Art & Health

As Artist in Residence at Baycrest (2012) Judith Doyle worked with neuropsychologists Dr. Brian Richards and Dr. Eva Svaboda and the clients of Memory Link, a program developing assistive technologies and training for people experiencing memory loss as a result of Acquired Brain Injury.

FUNDING: Artists in the Community and Workplace, Ontario Arts Council

As Artist in Residence at Baycrest (2012) Judith Doyle worked with neuropsychologists Dr. Brian Richards and Dr. Eva Svaboda and the clients of Memory Link, a program developing assistive technologies and training for people experiencing memory loss as a result of Acquired Brain Injury. During the residency, Doyle conducted interviews and worked collaboratively with clients on media montage representing their experiences. The collaboration continued for more than a year and culminated in an exhibition entitled Pathfinding which portrayed the perceptual experiences of memory loss in images combining natural branching phenomenon and scans of neuro-pathways. Pathfinding was installed at Baycrest Health Sciences in a high-traffic, publicly accessible space near the elevators to the Apotex seniors' residence, next to a cafeteria, at the base of a busy elevator and hallway. Composited imagery played on an array of vintage TVs, each with its own soundtrack or "voice". 

The artist collaborators included Doyle and Robin Len, Emad Dabiri and Kang-Il Kim, with sound by Paul Geldart. Robin and Kang have difficulty storing and retrieving new memories (anterograde amnesia) resulting from Acquired Brain Injury (ABI). All of the team are experienced media artists and compositors and drew from this experience, enlisting embodied memory through artistic collaboration. In September 2012, the project relocated from Baycrest to the Social Media and Collaboration Lab (SMAClab) at 230 Richmond West at OCADU. After the exhibition at Baycrest, the work was subsequently presented at the Inclusive Design Institute at OCAD University and at the artist-run centre HAVN (Hamilton Audio-Visual Node) with support from Brain Injury Services of Hamilton (BISH).


Worldviews Conference presentation on Memory Link collaboration  at TIFF Bell Lightbox by Judith Doyle 2013

Feature: Aging in the 21st Century: Judith Doyle & Baycrest

Pathfinding Exhibition Opening at Baycrest 2013

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Wednesday, February 13, 2013 - 2:00pm
Lab Member: 
Judith Doyle
Emad Dabiri

INTERSECTION: Entrepreneurship & Indigenous Art Conference

INTERSECTION is a unique gathering of Indigenous artists, entrepreneurs, academics and students, telling success stories. The keynote speaker is Dr. Jessica Metcalfe. Stemming from enduring appropriation of Indigenous material culture, Dr. Metcalfe will speak about how her blog Beyond Buckskin applied entrepreneurship as a platform to address local and global social issues. Three distinct panels will expand discussions on emerging business ideas and social innovation approaches. A series of practical workshops using design thinking and a NEW flourishing business model methods will allow attendees to practice and test their ideas for scaling up and sustainability.

The conference will:

  • Highlight successful examples of Triple bottom line (Financial, Social, Environmental) enterprises
  • Provide practical tools and workshops for students and aspiring entrepreneurs
  • Provide success stories of income generation for organizations looking for ways to replace government funding
  • Address intersections and breakdown barriers between creative and business types
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Event Program
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Saturday, November 15, 2014 - 2:00pm to Sunday, November 16, 2014 - 10:00pm

Art and Interactive Projections: Tentacles

This research employs interactive public video projection to explore emerging social constructions involving play and ad hoc communities. In these installations the viewer is encouraged to participate in unstructured play. As with every interactive experience (and in fact, most other things in life) there is the initial satisfaction resulting from simply figuring out how one’s decisions, gestures and actions cause reactions and create effects in the surrounding environment.

The interplay of scale – the small screen in the palm of one’s hand contrasted with the large public screen on the facade of a building – parallels other central human experiences. The intimacy of touch, for example, is contrasted by the dominance of projected, broadcast visual stimuli, while the screen – the sign – forms a kind of text waiting to be read. Your personal space simultaneously shrinks and expands as the tiny gestures you make with your fingers are magnified for all to see. Public and private stand in stark contrast, highlighting dichotomies like wireless and wired, perception and cognition, knowing and being.

