author or co-author of chapters in collected editions covering mobile media, video game design, machinima and experimental pedagogy with Indigenous communities, as well as numerous journal articles and conference papers.
Lewis has worked in a range of industrial research settings, including Interval Research, US West's Advanced Technology Group, and the Institute for Research on Learning, and, at the turn of the century, he founded and ran a research studio for the venture capital firm Arts Alliance. Lewis is a Trudeau Fellow, and a former Carnegie Fellow. He is the Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary as well as Professor of Computation Arts at Concordia University, Montreal. Born and raised in California, he is Cherokee, Hawaiian and Samoan.
Karla McManus is an art historian whose research focuses on how historic and contemporary concerns, from wildlife conservation, to environmental disasters, to anxiety about the future, are visualized photographically. She is an Assistant Professor of Visual Art (Art History) in the Faculty of Media, Art, and Performance at the University of Regina. Karla’s current SSHRCC-funded research explores how bird photography, both as an art form and a documentary mode of image-making, has contributed to the historical and ongoing understanding of ecological knowledge and wildlife species conservation. Recent publications on the topic of ecology and the photographic image include the essays, “Narrating the Blind Field: Sites of Photographic and Ecological Knowledge in Rena Effendi’s Liquid Land” (2020) in Les Cahiers de ARIP, “The Future-Past, the Future-Present, the Future-Possible: The Chernobyl Exclusion Photographs of David McMillan,” in the edited collection Through Post-Atomic Eyes (2020), and “How Anthropo-scenic! Concerns and Debates about the Age of the Anthropocene” (2018) in the exhibition catalogue Anthropocene: Burtynsky, Baichwal, de Pencier. In 2019, Karla curated the exhibition Inside/Outside: Images of the LAND in Artexte’s Collection based on a research residency at Artexte Information Centre. Karla is an affiliate Member of the Documentary Media Research Centre, based in the School of Image Arts, Ryerson University, where she was an Assistant Professor (LTF) from 2017-2019. She is currently the Prairie Representative on the Board of the Universities Art Association of Canada (2019-2022).
Erin Morton (she/her/elle) is Professor of Visual Culture in the Department of History at the University of New Brunswick. She is a white settler, academic researcher, teacher, and parent living in Ekwpahak|Fredericton, which sits on the unceded and unconquered territory of Wəlastəkokewiyik, a place of relational responsibility governed by the Peace and Friendship Treaties of 1725-1779. Morton has three books with the McGill-Queen’s/Beaverbrook Canadian Foundation Studies in Art History Series with McGill-Queen's University Press: Negotiations in a Vacant Lot: Studying the Visual in Canada (co-edited with Lynda Jessup and Kirsty Robertson, 2014), For Folk’s Sake: Art and Economy in Twentieth-Century Nova Scotia (2016), and Unsettling Canadian Art History (2022). Morton’s recent work explores histories of whiteness, feminism, kinship, sexuality, and state making under settler colonialism from the early modern period to the present. Her most recent article is "When Salmon meets Saran Wrap: Settler Colonial Placidity and Anti-Relationality in Ktaqmkuk," which examines the work of Mary Pratt. Morton is currently co-editor of Acadiensis: Journal of the History of the Atlantic Region. Morton is the former Secretary of the Universities Art Association of Canada (UAAC) and serves on the editorial board of UAAC’s Revue d’art canadienne/Canadian Art Review (RACAR).
Charmaine A. Nelson is a Professor of Art History and a Tier I Canada Research Chair in Transatlantic Black Diasporic Art and Community Engagement at NSCAD University. Her research and teaching interests include postcolonial and black feminist scholarship, Trans Atlantic Slavery Studies, and Black Diaspora Studies. Her work examines Canadian, American, European, and Caribbean art and visual culture. She has made ground breaking contributions to the fields of the Visual Culture of Slavery, Race and Representation, and Black Canadian Studies. To date she has published seven books including the edited volumes: Racism Eh?: A Critical Inter-Disciplinary Anthology of Race and Racism in Canada (2004), Ebony Roots, Northern Soil: Perspectives on Blackness in Canada (2010), Legacies Denied: Unearthing the Visual Culture of Canadian Slavery (2013), and Towards an African Canadian Art History: Art, Memory, and Resistance (2018). Her single-authored books include: The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America (2007), Representing the Black Female Subject in Western Art (2010), and Slavery, Geography, and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica (2016). Nelson has held several prestigious fellowships and appointments including a Caird Senior Research Fellowship, National Maritime Museum, Greenwich, UK (2007), a Fulbright Visiting Research Chair, University of California – Santa Barbara (2010) and a Visiting Professorship at the University of Wisconsin – Milwaukee, Department of Africology (2011). She was also awarded a Woman of Distinction Award from the Montreal’s Women’s YWCA in 2012 (Arts and Culture Category). Nelson was the William Lyon Mackenzie King Visiting Professor of Canadian Studies at Harvard University (2017-2018). She was the first black woman and the second art historian to hold this position.
