Erin Morton is a leading national expert in the history of visual culture and art in Canada and Associate Professor in the Department of History at the University of New Brunswick. She is author/editor of two books and over a dozen peer-reviewed journal articles and book chapters in this area. One of these books, Negotiations in a Vacant Lot: Studying the Visual in Canada, co-edited with Lynda Jessup and Kirsty Robertson (MQUP 2014), has been described by UBC’s John O’Brian as changing “how we should think about visual culture and art history in Canada.” Indeed this book is one of only two historiographic rethinkings of Canadian art history and has generated conversations in national press (Canadian Art; C Magazine). Her single-authored monograph, For Folk’s Sake: Art and Economy in Twentieth-Century Nova Scotia (MQUP 2016) has been reviewed by Sandra Alfoldy at NSCAD University as “An exciting, timely, important, and wonderfully written book that emphasizes the role of late capitalism in the development of the field of folk art.” This book is the first critical history of folk art in Canada, following, as Alfoldy pointed out, on Ian McKay’s seminal book, Quest of the Folk, but from a new art historical perspective and with new sets of examples. She has been PI of a SSHRC Standard Research Grant that examined connections between folk art in federal collections and North American regional integration. She was also co-applicant on three previous SSHRC grants, including a recent SSHRC Partnership Development Grant entitled the Canadian Art Commons for the History of Art Education and Training (www.ArtCan.ca), which was successful in 2013.
Kristy Holmes is an expert in feminist art history and Canadian settler art and currently chair of the Department of Visual Arts at Lakehead University. She was Research Fellow in Canadian Art at the National Gallery of Canada, where she conducted archival research on the painter and filmmaker Joyce Wieland. Holmes has published seminal articles on Wieland and on feminist production and visual culture in Canada. She is on the Board of Directors at the Thunder Bay Art Gallery and the Universities Art Association of Canada and is Vice Chair of the Public Art Committee of Thunder Bay.
Kirk Niergarth holds a PhD in History and is Associate Professor at Mount Royal University. An expert in Canadian cultural history and Atlantic Canadian art, he has published widely on Canadian settler visual culture, including his 2015 book from UTP, ‘The Dignity of Every Human Being’: New Brunswick Artists and Canadian Culture, 1930-1950. He was the principal investigator of a SSHRC IDG project entitled “Through the Looking Glass and Back: Canadian Tourists and the Soviet Union, 1921- 1939,” awarded in 2011. He is Vice President of the Canadian Committee on Labour History and member of the board of the Chinook Country Historical Society. He was a member of the program committee of the 2016 meeting of the Canadian Historical Association in Calgary.
Carla Taunton is an art historian and Associate Professor in the Division of Art History and Critical Studies at NSCAD University. She is a co-investigator on the SSHRC IDG (PI Julie Nagam) “The Kanata Indigenous Performance, New and Digital Media Art Project,” a collaborative research partnership which traces Indigenous practices and methodologies in the areas of performance, digital and new media arts. Her research focuses on 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. She is an Alliance Member of the Aboriginal Curatorial Collective and an independent curator.
Susan Cahill is an independent filmmaker, curator, and Assistant Professor of Art History at the University of Calgary. She is the principal investigator of the SSHRC-funded “Art and Surveillance Project,” a database dedicated to Canadian artistic engagements with the surveillance state post-9/11. An expert in Canadian contemporary settler art, Cahill has a research program that engages a number of regional contexts, including the Ontario Arts Council-Northern Arts Program funded curatorial and artist residency project “You Art Here: Visualizing Place at the ‘Gateway to the North.’” She recently completed filming a documentary on the historical resettlement of Newfoundland out-port communities.
MARK A. CHEETHAM
Mark A. Cheetham is Professor of Art History and a Senior Fellow at Massey College, University of Toronto. He was the principal investigator for CACHET, of which Morton was the co-investigator. He became a Fellow of the Royal Society of Canada in 2008 and received fellowships from the John Simon Guggenheim Memorial Foundation Fellowship and the Sterling and Francine Clark Art Institute. He has received two awards from the Ontario Association of Art Galleries for curatorial work: in 2008 the long essay award, and in 2011 the exhibition of the year award for his co-curated exhibition Jack Chambers: The light from the darkness, silver paintings and film work. Cheetham’s books include Abstract Art Against Autonomy: Infection, Resistance, and Cure since the 60s (Cambridge UP, 2006); Remembering Postmodernism: Trends in Canadian Art, 1970–1990 (Oxford UP, 2012); and relevant to this research program Alex Colville: The Observer Observed. Toronto: ECW Press, (2nd ed., 1995).
