Area(s) of ExpertiseNew media art history, cultural history/Canada, media installation
Caroline Seck Langill is a writer, artist, and independent curator who occupies the position of Associate Dean, Facilities, Policies and Planning in the Faculty of Art. Her interdisciplinary practice began with a degree in biology, which she followed with studies in sculpture/installation at the Ontario College of Art. In the early 1990s, as visual arts programmer at Galerie SAW Vid–o in Ottawa, Langill curated a series of exhibitions revolving around artworks that incorporated new technologies. These exhibitions specifically engaged questions of navigating the digital/analogue shift. After completing an M.F.A. at York University, she pursued scholarly research in new media art history. These studies led to a Ph.D. in Canadian Studies at Trent University (Peterborough, Ontario), as well as a research residency at the Daniel Langlois Foundation for Art, Science and Technology (Montreal, Quebec) in 2006. Her online project, Shifting Polarities: Exemplary Works of Canadian Electronic Media Art Produced Between 1970 and 1991, is the culmination of a decade-long investigation of electronic and new media art. She continues to curate exhibitions and write about new media art in an ongoing attempt to rectify the exclusion of this genre from the art historical record. Langill's current research project, "The Living Effect: Providing historical and contemporary insights into notions of 'aliveness' in electronic media artworks," for which she received a SSHRC Insight Development Grant in 2011, is a collaborative endeavour with colleagues from across disciplines. Co-investigator, Dr. Lizzie Muller is based at the University of Technology at Sydney where she works in the area of audience experience. Dr. Brock Fenton, a collaborator, is a bat behaviourist and Prof. Emeritus from University of Western. This project examines social interaction, as a result of perceptions of –aliveness,"between electronic media artworks and the viewing audience from three positions: first, contemporary theorizations in contemporary art criticism regarding human and non-human interaction; second, recent and contemporary scholarship in the biological sciences regarding interaction in animal communities; third, the exhibition and collection history of electronic media art.
2008 PhD (Canadian Studies) Trent University, 1998 MFA (Visual Arts / Interdisciplinary Studies) York University, Toronto 1986 AOCA (General Studies) Ontario College of Art, Toronto 1980 Bsc Honours (Biology) Carleton University, Ottawa
EXHIBITIONS: 2001 Chimera, Localities, Ottawa Art Gallery, Ottawa 2001 Chimera, (Solo). Artspace, Peterborough, Ontario 2001 Roadwork,(Solo) La Centrale, Montreal 2000 Afterglow, SAW Gallery, Ottawa 1998 Dissolution, (Solo) MFA Thesis Exhibition, Art Gallery of York University, Toronto TRUNCATED DUE TO LENGTH RESTRICTION SCREENINGS: Evidence (1993), 16mm film, 18 min. (writer, director, producer) 1995 WTN, ?Eye of the Story', programmed by Premika Ratnam 1994 St.John's International Women's Film and Video Festival, St.John's NF 1994 Images Film Festival, Toronto 1994 Silence Elles Tournent, Montreal
Awards \ Grants
2011 SSHRC Insight Development Grant 2006 Researcher in Residence, La Fondation Daniel Langlois, Montreal, QC 2004-7 Ontario Graduate Scholarship 2004 Symons Trust Scholarship, Trent University 2003 Ontario Arts Council, Media Production Grant 2003 Ontario Arts Council, Interdisciplinary Arts Grant 2000 The Canada Council for the Arts, B Grant 1996 MFA Programme, York Univesity, S.L.Simpson Entrance Scholarship 1994 Regional Municipality of Ottawa Carleton, A Grant (Visual Arts) 1993 Regional Municipality of Ottawa Carleton, B Grant (Film) 1992 Ontario Arts Council, First Films Project 1990 The Canada Council for the Arts, Explorations Grant 1989 The Canada Council for the Arts, Project Grant 1988 Ontario Arts Council, Project Grant 1986 Lieutenant Governor's Medal, Ontario College of Art
in Press 2013 –Overallness and Vibrant Tensions in the Work of Three Contemporary Printmakers,"Printopolis: Perspectives on Canadian Contemporary Print, Eds. Tara Cooper and Jenn Law, Toronto: Open Studio. 2012 –The Telidon Trials (1978-1985): Creative applications and disappointing outcomes (for some),"Journal of Curatorial Studies, Rewire, Special Issue, Summer 2012. –New Media Art and Industry, A Critical Relationship,"Chicago Art Journal, Summer 2012. –The Living Effect: Autonomous Behaviour in Early Electronic Media Art,"Relive, Book Chapter, MIT Press, forthcoming. Publications, Essays, Reviews 2012 –Elements in the Genesis of Digital Art,"Art & Culture Numerique(s): Panorama International, Enghien-les-Bains: Centre des art d–Enghien-les-Bains et de l–Institut Fran–ais, 16-21. Book Review: Rethinking Curating: Art after New Media, Eds. Beryl Graham and Sarah Cook, Journal of Curatorial Studies, Volume 1, Issue 2. "–Me Calling Him "Him Calling Me""Tom Sherman's Recent Video Work,"C Magazine 112 (Winter 2011/12) 16-21. 2011 –Travelling Down Philippe Blanchard's Time Tunnel,"Catalogue Essay, Philippe Blanchard, Time Tunnel, InterAccess, September 2011. 2010 –Text and Perception in Living & Dying,"Catalogue Essay, Living & Dying, Solo exhibition, Barbara Balfour, YYZ Gallery, Toronto. –Vera Frenkel's String Games and the Germination of New Media Art in Canada,"Ensemble Ailleurs: Together Elsewhere. Eds. Louise Poissant and Pierre Tremblay. Qu–bec: Presses de l–Universit"du Qu–bec, 2010. –Waxing and Waning: Attention and Distraction in the work of Wang Yuyang, Daan Roosegaarde, and Ken Rinaldo,"HorizonZero. Issue 19: BRIDGE. Banff, Alberta: Banff New Media Institute. –Evolving the Receptive Other,"The playable body: Marc Fournel videos and installations. Montreal: DAGAFO and Chicoutimi: S–quence, 2010. –New World Evolutions: Transmute,"ETC no. 89, March, April, May 2010.