Director of Curatorial Affairs, Visual Arts Collection, McGill University, is responsible for the University’s wide-ranging and expanding collection, which now includes more than 2500 works of art inside and outside buildings across three campuses. She has previously held curatorial positions at the university museums at Cornell University, Williams College, and the University of Maryland as well as the Canadian Centre for Architecture. An expert on university collections, collection management, and museum buildings, she has worked with many institutions, particularly universities, to help them organize their collections and follow professional standards. Her scholarly publications include articles, exhibition catalogues, and books on a wide range of topics including artist-architect Gordon Matta-Clark, on whom she has written extensively; mid-nineteenth century American landscape painting; painters Maurice Prendergast and David Milne; Montreal artist Melvin Charney; art markets in the 20th century; and kitchen wallpaper in Canada. The book Modern Nature: Georgia O’Keeffe and Lake George, to which she contributed one of the three essays, received honorable mention from the Association of Art Museum Curators in 2014. In 2017, she co-curated the exhibition Higher States: Lawren Harris and his American Contemporaries for the McMichael Canadian Collection. She is currently researching the work of Marian Dale Scott. Owens holds degrees from Tufts University and the Williams College Graduate Program in the History of Art.
Edith-Anne Pageot est professeure au Département d’histoire de l’art de l’UQAM. Spécialiste des modernités au Québec et au Canada, elle s’intéresse à l’historiographie, aux rapports entre l’art et l’artisanat, aux modernismes et à leurs expressions artistiques plurielles, transculturelles et transnationales. Elle dirige actuellement le projet de recherche, La culture artistique au Collège Manitou. Agentivité et stratégies d’autodétermination, financé par les fonds, Nouvelles orientations de l’UQAM et le Conseil de recherche en sciences humaines du Canada (CRSH). Elle a publié des nombreux articles scientifiques et chapitres de livres, parmi lesquels mentionnons entre autres : « L'art autochtone à l'aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation », Muséologies, 9 (1), 2018: 81-95; « Présences, mémoires individuelles et plurielles comme dispositifs de construction dans le travail des créatrices autochtones », Espace, 118, 2018: 8-17; « Figure de l’indiscipline. Domingo Cisneros, un parcours artistique atypique », RACAR Revue d’art canadienne/Canadian Art Review 42 (1), 2017: 5-21. Edith-Anne Pageot est membre de l'Institut de recherches et d'études féministes (IREF) et du Centre interuniversitaire d’études et de recherche autochtones (CIERA).
Sherry Farrell Racette is Associate Professor in the Department of Visual Art (Art History) in the Faculty of Media, Art, and Performance at the University of Regina. 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.
Dr. Eduardo Ralickas is an Associate Professor of Art History at the Université du Québec à Montréal (UQAM), where he teaches courses in aesthetics and the philosophy of art, art history, and methodology. He holds a joint PhD from the École des hautes études en sciences sociales (Paris) and the Université de Montréal. His current SSHRC-funded research engages critically with art history’s photographically mediated forms of knowing, showing, and telling. He is working on a book-length project provisionally entitled Voicing, Pictures: Photography, Epistemological Realism, and the Performance of Art-Historical Knowledge Narratives. Ralickas is the former English-language Assistant Editor of Parachute and is currently one of the editors of RACAR. He also sits on the editorial board of the Journal of Canadian Art History/Annales d'histoire de l'art canadien and the board of directors of Artexte. He is one of the founding members of the Formes actuelles de l’expérience photographique : épistémologies, pratiques, histoires research team lead by senior photography scholar Martha Langford (Concordia University). Ralickas has authored a number of essays that engage critically with the conditions of contemporary art, topics in the history of aesthetics, and the intersections of art and politics. He has also translated the work of Bruno Latour, Éric Michaud, and Daniel Vander Gucht, and edited texts by Amelia Jones, Caroline A. Jones, David Tomas, and Slavoj Žižek, among others.