Mireille Eagan is Curator of Contemporary Art at The Rooms in St. John’s, NL. Prior to this, she was a curator at the Confederation Centre Art Gallery in Charlottetown, PEI, where she was a founding member of Prince Edward Island’s artist-run collective This Town Is Small. Eagan has curated more than 50 exhibitions, including: Jenny Holzer: Truisms; Folklore and Other Panics; Christopher Pratt: The Places I Go; and The Free World. Collaborative projects include co-curation of the nationally touring retrospective Mary Pratt (with Sarah Fillmore and Caroline Stone), Mary Pratt: This Little Painting (with Jonathan Shaughnessy) at the National Gallery of Canada, and enter the fog (with Josée Drouin-Brisebois). Eagan was co-curator of the Terra Nova Art Foundation’s Collateral Project at the 55th Venice Biennale, titled About Turn: Newfoundland in Venice, Will Gill and Peter Wilkins (with Bruce Johnson). She has lectured across the country at galleries, conferences, and universities such as the University of Toronto, University of Waterloo, and Memorial University, published extensively in catalogues for private and public galleries and written for national magazines and periodicals including Border Crossings, C Magazine, canadianart.ca, and Visual Arts News. She was the Atlantic Juror for the Sobey Art Award in 2013, and was on the jury for the RBC Painting Competition in 2017. Eagan holds a Master’s in Art History (Concordia University, 2008).
Mimi Gellman is an Anishinaabe-Ashkenazi Métis (Ojibway-Jewish Métis) conceptual artist, art historian, and Associate Professor at Emily Carr University of Art and Design. A practising, multidisciplinary visual artist and curator with many years of experience, Gellman has an impressive list of accomplishments: from creating half-million dollar public art projects for the Rogers Centre and the Toronto Transit Commission to the building of large-scale architectural glass installations for sacred places (churches, synagogues, and mosques). She is currently a PhD candidate in Cultural Studies at Queen’s University. Her dissertation, “Between the Dreamtime and the GPS/the Metaphysics of Indigenous Mapping,” explores why land matters through the lens of Indigenous maps and will be manifested as an embodied project-based/research praxis PhD.
Dominic Hardy est Professeur, historiographie et histoire de l’art du Québec/Canada avant 1900 et vice-doyen à la recherche et à la création pour la Faculté des arts de l’UQAM. Il est spécialiste de la caricature et de la circulation de l’image satirique au Québec (18e-20e siècles). Il dirige les activités de l’ERHAQ (Équipe de recherche en histoire de l’art au Québec) dont le projet scientifique est d’établir une première synthèse de l’histoire de l’art au Québec pour la période 1600-1960. Il est aussi co- directeur du Laboratoire numérique des études sur l’histoire de l’art au Québec (LANEHAQ).
Heather Igloliorte (Inuit, Nunatsiavut Territory of Labrador) is Concordia University Research Chair in Indigenous Art History and Community Engagement. Some of her recent publications related to this work include chapters and catalogue essays in Manifestations: New Native Art Criticism (2012); Changing Hands: Art Without Reservation 3 (2012); Curating Difficult Knowledge (2011); Native American Art At Dartmouth: Highlights from the Hood Museum of Art (2011); Inuit Modern (2010); Response, Responsibility, and Renewal: Canada’s Truth and Reconciliation Journey (2009). One of her current projects is the reinstallation of the permanent collection of Inuit art at the Musée National des Beaux-Arts du Québec. She is on the Board of Directors for North America’s largest Indigenous art historical association, the Native North American Art Studies Association. She is the principal investigator of the SSHRC IDG project, “Arts of the Labrador Inuit Visual e-database (ALIVE)” and co-investigator of the SSHRC PG (PI Anna Hudson) “Mobilizing Inuit Cultural Heritage.”
Carmen Robertson (Lakota-Scottish) is a specialist in Canadian Indigenous art history, visual culture, and colonial issues. Her book Seeing Red, co-authored with Mark Cronlund Anderson, has elicited awards and favourable reviews by scholars and non-academic pundits. She also sat on the board of the MacKenzie Art Gallery for eight years and remains an active member of their acquisitions committee. She has adjudicated arts grants for a number of national, provincial, and local arts and Indigenous cultural organizations. As an independent curator who has worked with public collections at the Saskatchewan Arts Board, MacKenzie Art Gallery and with contemporary artists, Dr. Robertson has curated exhibitions and written numerous exhibition catalogue essays in addition to co-editing Clearing A Path: New Ways of Seeing Traditional Indigenous Art (CPRC, 2009), the result of a national-touring exhibition (with Dr. Sherry Farrell Racette).