Operating from within the crowd, viewers or players had the opportunity to step onto the stage of the projected environment – to display themselves in action, engaged with other virtual beings. Movements, gestures and displays become part of this spontaneous public performance, suggestive of the activity on a dance floor, where typical rules about decorum, reservation, engagement with strangers and physical contact are suspended. Each private, gestural experience is amplified publicly as a by-product of being within a crowd. Taking action in public in this way constitutes one layer in the creation of community. Our behaviours and others’ meld to generate simultaneous effects, creating a joint awareness that forms the cornerstone of our collectivity.

Play is presented as a free-form, creative activity – a childlike enthrallment with exploration, skill-learning and sharing. The scale and location of the displays encourages parallel play and the growing awareness of the activities of other players nearby. The public nature of the experience creates the opportunity for ambient performance, where other players’ awareness of you subtly influences and rewards your behaviour. Finally, these factors combine with the ambiguous structures and activities built into each project to encourage social play and collaboration in an emerging, shared activity.

Talk to MeMuseum of Modern ArtNew York City, USA, July – November 2011
Transmission, GLOBAL SUMMIT 2011Victoria, Canada, February 2011
MediaCity 2010, Bauhaus UniversityWeimar, Germany, October 2010
Festival du nouveau cinemaMontreal, Canada, October 2010
Mobilefest, Museum of Image and SoundSao Paulo, Brazil, September 2010
Nuit Blanche, Lennox Contemporary GalleryToronto, Canada, October 2009

Geoffrey Shea and Michael Longford. Large Screens and Small Screens: Public and Private Engagement with Urban Projections. Media City: Interaction of Architecture, Media and Social Phenomena. J. Geelhaar, F. Eckardt, B. Rudolf, S. Zierold, M. Markert (Eds.) Bauhaus-Universität, Weimar, Germany, 201-210, 2010
Geoffrey Shea, Michael Longford, Elaine Biddiss. Art and Play in Interactive Projections: Three Perspectives. ISEA, Istanbul, 2011
Geoffrey Shea and Michael Longford. Identity Play in an Artistic, Interactive Urban Projection. CHI Workshop: Large Displays in Urban Life, Vancouver, 2011

M. Longford, Connecting Talent in Digital Media, MITACS and the NCE GRAND, Mississauga, Canada, September 2010
M. Longford, “Digital Media: Successes and Accomplishments in Canadian Digital Media Research,” Canada 3.0, Stratford, Canada, May 2010
R. King, International Centre for Art and New Technologies (CIANT), Prague, Czech Republic, March 2010
G. Shea, Mobile Experience Innovation Centre (MEIC), Ontario College of Art and Design University, Toronto, Canada, February 2010
G. Shea, M. Longford, R. King, Discovery 2010, Ontario Centres of Excellence, Toronto, Canada, May 2010
R. King, Music in a Global Village Conference, Budapest, Hungary, December 2009
M. Longford, G. Shea, iPhone Developer's Group, Augmented Reality Lab, York University, Toronto, Canada, November 2009
M. Longford, Project Demonstration - A New Media Gathering, Town of Markham, Markham, Canada – October 2009
M. Longford, “Tentacles: Design, Technology and Interdisciplinary Collaboration in the Mobile Media Lab” PEKING/YORK SYMPOSIUM: Interdisciplinarity, Art and Technology, York University, Toronto, Canada, October 2009
G. Shea, “Artifact or Experience: Presenting Network Mediated Objects,” Interacting with Immersive Worlds, Brock University, St. Catharines, Canada, June 2009

Image of people looking abstract images projected on a wall
Wednesday, February 15, 2012 - 4:30pm
Lab Member: 
Rob King
Micheal Langford
Geoffrey Shea
Ken Leung
David Green

Art and Ability: Cardinal

This project begins to examine the special physical needs of individuals with complex disabilities through the lens of their artistic and expressive needs. It proposes to develop and incorporate an art/research methodology, including stages of creation and analysis of prototypical tools to address these overlapping needs of the participants. It is anticipated that these newly developed tools will have potential benefits for a broader spectrum of the user’s needs, as well as for other users with or without disabilities. This iterative inquiry will take the form of collaborative art creation sessions involving both researcher/artists and participant/artists with severe physical disabilities. Analysis of the impediments to these exercises in self expression will guide the rapid development of new, prototypical, art making tools, techniques or materials. At the conclusion of the research, we will examine the effectiveness of the art/research methodology in refining and addressing the emerging research question of how communication models can be developed and employed for artistic expression by individuals with disabilities, and how they can be applied to their other communication needs.