Susan Surette is a ceramic artist and craft historian. She is a part-time faculty member in the Department of Art History of Concordia University where she earned her PhD in Art History, 2014, with a thesis on the eclectic and monumental ceramic mural installations in the Sturdy-Stone Centre, Saskatoon, Saskatchewan. Her research interests centre on craft theory and practice, ceramic history, especially the history of mid-twentieth century ceramic tile murals, modern and contemporary textile history and practice, and the intersection of heritage with craft discourse and practices. She has co-edited Sloppy Craft: Postdisciplinarity and the Crafts (Bloomsbury 2015), “The Special Edition on Craft: The Canadian Craft Biennial,” Journal of Canadian Art History/Annales d'histoire de l'art canadien 39:2/40:1 (2019), and Craft and Heritage: Intersections in Critical Studies and Practice (Bloomsbury 2021) and contributed essays to the Canadian Journal of Art History on Canadian ceramics. She is currently working on writing projects that address ceramic murals in modern architecture and Canadian textile art in architectural spaces, and is curating an exhibition for the Canadian Clay and Glass Gallery on the Prairie ceramic muralist Lorraine Malach. Aside from presenting papers at conferences and chairing sessions, she has juried fibres and ceramics exhibitions and awards and consulted on national craft initiatives. She earned a BSc (WLU 1970), a BFA (Concordia 1997), and MA (Art History, Concordia 2003). Her initial introduction into the craft world was as a fibre artist, but over thirty years ago she embraced ceramics as a medium which has since captivated her. Her ceramic work is found in museum, public gallery and government collections and her current ceramic tile practice explores the intersection of landscapes, mapping, biology, and patterning.
Erin Silver is Assistant Professor, History of Art, Architecture and Visual Culture in Canada in the Department of Art History, Visual Art & Theory at the University of British Columbia. She is a historian of queer feminist visual culture, performance, activism, and art history. She obtained a PhD in Art History and Gender and Women's Studies from McGill University in 2013. She is the co-editor (with Amelia Jones) of Otherwise: Imagining Queer Feminist Art Histories (Manchester University Press, 2016), co-editor (with taisha paggett) of the winter 2017 issue of C Magazine, “Force,” on intersectional feminisms and movement cultures, and the author of Suzy Lake: Life & Work (Art Canada Institute). Silver's writing has appeared in C Magazine, Prefix Photo, Visual Resources, and in the volume Narratives Unfolding: National Art Histories in an Unfinished World (ed. Martha Langford, McGill-Queen's University Press, 2017). She has curated exhibitions at the FOFA Gallery (Concordia), the Canadian Lesbian and Gay Archives (Toronto), and the Doris McCarthy Gallery (University of Toronto at Scarborough). Silver sits on the advisory committee of the Queer Media Database Canada-Québec Project and on the editorial advisory committee for C Magazine. From 2016-2017, she was the Horizon Postdoctoral Fellow in the Histories of Photography in Canada at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art (Concordia).
