Faculty of Art professor named artist in residence at Tanenbaum Centre

Simon Glass
From the suite "Isaiah 24:1-12," verse 5 (Giclee collage, 22"x44") (2015)
Wednesday, November 4, 2015 - 3:45pm

Faculty of Art professor and visual artist Simon Glass has been named the 2015/2016 artist in residence at University of Toronto’s Anne Tanenbaum Centre for Jewish Studies. His work is on view through to the end of April 2016 (Room 318, 170 St. George St., Toronto).

The exhibition includes nine pieces from 1996 to 2015. They include archival and original photographic imagery, combined with biblical, prophetic and liturgical Hebrew. “The pieces in my exhibition address Jewish history of the 20th century, as well as loss and translation,” explains Glass. “I am delighted to be the artist in residence, and I look forward to the opportunity to share my work in an exchange with the Jewish academic community in Toronto.”

Glass will deliver an artist’s talk at the Tanenbaum Centre on November 12 at 12 p.m. All are welcome to attend and admission is free.

Upcoming Events | Artist-in-Residence | Vanessa Dion Fletcher

Vanessa Dion Fletcher Artist in Residence
Tuesday, February 12, 2019 - 12:00pm to Thursday, April 18, 2019 - 12:00pm


Interested in connecting with Artist-in-Residence Vanessa Dion Fletcher?
Faculty, students, grads and members of the public are invited to connect with Vanessa during her time here at OCAD University.


Drop in and see what’s happening.

Room 303, Level 3
Centre for Emerging Artists and Designers
Rosalie Sharp Pavilion, 115 McCaul Street, OCAD University

Thurs, Feb 28, 4:00 – 7:00 PM
Thurs, March 28, 4:00 – 7:00 PM
Thurs, April 18, 4:00 – 7:00 PM (ASL Interpretation Provided)


Between you and the Artist

Response Exchange is an opportunity for you and Vanessa to exchange ideas and comments about your creative practices. Come prepared to share artwork, idea or writing that you would like a response to. In turn, Vanessa will ask for your thoughts on Art she is developing during her residency.

To book an appointment for Response Exchange, email Vanessa.


Invite Vanessa to join your class.

Faculty are encouraged to invite Vanessa to their classes for guest artist talks
To schedule a class visit, email Vanessa.



Vanessa Dion Fletcher employs porcupine quills, Wampum belts, and menstrual blood to reveal the complexities of what defines a body physically and culturally. She links these ideas to personal experiences with language, fluency, and understanding. All of these themes are brought together in the context of her Potawatomi and Lenape ancestry, and her learning disability caused by a lack of short-term memory. Her work is held in the Indigenous Art Center Collection in Gatineau, Quebec, and Seneca College. In 2016, Dion Fletcher graduated from The School of The Art Institute of Chicago with an M.F.A in performance. She is the recipient of the 2017 Textile Museum of Canada Melissa Levin Emerging Artist Award.

OCAD University is proud to announce an inaugural residency with artist Vanessa Dion Fletcher at the Rosalie Sharp Pavilion. Vanessa will complete an in-situ six-month Visiting Artist residency, which will be followed by a six-month post-residency to disseminate the results with their guidance and support. Funded by the City of Toronto’s Indigenous Arts and Culture Partnership Fund, the residency will be hosted by OCAD University’s Centre for Emerging Artists and Designer and the Indigenous Visual Culture program.




OCAD University’s Rosalie Sharp Pavilion is the home of the Experiential Learning Centre. The building’s refurbishment is a milestone in the Creative City Campus project, boldly re-imagining the use of space to expand studio, digital and work-integrated-learning learning.

Located on level 3, the Centre for Emerging Artists and Designers (CEAD) is OCADU’s Career Development office and Experiential Learning Program. The CEAD supports the early-career advancement of all OCAD U students and recent alumni.

