B.A. (McGill), M.A. (Toronto), Ph.D. (CUNY)
Office: CFA 254
Phone: 416-736-2100 ext. 77425
Graduate Program Director/Associate Professor
Dan Adler teaches courses in nineteenth- and twentieth-century art, with particular interests in nineteenth-century European painting, French and German Dada, and the development and reception of the conceptual art movement. Professor Adler’s areas of research include the history of art writing, German modernism, Frankfurt School theory, conceptual art, and the aesthetics and history of sculpture and installation art. He has published in the London-based journal Art History and regularly contributes reviews to Artforum and Canadian Art. An alumnus of the Whitney Museum's Independent Study Program, he has taught previously at Hunter College, RISD, the University of Guelph, and the New School in New York. He was formerly senior editor of the Bibliography of the History of Art at the Getty Research Institute in Los Angeles. In 2006 he curated the exhibition 'When Hangover Becomes Form: Rachel Harrison and Scott Lyall,' held at the Contemporary Art Gallery in Vancouver and Los Angeles Contemporary Exhibitions (LACE). His book on the German conceptual artist Hanne Darboven will be published in 2009 by Afterall Books/MIT Press. He is currently working on a book dealing with contemporary sculpture in terms of aesthetic categories.
B.FA. (NSCAD), M.A., Ph.D. (Concordia)
Office: CFA 252
Phone: 416-736-2100 ext. 33410
Jennifer Fisher is an art historian, critic and curator specializing in contemporary art and cultural studies. Her research focuses on display practices and the aesthetics of the non-visual senses. In 2012 she co-founded the Journal of Curatorial Studies, where she is editor, publishing three issues a year. She also co-edited a special issue of Senses and Society on 'Sensory Aesthetics' (2012) and Public on 'Civic Spectacle' (2012). Her writings have been featured in anthologies such as The Ashgate Research Companion to Paranormal Culture (2013), The Senses in Performance (2006) and Caught in the Act (2005), and journals such as Art Journal, Border/Lines, C magazine, n-paradoxa and Visual Communication. She is the editor of the anthology Technologies of Intuition (2006).
Dr. Fisher is a founding member of DisplayCult, a collaborative framework for interdisciplinary studies in the visual arts, which seeks to creatively merge disciplines, media and communities in order to propose generative prototypes for display and aesthetic engagement. Exhibitions include NIGHTSENSE (2009), MetroSonics (2009), Odor Limits (2008), Do Me! (2006), Linda Montano: 14 Years of Living Art (2003), Museopathy (2001), Vital Signs (2000) and CounterPoses (1998), among others. DisplayCult’s collaborative publications include the catalogues CounterPoses (2002) and Museopathy (2002), as well as essays in Trespassers & Captives (2000), Image and Inscription (2005), and Dispersions: Aernout Mik (2005).
Professor Fisher was Contemporary Art Fellow at the Canadian Centre for the Visual Arts at the National Gallery of Canada, and has held research affiliations at the Society for Fellows in the Humanities at Cornell University and the Department of Performance Studies at the Tisch School of the Arts at New York University. She joined York University’s Visual Arts Department in 2004.
B.A., M.A., Ph.D. (Strasbourg)
Office: CFA 233
Phone: 416-736-2100 ext. 77423
Shelley Hornstein is Professor of Architectural History & Urban Culture at York University (on leave 2012-13). Her work looks at the intersection of memory and place in architectural and urban sites. She is currently working on projects that explore demolition, Google Earth and museums in virtual space, Starlets and Starchitecture, Jewish topographies, and architectural tourism. Hornstein is the recipient of the Walter L. Gordon Fellowship, and several Canadian and International research awards. Her most recent book, Losing Site: Architecture, Memory and Place, was published by Ashgate in August, 2011. Her other books include the edited volumes: Capital Culture: A Reader on Modernist Legacies, State Institutions, and the Value(s) of Art (McGill-University Press, 2000); Image and Remembrance: Representation and The Holocaust (Indiana University Press, 2002), and Impossible Images: Contemporary Art after the Holocaust (NYU Press, 2003).