Dr. Carla Taunton is an Assistant Professor in the Division of Art History and Critical Studies at the Nova Scotia College of Art and Design (NSCAD) and an Adjunct Assistant Professor in the Department of Cultural Studies at Queen’s University as well as an Adjunct Assistant Professor in the Graduate Studies Department at Dalhousie University. Taunton is a co-investigator on The Kanata Indigenous Performance, New and Digital Media Art Project, a collaborative research partnership that traces Indigenous practices and methodologies in the areas of performance, digital and new media arts. She is also a co-organizer and collective members of the Art and Activism Project at NSCAD University and a member of the organizing committee for the Halifax-based “Indigenous Speakers Series.” She has received numerous internal SSHRC research grants at NSCAD (2012, 2013, 2014) for her current projects including Arts East: The Atlantic Arts Network and Art and Activism. In 2012, her PhD thesis received the Governor General’s Gold Medal. Taunton’s areas of expertise include Indigenous arts and methodologies, contemporary Canadian art, museum and curatorial studies, as well as theories of decolonization, anti-colonialism and settler responsibility. Through this work she investigates current approaches towards the writing of Indigenous-specific art histories, recent Indigenous and settler research/arts collaborations, and strategies of creative-based interventions that challenge colonial narratives, national/ist institutions and settler imagination. Her recent publications include, “Ursula Johnson: Embodying Indigenous Art Histories” in Ursula Johnson: Mi’kwite’tmn (Do You Remember), “Addressing the Settler Problem,” in fuse and “Indigenous (Re)memory and Resistance: Video works by Dana Claxton,” in Talking Back, Moving Forward: Conversations on Native Film. Her current projects include, Theories and Methodologies for Indigenous Arts, co-edited book project with Dr. Heather Igloliorte and “This is What I Wish You Knew”: Urban Aboriginal Artists Tell Their Stories of Identity and Reconciliation, a multi-institution community arts based project that will engage urban Indigenous youth in Halifax (Reconciliation Community Arts Project: Canada Council for the Arts Grant). She is also an independent curator and recently co-curated with Erin Sutherland, Memory Keepers: Methodologies of Memory, Mapping and Gender at Urban Shaman Gallery in conjunction with the 30th Anniversary of MAWA (2014) and Art in the Open – Indigenizing pei with Heather Igloliorte in Charlottetown (2014). Taunton will provide her working knowledge of artists in Nova Scotia and Ontario as well as her curatorial expertise.
Associate Professor Janis Timm-Bottos is a board certified art therapist and an interdisciplinary scholar with a sustained research practice investigating the community art studio as a therapeutic site for individual, family and community healing. She is founder of ArtStreet, an art studio with Albuquerque Health Care for the Homeless, OFFCenter Community Arts Project, an arts-based public homeplace in downtown Albuquerque and "Kitchen Table Arts," which was housed in a thrift store in Nelson, BC and spawned "Children of the Seams" a youth collective that remakes fashion from discarded clothing. A presenter in both local and international venues, Janis advocates for the return of small, welcoming, free community art spaces located between neighbourhoods. Her current research and training site includes a storefront classroom in St. Henri, "La Ruche d'Art: Community Studio and Science Shop." La Ruche or the art hive is open two days a week for the community to join together to make art. She and her students have launched a national network of art hives across Canada. Please see www.arthives.org. Janis is currently serving as the Provost's Fellow for Community Engagement and is committed to helping lead the university's new strategy: Embrace the City. One outcome of this initiative is to support Concordia's partnership with the Montreal Museum of Fine Art through facilitating a new downtown art hive at the museum.
Zoë Tousignant is a photography historian and curator specializing in Canadian photography. She works as an assistant curator in the McCord Museum’s photography collection and as a curator at the documentation centre Artexte. She holds a PhD in Art History from Concordia University and an MA in Museum Studies from the University of Leeds. Her doctoral thesis investigates the dissemination of photographic modernism in popular illustrated magazines published in Canada between 1925 and 1945. She is currently working on a book manuscript, based on the research carried out for her thesis, that seeks to draw out the connections between art, photography and print culture in Quebec during the Interwar period. Her recent curatorial projects include Gabor Szilasi: The Art World in Montreal, 1960–1980 (McCord Museum, 2017–2018); Canadian Photography Magazines, 1970–1990: Reconsidering a History of Photography in Print (Artexte, 2016); Marisa Portolese: Belle de Jour III – Dialogues with Notman’s Portrait of Women (FOFA Gallery, 2016); and Campeau, Carrière, Clément: Accumulations (Galerie Simon Blais, 2015). She has been a regular contributor to the magazine Ciel variable since 2008. Her essays have also been published in Canadian Art, Archivaria and Revue de Bibliothèque et Archives nationales du Québec, and in several catalogues and monographic books. She was the assistant editor on the book Notman: A Visionary Photographer (Hazan and McCord Museum, 2016), which received the Award for Outstanding Achievement in Research – Cultural Heritage from the Canadian Museums Association. Tousignant is a member of the FQRSC-funded research group Formes actuelles de l’expérience photographique: épistémologies, pratiques, histoires, based at Concordia University, Université de Montréal, Université Laval and UQAM.