HENRY ADAM SVEC
Henry Adam Svec is an artist and cultural history scholar currently based in Jackson, Mississippi, where he is Assistant Professor of Communication Studies at Millsaps College. His most recent artwork, Artificially Intelligent Folk Songs of Canada, explores the possibility that he has built an artificially intelligent database of the history of Canadian folk music. He has been an artist-in-residence at The Banff Centre, Roberts Street Social Centre, the Klondike Institute of Art & Culture, and the University of New Brunswick, and his work has been featured in The Globe and Mail, The Toronto Star, and several times on CBC Radio. Svec’s creative work feeds into his scholarship and teaching. He is currently conducting research on the Canadian painter Greg Curnoe in conjunction with the SSHRC IG project, “Recovering Mechanology: Media Making as Research Method” (Mark Hayward, PI).
CHARMAINE A. NELSON
Charmaine A. Nelson is a Professor of Art History at McGill University. She received her PhD in Art History from the University of Manchester (UK) in 2001. Her research and teaching interests include postcolonial and black feminist scholarship, Transatlantic Slavery Studies and Black Diaspora Studies. She has made ground-breaking contributions to the fields of the Visual Culture of Slavery, Race and Representation, and Black Canadian Studies. Nelson has published six books including the edited book Ebony Roots, Northern Soil: Perspectives on Blackness in Canada(Newcastle upon Tyne, UK: Cambridge Scholars Press, 2010), and the single-authored books The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America(Minneapolis: University of Minnesota Press, 2007) and Slavery, Geography, and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica(London: Routledge, 2016). She has garnered several prestigious fellowships and appointments including a Caird Senior Research Fellowship, National Maritime Museum, UK (2007) and a Fulbright Visiting Research Chair, University of California – Santa Barbara (2010). In 2016, she was named as a Fellow of the Royal Society of Canada, College of New Scholars, Artists, and Scientists. Currently, she is the William Lyon Mackenzie King Visiting Professor of Canadian Studies at Harvard University (2017-18).
DYLAN A.T. MINER
Dylan A.T. Miner is a Wiisaakodewinini (Métis) artist, activist, and scholar. He is currently Director of American Indian and Indigenous Studies and Associate Professor in the Residential College in the Arts and Humanities at Michigan State University. Miner is also adjunct curator of Indigenous art at the MSU Museum, sits on the Michigan Indian Education Council, and is a founding member of the Justseeds artists collective. He holds a PhD from The University of New Mexico and has published more than sixty journal articles, book chapters, critical essays, and encyclopedia entries. In 2010, he was awarded an Artist Leadership Fellowship through the National Museum of the American Indian, Smithsonian Institution. Miner has been featured in more than twenty solo exhibitions – with three planned in 2018 – and has been artist-in-residence or visiting artist at institutions such as the School of the Art Institute of Chicago, École supérieure des beaux-arts in Nantes, Klondike Institute of Art and Culture, Rabbit Island, Santa Fe Art Institute, and numerous universities, art schools, and low-residency MFA programs. His book Creating Aztlán: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island was published in 2014 by the University of Arizona Press. In the past year, he published an artist’s book titled Aanikoobijigan // Waawaashkeshi, a booklet on Métis and Anishinaabe beadwork, and a chapbook on quillwork. Miner is currently completing a book on Indigenous aesthetics and writing his first book of poetry; he recently commenced the Bootaagaani-minis ∞ Drummond Island Land Reclamation Project.
Leah Decter is an inter-media artist and scholar currently based in Winnipeg, Canada; Treaty 1 territory. Her artwork and research focus on contested spaces, largely contending with histories and contemporary conditions of settler colonialism and systems of white dominance through a critical white settler lens. She holds a PhD in Cultural Studies from Queens University (Kingston) and an MFA in New Media from Transart Institute (Berlin). Decter has exhibited, presented and screened her work widely in Canada and internationally in the US, UK, Germany, Malta, the Netherlands, Australia and India. In 2017 she was a Visiting Research Fellow at University of New South Wales’ National Institute for Experimental Arts in Sydney, Australia. Her artwork has been featured in The Journal of Canadian Art History, Craft and Design in Canada, Fuse Magazine andBorder Crossing, and her recent journal articles have been published in the Journal of Critical Race Inquiry, Liminalities: A Journal of Performance Studies and Canadian Theatre Review.Her co-authored writing (with Carla Taunton, Ayumi Goto and Jaimie Isaac respectively) has been published in Fuse Magazine’s Decolonizing AestheticsIssue, The Land We Are: Artists and Writers Unsettle the Politics of Reconciliationand West Coast Line’s Reconcile This!.