A graduate of the Université de Strasbourg (Marc Bloch), France, Professor Hornstein has taught at York University since 1985. Her courses include Memory and Place, Paris as Modernist Dream, The Celluloid City, No Place like Home, and The Metropolis Revisited. Prior to York University, she taught at Concordia and Laval Universities. She is a member of York’s graduate programs in Art History, Culture and Communications, and Social and Political Thought. She has served as Associate Dean, Co-Director of the Centre for Feminist Research, and twice Chair of Department of Fine Arts, Atkinson College.
Associate Professor/York Research Chair
B.FA. (Concordia), M.Phil. (Glasgow), M.A., Ph.D. (Toronto)
Office: CFA 201T
Phone: 416-736-2100 ext. 77423
Anna Hudson is an art historian, curator, writer and educator specializing in Canadian art and visual culture. Formerly associate curator of Canadian Art at the Art Gallery of Ontario, she brings to her teaching extensive hands-on experience in institutional curatorial practice, including collections research and acquisitions, exhibit planning and design, museum mandates and policies, conservation issues, and cultural property and fair market evaluation.
Dr. Hudson’s curatorial credits include the international touring show Painting Canada: Tom Thomson and the Group of Seven,/em> (with Ian Dejardin and Katerina Atanassova, for the Dulwich Picture Gallery, London, UK); The Nude in Modern Canadian Art, 1920–1950 (with Michèle Grandbois, for the Musée national des beaux–arts du Québec); and the AGO exhibitions Woman as Goddess: Liberated Nudes by Robert Markle and Joyce Wieland and, (co–curated with Laakkuluk Williamson Bathory), Inuit Art in Motion. Hudson is currently collaborating with graduate students at York on the exhibitions Moving Side and Forward for the Varley Art Gallery, Markham, and inVisibility: Indigenous in the City, part of INVISIBILITY: An Urban Aboriginal Education Connections Project, for the John B. Aird Gallery, Toronto.
Professor Hudson continues to pursue research in the area of her doctoral dissertation, Art and Social Progress: the Toronto community of Painters (1933–1950). Her most recent publications include "Time and Image: Picturing Consciousness in Modern Canadian Painting" (2013), "Stepping into the Light of Clark McDougall’s Landscapes" (2011) and "Landscape Atomysticism: A Revelation of Tom Thomson" (2011).
Breaking the Boundaries of Inuit Art: New Contexts for Cultural Influence is an ongoing major project supported by the Social Sciences and Humanities Research Council of Canada, for which she and her research team organized School’s Out — a four–day workshop and two–day concert in Iqaluit, Nunavut (celebrating National Aboriginal Day and the end of the school term), co-produced by Alianait Arts Festival.
B.A., M.FA. (Seoul National University), M.A., Ph.D. (SUNY, Binghamton)
Office: CFA 244
Phone: 416-736-2100 ext. 77422
Hong Kal teaches visual art and culture of East Asia. Her research interests include exhibition politics, community art, public space and urban spectacle. Her research has been supported by Postdoctoral Research Fellowship at Stanford University (2003-2005), Advanced Research Grant from Korea Foundation (2007-2008) and SSHRC Standard Grant (2010–2013). Dr. Kal is the author of Aesthetic Constructions of Korean Nationalism: Spectacle, Politics and History (Routledge, 2011) and her articles were published in journals including The Asia Pacific Journal: Japan Focus, Inter Asia Cultural Studies, and Comparative Studies in Society and History.