Kathleen Vaughan, Associate Member
As an artist, scholar and educator, Kathleen Vaughan’s interdisciplinary practice integrates research-creation, methodological theorizing, and collaborative and community-based practices. Her research-creation has both an individual studio component and an orientation to collaborative, participatory projects, taking up questions of home, belonging and spirit of place. She is particularly compelled by the traces of histories that endure in places and the ways that human stories are built in place. Those places can be the urban streets of Toronto or Montreal (the two cities between which she has moved) or the more natural settings of waterways, woodlands and peat bogs. All – and the histories, dreams and myths that are sited there – have inspired her artwork. She works in drawing, painting, photography, textiles and text, often in collaged conjunctions. Her practice integrates analogue and digital technologies, and she is a research member of the Hexagram Concordia Centre for Research-Creation in Media Arts and Technologies. Intrigued by the application of fine arts methods to scholarship, Dr. Vaughan is elaborating collage as a framework for interdisciplinary research/creation/pedagogy. Her methodological theorizing often draws from and supports her own creative projects. As an artist in the community, Kathleen Vaughan mobilizes people in social service agencies, community sites, museums and galleries, after-school programs and more, in creating socially and personally relevant artwork. Research projects such as Vu d’ici: Artmaking and Storytelling with Seniors in Pointe-St-Charles have engaged residents of social housing, taking up questions of home and belonging. For her 2012 bilingual artist’s project, Dans le village…/In the village…, she partnered with curator Shauna Janssen and the Centre d’histoire de Montréal (with financial support from the Centre for Oral History and Digital Storytelling, cohds), creating an interactive artist’s workbook and community walk through the Montreal community of Goose Village, expropriated and demolished in anticipation of Expo 67. Dr. Vaughan often integrates oral history methods and content into her community-based research; she is a core member of COHDS. Kathleen Vaughan also locates her teaching within Montreal’s fertile community settings, with Graduate Studio classes (2013, 2014, 2015) being linked to place. For 2015-2016, Dr. Vaughan will join colleagues Dr. Cynthia Hammond (Art History), Dr. Steven High (History) and Dr. Edward Little (Theatre) in “The Right to the City,” a cross-disciplinary, community-engaged exploration of Pointe-St-Charles, one of Montreal’s most economically marginal neighbourhoods now contending with gentrification and increasing income inequality. Kathleen Vaughan holds a PhD in Education from York University (Toronto), where her multimodal PhD dissertation incorporating a visual art installation and illustrated text was the first of its kind at the university, and won four Canadian and international academic awards for innovation and excellence. Dr. Vaughan has also earned an mfa in Studio Arts from Concordia University (Montreal), a diploma in Fine Arts from the (then) Ontario College of Art (Toronto) and a ba in English and Art History from the University of Toronto. Prior to joining the Art Education faculty at Concordia in 2008, she taught in York University’s Faculty of Education, at the Ontario College of Art and Design, in Concordia’s Studio Arts department and through visiting artist programs in Toronto schools. Dr. Vaughan also works as a consultant on issues of arts, education, culture, and broadcasting for clients in the public and private sectors.
Dr. Jean-Philippe Warren is a Professor of Sociology at Concordia University and he holds degrees from the Université Laval, the Université de Montréal and the École Normale Supérieure, in Paris. He is particularly interested in the history of social sciences, social movements, indigenous peoples, and the Catholic Church. He has written studies on Quebec sociologist Fernand Dumont, painter Paul-Émile Borduas, and Honoré Beaugrand. He has published widely on the intellectual and cultural history in Quebec - including Edmond de Nevers, portrait d'un intellectuel (Boréal, 2005); Hourra pour Santa Claus. La commercialisation de la saison des fêtes au Québec (Boréal, 2006); Ils voulaient changer le monde. Le militantisme marxiste-léniniste au Québec (VLB, 2007); Une Douce anarchie. Les années 68 au Québec (Boréal, 2008). He is also the author of over a hundred articles in scholarly and intellectual journals. This work led him to question the social and political institutionalization of modernity in Quebec.