Andrew Gayed is an Egyptian-Canadian art historian and researcher interested in photography, Middle Eastern contemporary art, identity politics, and migration/diaspora studies. Gayed is a Ph.D. candidate in Art History and Visual Culture at York University and holds an M.A. in Art History, and a B.F.A. in Visual Arts. His research investigates Middle Eastern contemporary art, with a focus on photographic art being produced by the North American diaspora. This work emphasizes themes of migration and the political artwork that is associated with the diasporic community. Gayed’s research is located at the cutting edge of interdisciplinary and transnational inquiry in art history, gender studies, and cultural studies. Currently, the Osgoode Law research fellow in Transnationalism and Human rights, Gayed has been the recipient of notable awards including the SSHRC Joseph-Armand Bombardier Doctoral Award, a SSHRC Joseph-Armand Bombardier Masters Award, and the Ontario Graduate Scholarship. Gayed has published journal articles and book chapters on wide-ranging themes, including: Middle Eastern contemporary art, museum studies, queer artistic practices, and global art histories. Gayed has presented at conferences and keynotes internationally at U.C. Berkley, Harvard University, Duke University and Oxford University on two occasions, in addition to presentations and keynotes before Canadian audiences.
Shaista Patel is a Muslim feminist whose work explores the intersections between white settler colonialism, imperialism, Islamophobia, and anti-Blackness in North America. She has published on circulations of the figure of the “Muslim terrorist”, colonial law and racial securitization of white settler state of Canada, and complicity of South Asian diaspora in upholding colonial and casteist hierarchies in North America. Her work has appeared in Theory & Event, Feral Feminisms, The Feminist Wire, and from Palgrave Macmillan and University of British Columbia Presses.
ALICE MING WAI JIM
Alice Ming Wai Jim is Associate Professor of Contemporary Art and University Research Chair in Ethnocultural Art Histories at Concordia University (Montreal, QC, Canada). Her recent publications include chapter contributions to Narratives Unfolding: National Art Histories in an Unfinished World (McGill-Queen’s University Press, 2017); Desire Change: Contemporary Feminist Art in Canada (McGill-Queen’s University Press, 2017); Mass Effect: Art and the Internet in the 21st Century (The MIT Press, 2015); and Negotiations in a Vacant Lot: Studying the Visual in Canada (McGill-Queen’s University Press, 2014). Recent exhibitions include Yen-Chao Lin: DIY Haunt (Oboro, Montreal, QC, Canada, 2017) and Yam Lau: A World is a Model of a World (Darling Foundry, Montreal, QC, Canada, 2013).
PERRY DYKENS B.A. (UNB ’14)
Perry is entering his third year in Neuroscience at UNB. This is his second BA as he graduated in 2014 with a BA in History. Perry’s research interests are quite varied, likely due to the contrast of his two degree programs. His research interests include: the socio-behavioural aspects of history, the psychological aspects of art and their effects on society, the social utility of art, neurological and developmental disorders, connectivist and interactionist models of psychology and history, and biological determinants of social interaction and society.
JOSH SHEPPARD B.A. (HONS. UNB ’17)
Josh is currently preparing for his first year in the History M.A program at UNB. His research interests include Indigenous intersectionalities, colonial relationships in Canada, Indigenous cultures across Canada, and land claims in Eastern Canada.
ANNIE DY XU
Annie is currently in her third year of undergraduate studies, double majoring in History of Art and History at the University of Toronto. She explored her artistic and design education for a short period at the OCAD University and continues to pursue her design interests while investing in her passion for art history, focusing on critical issues in modern and contemporary art in Canada.
DANIELLE HOGAN PH.D.
Danielle Hogan is an artist and founding director of The Gynocratic Art Gallery. She earned a diploma in fine craft from the New Brunswick College of Craft and Design (’95), BFA Emily CarrUniversity (’00), MFA the University of Victoria (’03), PhD the University of New Brunswick (’17). Danielle’s research embraces craftivism, DIY, and craft in contemporary art broadly; an intersectional feminist her dissertation investigates Femaffect – a term that she originated, which addresses the negatively feminized effects that are suffered by women and other members of the LGBTG2+ communities when they employ textiles in art.