Cardinal: Eye Gesture Screenless Communication System

Several observations of current eye-gaze and eye-gesture systems point towards the potential benefits of a low strain,computer-assisted, natural tool for users with eye control as their primary means of communicating.

The three existing systems include early Bliss boards, myTobii computers and the Eye Writer. These are the salient features of each:

The Bliss board was a physical tool that allowed a trained user to communicate with a trained “listener” through eye gestures. A 2-3 foot square sheet of clear Plexiglas had the centre cut out, leaving a frame about 6 inches wide. The two conversants would face each other. The square grid around the frame contained cells with a square grid of alphabetic characters. I.e. the top left cell might contain the letters A, B, C, D, E, F, arranged in a grid. The user would use a two-gesture glance to instruct the listener about the letter choice. Up and to the right, followed by up and to the left might combine to signify the upper right letter in the upper left square.

Two features stand out with this system. First, the goal of communicating with a listener is enhanced by having the face-to-face view of the conversants uninterrupted. I.e. they look at each other through the large hole in the centre of the board and glance to the edges of their field of gaze to signal alphabetic letters. Second, once both users have become accustomed to the system, the board itself can be removed and the pattern of eye gestures can still be interpreted.

In its early usage, the communicator is might look at the squares in question, but later they just gesture towards the squares, whether they are physically there or not. This sparks a differentiation between eye-gaze (looking) and eye-gesture (glancing).

The myTobii uses infrared cameras to track the communicators gaze, and maps it to a flexible set of on-screen buttons. The camera and motion tracking software create a very workable tool. Unfortunately the computer screen must constantly be the focus of the communicators gaze, and effectively becomes a barrier between the conversants. In theory, the cameras could track eye gestures that go beyond the edges of the screen. A “pause” feature used to be activated by glancing down beyond the bottom edge of the screen, although that feature seems to be gone.

The Eye Writer glasses uses an eye tracking system that is not linked to a particular on-screen representation. In its fist instantiation it was used with an onscreen software program to facilitate graffiti tagging, but the glasses themselves (the input device) are not linked to any screen, the way the myTobii is.

The synthesis of these systems suggests a model in which a user could use their eyes to gesture towards abstract referents – hypothetical buttons which exist outside of the field of attention. So a user might look at a conversation partner and then glance left and right, which would be interpreted by a computer vision system as the letter D. Right and left might be O. Up and left might be G. But because the communicator never attends to an onscreen representation, they are able to assess the impact of what they are saying, word by word, as we do in normal speech. Rather than having to type out an entire phrase (while ignoring the conversation partner) and then playing it back, with a highly intermediated effect.

In the first test, the object of attention (a Google map) is situated in the middle of the screen, where the user can study it at will without triggering any buttons (which would be the case with the myTobii system). Glancing towards any edge causes the map to scroll in that direction. Glances are triggered by a “mouse-over” effect, which does not require the user to look at, pause on, or otherwise fixate on a button. A simple glance suffices.

A subsequent instantiation will allow the user to wear EyeWriter glasses and look at a physical symbol board to spell words. After rudimentary training, we will test if the user can continue to spell by glancing with their eyes, without the presence of the board.

Further open source software and hardware models will explore if there is a sub-$100 device which could be produced to facilitate communication (and control) without the presence of a computer screen.


Publications & Presentations

Alexandra Haagaard, Geoffrey Shea, Nell Chitty, Tahireh Lal. Cardinal: Typing with Low-Specificity Eye Gestures and Velocity Detection. International Workshop on Pervasive Eye Tracking and Mobile Eye-Based Interaction, Sweden, 2013. (under review)

Geoffrey Shea, Nell Chitty, Alexandra Haagaard, Tahireh Lal. Cardinal: An Eye Gesture Based Communication System. Best Poster Award: Eye Tracking Conference on Behavioral Research, Boston, 2013.

Geoffrey Shea, Nell Chitty, Alexandra Haagaard, Tahireh Lal. Cardinal: An Eye Gesture Based Communication System. Demo and Talk: Disrupting Undoing: Constructs of Disability, Toronto, 2013.

Shea, G. and A. Haagaard. Artists Reflecting on Their Practice and Disability, Ethnographica Journal on Culture and Disability, Katholieke Universiteit Leuven, (under review).