BA (Carleton), MA, MPhil, PhD (University of Toronto)
Office: CFA 233
Phone: 416-736-2100 ext. 70107
Formerly of the interdisciplinary Fine Arts Cultural Studies program, Faculty of Fine Arts, at York University (1999-2011), Dr. Leslie Korrick is currently an Associate Professor in York’s Department of Visual Art and Art History. She is appointed to the graduate programs in both Art History & Visual Culture and Science & Technology Studies and is a recipient of the Faculty of Fine Arts Senior Teaching Award (2006-2007). Prior to joining York, Dr. Korrick held appointments at the University of Manitoba, Queen’s University, and the Ontario College of Art and Design.
Traversing periods and geographies, Dr. Korrick’s research and teaching focus on intersections between the arts; constructions of culture through art forms, architecture, urban spaces, collecting, and display; art-science relations; and sound studies. She is leader of the soundseminar, an inter-university, multi-disciplinary research group of theorist-practitioners exploring sound as a medium of artistic practice and cultural marker, and a member of the editorial collective for InTensions, an e-journal on the theatricality of power and sensory regimes. Dr. Korrick has taught studies-abroad courses in Italy for U of M, Queen’s, and York, most recently Rome: Open City / Roma: città aperta.
Published in such journals as Word & Image and Early Music and in several multidisciplinary essay collections, Dr. Korrick is completing a book considering relationships between Italian painting and music in Early Modern theory and practice, funded by the Social Sciences and Humanities Research Council of Canada. Her most recent essay associated with this project, “Vincenzo Galilei’s Re-Vision of Renaissance Tuning: Trading on Nature and Art,” appears in The Sounds and Sights of Performance in Early Music (Ashgate, 2009). On contemporary sound art, Dr. Korrick has presented her research at the Sound Art Theories Symposium at the School of the Art Institute, Chicago (2011), SoundActs: Sound as Art-Sound in Culture-Sound in Theory-Sound in History, Aarhus University, Denmark (2010), Transmissions: Sound Art Performed and Discussed, Overgaden-Institute of Contemporary Art, Copenhagen (2010), and the Halifax Art and Audio Festival (2009), aspects of which are forthcoming in Leonardo Music Journal (2013).
Dr. Korrick has collaborated with a wide variety of Canadian arts collectives and cultural institutions including Mentoring Artists for Women’s Art, Plug In Institute of Contemporary Art, Art Metropole, UpArt Contemporary Art Fair, Prefix Institute of Contemporary Art, GroundSwell New Music, SoundaXis (New Music Projects), Tafelmusik, Aradia Baroque Ensemble, the Music Gallery, Art Gallery of Ontario, Winnipeg Art Gallery, Ontario College of Art and Design, and Toronto International Film Festival Group.
on sabbatical 2015/16
Professor Sarah Parsons teaches courses in the history and theory of photography, modern art, Canadian art, and art crime.
Her research focuses primarily on photography and her current book project explores the interconnected histories of privacy and photography. Components of this research have been published as “Public/Private Tensions in the Photography of Sally Mann,” History of Photography (2008), “Sontag’s Lament: Emotion, Ethics, and Photography,” Photography & Culture (Fall 2009), and “Privacy, Photography, and the Art Defense,” for an edited volume entitled Revealing Privacy (Lang, 2012).
In 2014, Professor Parsons contributed an e-book for the Art Canada Institute: William Notman: Life & Work (http://www.aci-iac.ca/william-notman). Her research on the prolific 19th century Montreal photographer continues with an essay on the performative space of Notman’s studio for an upcoming exhibition at the McCord Museum, Montreal. Parsons is also the editor of Emergence: Contemporary Canadian Photography (Gallery 44 and Ryerson University, 2009) and a forthcoming volume of essays on gender, genre, and photography (Duke University Press, 2016).
As the recipient of a research fellowship in the Prints and Drawings Department at the Art Gallery of Ontario, she researched the provenance of the drawing collection to ensure compliance with the Task Force Report on the Spoliation of Art during the Nazi/WWII era. She later served as a research consultant for the Beaverbrook Art Gallery in their legal proceedings with the Beaverbrook Foundation. This research informed the creation of one of the first university level courses on art crime.