Access Info: 115 McCaul St is located at the corner of Dundas St and McCaul St on the southeast side. The entrance to the building is on McCaul St and has an electronic door with a punch button. The building is undergoing construction and there is scaffolding over the entrance. Level 3 can be accessed via an elevator or stairs. The floor is an open concept space and direction to the studio or other questions can be asked at the reception desk. There are gendered wheelchair accessible washrooms. 



We encourage students and faculty to set up a time with Vanessa for mentorship, critique and conversation.

Please email Vanessa directly to set up a time.


Venue & Address: 
Centre for Emerging Artists & Designers, Leve 3, 115 McCaul St OCAD University


David Bateman (writer/performer) in costume for performance piece, Buddies In Bad Times Theatre,1992
Wednesday, August 8, 2018 - 10:00am to 11:30am


During a two week residency in the OCAD Graduate Student Gallery, performance artist and painter David Bateman will be revisiting four of his performance pieces from the 1990’s. Beginning with the provocative sex/gender title I WANTED TO BE BISEXUAL BUT MY FATHER WOULDN’T LET ME (1992) the revisitation/interrogation begins with a large scale text painting influenced by Abstract Expressionism and Lyrical Expressionism, as well as the idea of absorption as it applies to artists as spectators and spectators as artists within the visual and performance arts.

In an attempt to re-consider a 30 year old performance piece (I Wanted To Be Bisexual But My Father Wouldn’t Let Me) - to interrogate the issues surrounding gender and sexuality in the writer/performers consciousness at the time, and to bring this together with a form of abstract/ lyrical expressionism in the visual arts https://www.ideelart.com/magazine/lyrical-abstraction and then to make a perhaps risky historical leap into Michael Fried’s notion of ‘Absorption and Theatricality’ in the paintings of Chardin (among others),I have begun to create a series of 28 foot long canvasses focusing on four formative performance works that I created in the last decade of the twentieth century; I Wanted To Be Bisexual But My Father Wouldn’t Let Me, What Dreadful Things To Say About Someone Who Has Just Paid For My Lunch, Self-Deprecation and other Niceties, and Betty Wyatt.

For purposes of a three week residency at the OCAD Graduate Student Gallery, I have begun the preparations for the first two ‘performance paintings’ as abstract [lyrical] expressionist “manifestations of an absorptive state, the image's absorption in itself, so to speak - that only happens to subsist. The result, paradoxically, is that stability and unchangingness are endowed to an astonishing degree with the power to conjure an illusion of imminent or gradual or even fairly abrupt change. (50, Absorption and Theatricality) By replacing the word image with the word text in the first line of Michael Fried’s concise definition of his reflections upon the effects of absorption in various paintings, I satisfy my own need to paint text as a way of bringing the spoken/performed words into another realm of expression and representation - text-based performance art as painted subject. Being this close to a large canvas over an extended period of time brings a kind of performed labour into the equation, analogous to the act of memorizing and performing - absorbing one’s self and one’s audience in a narrative dependent upon a kind of self-absorption through a decidedly theatricalized rendition of that self-absorption - and in the end moving beyond the ‘self’ through painting and into a realm of social query and consciousness regarding historic categories that have served to define, and at times limit, the bounds of sex and and gender.

1“The implications of Absorption and Theatricality extend well beyond painting and art criticism to the literature and philosophy of the period.”

The original performance was done on roller skates while wearing a stylized patio umbrella frock and reciting the memorized text (image above). The basic import of the half hour piece finds distilled summarization in a few lines;

you see, I never wanted to be a man, or a woman / because i love borders / crossing them, ignoring them / borders between countries / borders between sexualities (1992)