Professor Parsons is a founding member of a collaborative research group known as the Toronto Photography Seminar (http://www.torontophotographyseminar.org). She has been awarded the 2015/16 Massey York Fellowship at Massey College and previously received York’s University–Wide Teaching Award for excellence in teaching.
B.FA. (Concordia), B.Ed. (McGill), M.A. (York), Ph.D. (Manchester)
Office: WC 223
Phone: 416-736-2100 ext. 30734
Visual Culture and Identity; Museum History and Pedagogies; Visual Rhetoric and Nationalism, Group Portraiture; Teaching of Visual Arts and Art History in Higher Education; History of Visual Culture in Canada
Professor Stanworth has published on topics related to visual culture and pedagogy; higher education and the arts; feminist cultural theory and production; and narrative and history. Her articles have appeared in Art History (UK), Histoire Sociale/Social History, Resources in Feminist Research,Symploke Journal of Comparative Literature and Theory and University of Toronto Quarterly.
Her teaching and research address issues of knowledge formation within visual culture, with a particular emphasis on the representation of identities, and the paradox of belonging and difference.
Dr. Stanworth is completing a manuscript on visual culture and identity in 19th century Canada which examines the ways in which visual culture participates in the construction and mediation of social identities, particularly in early museum pedagogies, visual spectacle and the representation of group identities. Current research initiatives include the development of a collaborative network for historical research in visual culture in Canada, and a research project of case studies about bawdy images in 20th century Canada.
Dr. Stanworth is joint appointed to the Faculties of Fine Arts and Education, and is associated with the Graduate Program in Interdiscipinary Studies, Graduate Program in Visual Arts and Robarts Centre for Canadian Studies at York.
"Ethics of Knowledge: education, tradition and post-modernity", web exclusive article, Academic Matters, July, 2010; [review essay, Art School (Propositions for the 21st Century), Steven H. Madoff, ed. MIT Press, 2009].
Stanworth, K. (2005). "Interdisciplinarity in the work of Francoise Sullivan", in Caught in the Act: An Anthology of Performance Art by Canadian Women, Toronto: University of Toronto Press, 387-396.
Stanworth, K. and J. Hladki (2002). "A Critical Introduction to Feminist Cultural Production", Resources in Feminist Research, 29:3/4, 9-18. Issue editors.
B.A., Ph.D. (East Anglia)
Office: CFA 260
Phone: 416-736-2100 ext. 77428
Malcolm Thurlby is an internationally renowned specialist in medieval art and architecture and Canadian architectural history. A Fellow of the Royal Historical Society and a Fellow of the Society of Antiquaries of London, he has published three books and over 150 articles on aspects of Romanesque and Canada. After more than 30 years of teaching at York he still has fun in class, and enjoys mentoring graduate students for papers presented at academic conferences, and for publication.
‘Bishop Puiset’s Hall at Auckland Castle: Its Place in English 12th-century Architecture’, Princes of the Church: Bishops and their Palaces, ed. David Rollason (Abingdon and New York: Routledge, 2017), 348-374.
‘The Roman Catholic Churches of Joseph Connolly (1840-1904): The Adaptation of Pugin’s True Principles and Aspects of Irish Identity in Ontario’, in Timothy Brittain-Catlin, Jan De Maeyer and Martin Bressani, ed., Gothic Revival Worldwide: A. W. N. Pugin's Global Influence (Leuven: Leuven University Press, 2016), 76-93.
‘Hereford Cathedral: Romanesque and Early Gothic Sculpture’, in The Story of Hereford, ed. Andy Johnson (Almeley [Herefs]: Logaston Press, 2016), 93-100, 301-302.
‘The Anglo-Saxon Tradition in Post-Conquest Architecture and Sculpture’, in The Long Twelfth-Century View of the Anglo-Saxon Past, ed. D.A. Woodman and Martin Brett (Farnham: Ashgate, 2015), 307-358.
‘Bishop John Medley (1804-1892), Frank Wills (1822-1857), and the designs of Christ Church Cathedral and St. Anne’s Chapel of Ease, Fredericton, New Brunswick, with some elementary remarks on the impact of Bishop John Medley and Frank Wills on the arrangements of Anglican churches in New Brunswick’, Journal of the Society for the Study of Architecture in Canada, 40, no. 1 (2015), 31-57.
Review of Eric Fernie, Romanesque Architecture: The First Style of the European Age (New Haven and London: Yale University Press, 2014), The Architectural Historian, I (June 2015), 24-26.
The Architecture and Sculpture of Deerhurst Priory: The Later 11th, 12th- and Early 13th-Century Work (Deerhurst: The Friends of Deerhurst Priory, 2014).
‘The Abbey Church of Lessay (Manche) and Romanesque Architecture in North-East England’,
Antiquaries Journal, 94 (2014), 71-92.
‘The Romanesque and Gothic Fabric’, in Durham Cathedral: An Architectural Appreciation, ed. Douglas Pocock (Durham: Durham City Trust, 2014), 19-45.
The Herefordshire School of Romanesque Sculpture (with a History of the Anarchy in Herefordshire by Bruce Coplestone-Crow) (Almeley [Herefs.]: Logaston Press, 2013).
Guest editorial ‘Introduction’ to seven essays on ecclesiastical architecture in Canada Journal of the Society for the Study of Architecture in Canada, 38, no. 1 (2013), 3-4.
‘Christ Church, Maugerville, New Brunswick: Bishop John Medley, Frank Wills and the Transmission of Ecclesiological Principles in Anglican Churches in Canada’,
Journal of the Society for the Study of Architecture in Canada (.pdf), 38, no. 1 (2013), 21-28.
‘Articulation as an expression of function in Romanesque architecture’, Architecture and Interpretation: Essays for Eric Fernie, ed. Jill A. Franklin, T.A. Heslop and Christine Anderson (ed.), (Woodbridge: Boydell and Brewer, 2012), 42-59.
‘The Anglo-Saxon Tradition in Architectural Sculpture and Decoration: the “Overlap” and Beyond’, New Voices on Insular Sculpture, ed. Michael F. Reed (Oxford, British Archaeological Reports, 2011), 92-107.
Shirley Ann Brown is a medievalist whose teaching and research interests include Medieval Art and Architecture of the British Isles, the History of Stained Glass/Stained Glass in Canada, and Art History Methodology. She taught previously at the University of Miami in Coral Gables, and at Florida Atlantic University in Boca Raton.
Shirley Ann Brown is a medievalist whose teaching and research interests include Medieval Art and Architecture of the British Isles, the History of Stained Glass/Stained Glass in Canada, and Art History Methodology. She taught previously at the University of Miami in Coral Gables, and at Florida Atlantic University in Boca Raton. She has lived and travelled extensively in Europe, reading English medieval History with Denis Bethel at University College, Dublin. She spent an additional year in research at the Institut fur Kunstgeschichte in Munich. Prof. Brown is the founding Director of the Registry of Stained Glass Windows in Canada. During Winter Term 2007, Prof. Brown was Visiting Professor of Medieval Studies at the University of California at Berkeley.
B.A. (Toronto), M.A. (UC–Berkeley), Ph.D. (London)
Office: CFA 255
Phone: 416-736-2100 ext. 77420
Professor Carpenter's research interests include the history, theory, and practice of art criticism, Canadian and American art since 1940, and the psychology of creativity. His extensive publication credits include sixty articles in journals such as Art International, Arts, Vie des arts, The Journal of Canadian Art History, Studio International, The Canadian Encyclopedia and the Dictionary of Art. Exhibitions he has curated include The Caro Connection: Sculpture by Sir Anthony Caro from Toronto Collections; The Heritage of Jack Bush, A Tribute (Robert McLaughlin Gallery), which toured extensively; and Caricature and Conscience: The Sculpture of Dora Wechsler (with Carolyn Robinson) for Toronto's Koffler Gallery.