In the three decades following that period I have often gone back to the title as an effective seriocomic way in which to absorb - to draw the audience into the performance as early as their first experience with the title of the piece. But there has always been, each time I have momentarily reflected upon the depth and effectiveness of that title, a hesitation regarding how far I was able to go in performing the idea of an identity I desired - grappled with - but could never quite actualize in any fully realized manner. The Kinsey report (1953) - perhaps well intentioned - worsened the struggle with its emphasis on statistical foundations - only three years before I was born. Was my inability to self-actualize a product of my own limitations or the gendered limitations projected and absorbed/inscribed upon (and into) my body during particularly liberating yet frequently repressive moments in the history of sexuality. Obviously both. As Marjorie Garber states in her text Bisexuality -

Is bisexuality a "third kind" of sexual identity, between or beyond homosexuality and heterosexuality? Or is it something that puts in question the very concept of sexual identity in the first place? Why, instead of hetero-, homo-, auto-, pan-, and bisexuality, do we not simply say "sexuality"? And does bisexuality have something fundamental to teach us about the nature of human eroticism?

My performance piece addressed similar issues when I was in my mid thirties (1992). I incorporated images from popular culture - ranging from quotes integrated into the text from the plays Boys In The Band, Being At Home With Claude, and Les Liaisons Dangereuse. A triumvirate of nationality (Canadian, American, French Canadian) finds expression in both the text and the costume (image above). Now, in 2018, I examine these issues again, in my early sixties, through painting - through a kind of lyrical expressionism that transplants “nationalized” colour and abstract image into a palette of shape and form - amorphous, lyric, and layered - where the painted textual images of a profoundly misunderstood form of sexual behaviour finds yet another playful area of expression to take on new form and function - and to perhaps find new/revisited meaning.

As Foucault so simply, and sardonically, put it, with an eye for amusement regarding the ways in which we have muddled through a fascination with the categorization of sexual identity -

“People will be surprised at the eagerness with which we went about pretending to rouse from its slumber a sexuality which everything-our discourses, our customs, our institutions, our regulations, our knowledges-was busy producing in the light of day and broadcasting to noisy accompaniment.” ― Michel Foucault, The History of Sexuality, Volume 1: An Introduction

David Bateman, Artist in Residence: Graduate Gallery OCAD, July 2018

Venue & Address: 
Graduate Gallery OCAD University 205 Richmond St. W. Toronto, ON

MAAD Grads at Harbourfront Centre's Craft & Design artist-in-residency program

Friday, May 12, 2017 - 3:00pm

Congratulations to Material Art and Design Graduates Yu Han (Avis) Ho, Emma Schnurr, Kaley Flowers and Current Student Charlie Nhung Nguyen, who have been accepted into Harbourfront Centre's Craft & Design artist-in-residency program! 

Thank you also to Robert Mitchell, Ken Vickerson and Van McKenzie for holding "Mock Interviews" again this year to help our students prepare for their interviews.

Yu Han (Avis) Ho - MAAD 2017
Emma Schnurr - MAAD 2017

Kaley Flowers - MAAD 2015

Charlie Nhung Nguyen - Current student  

About Harbourfront Centre's Craft & Design artist-in-residency program:

The Craft & Design Studio is a unique Canadian career-oriented program and facility. It is an artist-in-residency, incubator and training centre that uses a self-directed and transformative learning ethos, which is open to post-graduates demonstrating a thorough and comprehensive understanding, conceptually as well as technically, in one of five areas: Textiles, Glass, Ceramics, Design or Jewellery. We make long-term commitments to artists by offering a broad range of resources and opportunities. We play a significant role in the growth and promotion of craft and design as a creative discipline in Canada.

Neebinnaukzhik Southall – Winter 2017 Nigig Visiting Artist In Residence

Circles Logo
Monday, February 27, 2017 - 12:00pm to Friday, March 17, 2017 - 6:00pm

The Nigig Visiting Artist Residency, hosted by the Indigenous Visual Culture Program at OCAD University, is a program that provides an opportunity for an Indigenous artist to visit OCAD University for a 3-4 week period to focus on a short-term project and explore in a collaborative environment, issues impacting their work. 