Professor Carpenter has been guest critic at the Emma Lake Artists' Workshop and guest lecturer at numerous Canadian and American universities. He was a recipient of the Ontario Confederation of University Faculty Association's award for excellence in teaching.
Office: CFA TBA
B.A., M.A. (Toronto)
Office: N318 Schulich
Phone: 416-736-2100 ext. 77905
An art historian, curator, cultural policy specialist and academic administrator, Joyce Zemans served as dean of the Faculty of Fine Arts (1985-88), acting director of the Graduate Program in Art History (1994-95) and chair of the Department of Visual Arts Department (1975-81) at York University.
She also held the Robarts Chair in Canadian Studies (1995-96) and was acting director of the MBA Program in Non-Profit Management and Leadership (2000-01). She currently directs the MBA Program in Arts and Media Administration in the Schulich School of Business at York.
Professor Zemans served as director of the Canada Council for the Arts from 1988 to 1992. She holds honorary doctorates from the University of Waterloo and the Nova Scotia of Art and Design and is an Honorary Fellow of the Ontario College of Art and Design.
Joyce Zemans was appointed a member of the Order of Canada in 2002 in recognition of her contributions to Canadian arts and culture. In 2010, she was chosen to receive The Canadian Conference of the Arts' Diplôme d’honneur for sustained contribution to the cultural life of the country.
Professor Zemans currently serves on the board of the Institute for Studies in Canadian Art at Concordia University and of the Advisory Boards of the Toronto Arts Council, the Creative Trust, the Magnetic North Theatre Festival and the Asia Pacific Journal of Arts and Cultural Management.
Among her other activities, she is a member of the Culture and Communications Committee of Canadian Commission for UNESCO and of the steering group for the Centre of Expertise on Culture and Communities, for the Creative City Network of Canada. Previously she has served as president of the Laidlaw Foundation, as a member of the Prime Minister’s Canada-Japan Forum, a member of the Department of Canadian Heritage’s Expert Advisory Committee on the Convention on Cultural Diversity, and a member of the Japan - U.S. Comparative Cultural Policy Project (U.C.L.A.): Cultural Policy Advisory Committee.
Professor Zemans' research focuses on art history and cultural policy with specific reference to the Canadian experience and international comparative cultural policy.
B.A. (McGill), M.A., Ph.D. (Columbia)
Office: CFA 261
Professor Zemel joined the faculty in the Department of Visual Arts in 2000. Prior to York, she taught at Concordia University, Temple University (Philadelphia), Dartmouth College and the State University of New York at Buffalo, where she chaired the Art History Department from 1997-2000.
Professor Zemel's areas of research and publication include 19th and 20th-century European art, the modern art market, feminism in the arts, Jewish visual culture and diaspora studies. An authority on the work of Vincent Van Gogh, her books include The Formation of a Legend — Van Gogh Criticism 1890–1920 (UMI Research Press, 1980) and Van Gogh's Progress: Utopia and Modernity in Late Nineteenth–Century Art (University of California Press, 1997). Her articles have appeared in The Art Bulletin, Art History, Artscanada, Art in America, Jong Holland and several scholarly anthologies. She served as co–editor of RACAR (Revue d'art canadienne/Canadian Art Review) from 1995–98.
In 2000/01, Dr. Zemel was a Fellow at the Center for Judaic Studies at the University of Pennsylvania, engaged in completing a book titled Graven Images: Visual Culture and Modern Jewish History. With Professors Shelley Hornstein (York University) and Reesa Greenberg (Concordia University), she is co-founder and co–director of Project Mosaica, a web7ndash;based exploration of Jewish cultural expression in the arts.
Jessica Bradley Gallery opened in 2005. In the fall of 2012 Bradley opened a second location, Jessica Bradley Annex. Previously, she was Curator of Contemporary Art at the Art Gallery of Ontario and Associate Curator of Contemporary Art at the National Gallery of Canada. She was responsible for acquisitions of contemporary art from Canada and internationally at both the National Gallery and the Art Gallery of Ontario. Bradley has organized exhibitions in Canada and abroad, and was commissioner for Canada’s representation at the Venice Biennale in 1982, 1984, and 1999. She has several years of teaching experience at the University of Ottawa and Concordia University, Montreal, in undergraduate and graduate courses in contemporary art history and critical theory.
Selected Published Works:
Rodney Graham: A Little Thought (editor and introduction), exhibition catalogue in collaboration with Art Gallery of Ontario, Toronto; Vancouver art Gallery; Los Angeles Museum of Contemporary Art, 2004.
"Rebecca Belmore: Art and the Object of Performance" in Caught in the Act: An Anthology of Performance Art by Canadian Women eds. Tanya Mars & Johanna Householder, Toronto: YYZ Books, 2004.
"International Exhibitions: A Distribution System for a New Art World Order," in Beyond the Box: Diverging Curatorial Practices, ed. Melanie Townsend, Banff, The Banff Centre, 2003;
Sightlines: reading contemporary Canadian art, eds. Jessica Bradley & Lesley Johstone, Montreal, Canada: Artexte Editions, 1994.
From 1971 to 1999, Reesa Greenberg was Associate Professor of Art History at Concordia University. In addition to publishing numerous essays on contemporary Canadian art and artists, she has written extensively on the theory and practice of exhibition experience in the contemporary museum. www.reesagreenberg.net
Selected Published Works:
“The Currency of Time: Muntadas and I Giardini,” CIEL VARIABLE No. 77, Winter. p.10-12, 2007;
"Redressing History: Partners and the Friedrich Christian Flick Collection," Kritische Berichte, October, 2005;
"From Wall to Web: Displaying Art Stolen from Jews by Hitler," in Obsession, Compulsion, Collection: On Objects, Display Culture and Interpretation, Anthony Kiendl (ed.), Banff: The Banff Curatorial Institute, 92-109, 2004.
She co-edited Thinking About Exhibitions with Bruce W. Ferguson and Sandy Nairne, Routledge, 1996.
Philip Monk is Director of the Art Gallery of York University in Toronto. Previously he was curator at The Power Plant and the Art Gallery of Ontario. He has curated over sixty exhibitions and published six books, over thirty of his own catalogues and over a hundred and twenty articles, catalogue and book essays, and reviews. Exhibitions at the AGYU have included What It Feels Like for a Girl, Sinbad in the Rented World, Jeremy Blake: Winchester Trilogy, The Atlas Group and Walid Raad, Mike Hoolboom, Istvan Kantor, Horror, Science Fiction, Porn (Fiona Banner, Rosa Barba), Nathalie Melikian, Fiona Tan, Jeremy Deller, Matthew Brannon, Fastwürms, Saskia Olde Wolbers, and Project for a New American Century: Daniel Borins and Jennifer Marman. Some of the exhibitions at the Power Plant were: Liam Gillick, Guy Maddin, Ian Carr-Harris, Liz Magor, Douglas Gordon, Tim Hawkinson, Mike Kelley and Paul McCarthy.
Selected Published Works:
Struggles with the Image: Essays in Art Criticism, Toronto: YYZ Books, 1988.
Double-Cross: The Hollywood Films of Douglas Gordon, Toronto: The Power Plant and Art Gallery of York University, 2003.
Spirit Hunter: The Haunting of American Culture by Myths of Violence, Toronto: AGYU, 2005.
Stan Douglas: Discordant Absences, Cologne: DuMont, 2006.
Disassembling the Archive: Fiona Tan, Toronto: AGYU, 2007.