During these weeks, Neebinnaukzhik Southall will work on the creation of free-to-use Anishinaabe stock art and icons, released under a creative commons license. Readily accessible, culturally relevant, and relatable imagery will function to better familiarize readers with their Anishinaabe culture and promote sovereignty.


Venue & Address: 
100 McCaul Street. Room 636

On the Road Artist Residency

Saturday, October 1, 2016 - 4:00pm

On the Road
Luis Manuel Otero Alcántara & Catherine Sicot

Curated by Catherine Sicot

Organized and produced by Elegoa Cultural Productions

In partnership with Onsite Gallery at OCAD University

With the participation of:

  • Plug In Institute of Canadian Art (Winnipeg, Canada)
  • Columbia College (Chicago, USA)
  • Dept. of Art, University at Buffalo (Buffalo, USA)
  • Hallwalls Contemporary Arts Centre (Buffalo, USA)
  • Wanda Nanibush (Curator)
  • Nicholas Quiring (Architect)
  • Thank you to Michael and Amira Dan for their multi-layered support to the project

An experimental framework for an emerging Cuban artist in residence

On the Road offers an experimental model of an artist residency tailored to respond to the needs of an emerging Cuban artist – Luis Manuel Otero Alcántara - coming for his first experience in Canada and the United States. For this residence, artist and curator - Catherine Sicot - will travel throughout a portion of North America on both the Canadian and American sides of the Great Lakes. This journey will be punctuated by:

  • Meeting curators, architects, artists and locals;
  • Taking part in conversations, studio visits and networking meetings in diverse arts institutions and universities;
  • Leading research including two up-coming art projects described below;
  • Keeping an ongoing travel log: Mimi Joh-Carnella, Cultural Advocate, and Lisa Deanne Smith will pilot an OCAD/Onsite website platform for On the Road, providing tools and support to an online travel log throughout the residency.

Designed in consideration with the artist’s practice focused on politics, society and human rights, the residency will explore the layers of history and politics that resulted in the actual borders in North America and the current state of life within and amongst nations on both sides. It will also facilitate encounters with artists and curators that share these interests.

While On the Road evokes Jack Kerouac’s mythical initiatory American Beat journey, Anishinaabe artist Bonnie Devine’s work Battle for the Woodlands has also inspired this project and its itinerary. Devine’s installation, at the Art Gallery of Ontario (2014), expanded an early 19th century map of Upper and Lower Canada, claiming the Great Lakes as an integral part of the Anishinaabe land and culture. This work serves as a second historical and contemporary land mark to On the Road.

Collaborations / Itinerary:


  • Winnipeg (Manitoba): Luis and Catherine will conduct site visits and participate in a 2-day workshop at the Plug-In Summer Institute lead by First Nations artist Duane Linklater and curator Jaimie Issac as part of their project Wood Land School: Thunderbird Woman.
  • Christian Island, Georgian Bay (Ontario): Curator Wanda Nanibush will host a visit at Beausoleil First Nation reserve and of the surrounding area: the Huronia.
  • Montréal (Québec): Curator Wanda Nanibush will organize a studio visit with artist Rebecca Belmore (Anishinaabe-Canadian) and Osvald Yero (Cuban). Luis Manuel and Catherine will conduct other studio and site visits.
  • Detroit (Michigan): Independent architect Nicholas Quiring will host site and studio visits and meetings with activists, architects and artists. Curator Lisa Deanne Smith, Onsite Gallery (OCAD U) will participate in the Detroit visit.


  • Traverse City (Michigan): Visit of the farming area with independent architect Nicholas Quiring and encounter with a Mexican community of seasonal migrant workers, local activists and social workers. Artist and professor Min Sook Lee (OCAD U) will take part in the Traverse City visit.
  • Toronto (Ontario): Onsite Gallery/Ontario College of Art & Design University (OCAD U): Curator Lisa Deanne Smith, in collaboration with artists/professors Johanna Householder and Min Sook Lee, will host a 2-week residency including an artist and curator public talk, performance/installation, site visits, conversations with students and professors, studio visits and networking meetings.


  • Buffalo (Upstate New York): Artist/professor Millie Chen from the Dept. of Art, University at Buffalo in collaboration with the Hallwalls Contemporary Arts Centre will organize a 1-week residency including a public talk and performance, site visits, conversations, studio visits and networking meetings.
  • Chicago (Illinois): Artist/professor Matt Rappaport (Columbia College) will host a 8 to 15 day visit in Chicago including site visits, conversations, studio visits and networking meetings at Columbia College. Art writer/professor (School of the Art Institute) Rachel Weiss will also host Luis Manuel and Catherine in her residence near Chicago.
Luis Manuel Otero's Vehicule

Derek Sullivan, Faculty of Art, presents: On Filling In

books with white covers scattered on the floor around a low laying structure
Thursday, October 20, 2016 - 4:00am to Saturday, November 26, 2016 - 5:00am

Please join us for the opening on Thursday, 20 October from 6 to 8 p.m.

For his first exhibition with the gallery, Derek Sullivan presents new drawings completed while on residency in Paris. Although not specifically ‘about’ the city, they do gesture towards the activity of walking, marching, approaching—extended processes of encounter with a specific environment, at a particular time. Each drawing depicts a could-be book, not likely a would-be book. Books of technicolour shapes and patterns; books of men sculpted either in marble or through the act of sport; books of the stuff of metro tickets and scraps of paper that float from our hands to the street; books that form an index of time spent reading, looking, and considering.
For Sullivan books are tools, able to both find and possess functions outside the intent of author, designer, printer, binder, publisher, distributor, seller, reviewer, and reader. Therefore, along with a site-specific installation, this exhibition explores the before-life and after-life of books to shift the emphasis towards a book’s circumstances and away from its contents. For while books may be both literally and figuratively heavy, they are also flexible. Their meaning and physicality mutates over time to perform a variety of roles: whether spatially as objects that occupy our environments; emotionally and intellectually as things that organize and enrich our lives; or professionally as bearers of legitimacy.

For more information please contact the gallery or visit our website.  www.susanhobbs.com

Venue & Address: 
Susan Hobbs Gallery 137 Tecumseth Street Toronto, Canada M6J 2H2
416 504 3699

Disparate Unity

Margaret Lim, Plum Blossoms in Autumn
Saturday, November 15, 2008 - 5:00am to Sunday, January 4, 2009 - 5:00am

York Quay Centre in Toronto presents an exhibition of work by Harbourfront Centre's Jewellery Studio artists-in-residence: Marina Babic, Patrycja Zwierzynska and OCAD alumni Suzanne Carlsen, Annie Tung and Margaret Lim. The artist-in-residency programme celebrates and advocates diverse approaches to making. Conceptual concerns may differ but cohesion is achieved by virtue of these variances and the use of the body as site. Traditional and non-traditional materials are used, scale is challenged and ideas about a jeweller’s role in society are explored.

Venue & Address: 
York Quay Centre 235 Queens Quay West, Toronto, Ontario

Welcome: Digital Media Resident, Lillevan

Tuesday, October 28, 2008 - 1:30pm to 3:30pm

OCAD, with support from the Goethe-Institut Toronto welcomes Digital Media Resident Lillevan with a breakfast with faculty and students.

Venue & Address: 
Faculty & Student Lounge 205 Richmond St West, Toronto, Ontario

Composing Toronto

Composing Toronto
Thursday, November 20, 2008 - 5:00am to Sunday, January 4, 2009 - 5:00am

The 4th annual Lynn Donoghue Artist in Residence Program is a presentation of the Historic Houses of Old Toronto Board as part of City of Toronto Cultural Services, in partnership with the Ontario College of Art & Design (OCAD) and with the support of Romspen Investment Corporation.

Venue & Address: 
Spadina Museum 285 Spadina Road, Toronto, Ontario