Helena Reckitt is an independent curator and critic based in London, UK, where she is Senior Lecturer in Curating at Goldsmiths, University of London. Formerly Senior Curator of Programs at the Power Plant in Toronto, she has held curatorial and programming positions at the Atlanta Contemporary Art Center, GA, and the Institute of Contemporary Arts, London, and was an associate editor at Routledge publishers. Reckitt was one of three curators for Toronto’s 2012 Nuit Blanche and is curating a similar one-night event, Flux NIght, in Atlanta, GA, in 2013. She has curated and co-curated exhibitions with artists including Yael Bartana, Keren Cytter, Harrell Fletcher, Joachim Koester, Hew Locke, Ryan Trecartin, Paul Shambroom, and Carey Young. Her group exhibitions have explored inter–species relations (‘Adaptation’, 2010), memory and re-enactment (‘Not Quite How I Remember It’, 2008), and corporate and academic behavior (‘What Business Are You In?’, 2005). In 2014 she is curating the groupexhibition 'Getting Rid of Yourself', about artistic tactics of invisibility, anonymity and defection for OCADU's gallery in Toronto.
M.A. (Royal College of Art, London)
Kitty Scott is curator of Modern and Contemporary Art at the Art Gallery of Ontario. Previously she was director, Visual Arts at The Banff Centre, chief curator at the Serpentine Gallery, London, and curator, Contemporary Art at the National Gallery of Canada, Ottawa. Scott has curated exhibitions of artists such as Francis Alÿs, Janet Cardiff, Paul Chan, Peter Doig, Ragnar Kjartansson, Silke Otto-Knapp, Ken Lum, and Ron Terada, and was an agent for dOCUMENTA (13) (2012), Kassel. Scott organized the curatorial symposium Are Curators Unprofessional? (2010) at The Banff Centre and edited the publication Raising Frankenstein: Curatorial Education and Its Discontents (Koenig Books, Cologne, 2010). She has written extensively on contemporary art for catalogues and journals including Parachute, Parkett, and Canadian Art. Scott has contributed to numerous books on curatorial studies and written texts for monographic publications on the work of Matthew Barney, Peter Doig, Brian Jungen, and Daniel Richter; and for the publication Creamier: Contemporary Art in Culture (Phaidon, London, New York, 2010). As an independent curator, she has organized exhibitions including Bankside Browser (2000) for Tate Modern, London, and Universal Pictures (1999) at the Melbourne International Biennial. Scott was the Canadian coordinator for the Seventh International Istanbul Biennial (2001) and also worked on the inaugural SITE Santa Fe Biennial (1995). She is visiting professor for the Curatorial Practice Program at the California College of the Arts, San Francisco, as well as an adjunct professor at York University, Toronto, and University of British Columbia, Vancouver.
Georgiana Uhlyarik is Assistant Curator in Canadian Art at the Art Gallery of Ontario. Recent curatorial projects include Nicole Collins: Giotto’s O (2013), Michael Snow: Objects of Vision (2012), The Passion of Kathleen Munn (2011), Betty Goodwin: Work Notes (2010). She has lectured and written on the work of Kathleen Munn, most recently writing the on-line art book on Munn for the soon to be launched Art Canada Institute. Uhlyarik is currently developing an exhibition on the pan-American landscape tradition 1830-1930, with the Pinacoteca Sao Paolo, Brazil and the Terra Foundation for American Art, as well as a retrospective of the work of Suzy Lake. Uhlyarik co-curated the installation of the Canadian collection for the re-opening of the AGO in 2008. Since November 2010, Uhlyarik has participated in the Leverhulme-funded international research network exploring feminist curating practices led by Prof. Lara Perry, University of Brighton. She serves as the Chair, Prize Committee of the Association of Art Museum Curators, and is a former President of the Board of Directors, Mercer Union – A centre for contemporary art, Toronto. Uhlyarik received her MA in Art History from York University in 1998, and her Honours BA from University of Toronto. Originally from Romania, she lives in Toronto with her twin sons.