Shea, G., Understanding the Work of Artists with Diverse Abilities: Applying Art, Design, Ethnography and Computer Science. Research Rendezvous, OCAD University, Toronto, 2012.

Shea, G., Art and Disability Research. A presentation to the Doctoral Program at SmartLab, Dublin, 2012.

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Wednesday, February 15, 2012 - 4:30pm
Lab Member: 
Geoffrey Shea
Alexandra Haagaard
Tahireh Lal


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Saturday, February 20, 2016 - 5:00pm to 11:00pm


Saturday, February 20, 2016
From OCADU, Toronto to Idea Exchange Art + Design, Cambridge
With Exhibition Tours Led By Sarah Quinton, Curatorial Director, Textile Museum of Canada

Travel round-trip between Toronto and Cambridge on a complementary art bus to view the Contemporary Textile Collection exhibitions at Idea Exchange Art + Design.

Enjoy travel time with others from the Toronto-area art community as you head to Cambridge where exhibition tours will be led at our three galleries by Sarah Quinton, Curatorial Director, Textile Museum of Canada. Light lunch will be provided.You will see work by Suzanne Carlsen, MAAD Instructor Meghan Price and many more artists from our community.

Pick-up and drop-off location: OCADU, 100 McCaul Street, ON M5T 1W1
Transportation provided by: Canada Coach
Cost: Free with a light lunch provided

12:00pm – Depart for Cambridge
1:30pm – Tour of the Design at Riverside Gallery
2:15pm – Light lunch in the Mary Misner Printmaking Studio
2:45pm – Tour of the Queen’s Square Gallery
3:45pm – Tour of the Preston Gallery
4:30pm – Depart for Toronto
6:00pm - Arrive in Toronto

Only 28 seats available! Registration is required to secure your seat. First come first served. RSVP to Cherie Fawcett at

Don’t miss this one-time opportunity to view the collection with Canada’s leading textile art curator.

Not from Toronto but wish to join the tour in Cambridge? Click here for details.

Contemporary Textile Collection is a three-part exhibition providing access to the Idea Exchange Art + Design permanent collection of Contemporary Canadian fibre-based work. On display at all three of our gallery locations across Cambridge, this is the largest assemblage of works from our collection.

For nearly 30 years, Idea Exchange Art + Design (formerly Cambridge Galleries) has collected seminal works by Canadian artists working in textile and fibre-based mediums. This unprecedented three-part exhibition presents nearly a quarter of the specialized collection, from early to recent acquisitions, and showcases the diversity of artistic concerns from craft-based processes to conceptual frameworks.

Sarah Quinton, BFA, Hon., MFA, has been with the Textile Museum of Canada since 1990, where she is now Curatorial Director. Quinton’s award-winning curatorial work explores contemporary and traditional handmade textiles as they intersect with sculpture, design and new media. She has taught and lectured at universities, colleges, galleries and museums in Canada, the US and internationally, and has sat on numerous volunteer boards, advisory committees and juries. She was recently invited as a keynote speaker at Strutts Gallery, Sackville, New Brunswick; Goldsmiths, University of London; the Institute of International Visual Arts in London (INIVA) (UK); and Universidad Iberoamericana in Mexico City. She is Chair of the Advisory Board of OnSite, OCAD University’s Professional Gallery, and Adjunct Professor at York University.

Image: Jaime Angelopoulos. He Moved Just So, 2012. Daniel Manchego-Badiola. Guardian No.6Guardian No.7Guardian No. 8, 2014. Marianne Burlew. Studies (in crochet), 2013. Lyn Carter. Beacon, 2011. Installation at Queen’s Square Gallery. Photo by Cherie Fawcett.

1 North Square, Cambridge, ON N1S 2K6
T: 519.621.0460
Mon – Thurs 9:30am – 8:30pm
Fri – Sat 9:30am – 5:30pm
Sun 1:00 – 5:00pm

435 King Street East, Cambridge, ON N3H 3N1
T: 519.653.3632
Mon – Thurs 12:00 – 8:30pm
Fri 12:00 – 5:30pm
Sat 9:30am – 5:30pm
Sun 1:00 – 5:00pm

7 Melville Street South, Cambridge, ON N1S 2H4
T: 519.621.0460
Tues – Thurs 12:00 – 8:00pm
Fri 12:00 – 5:00pm
Sat 10:00am – 5:00pm
Sun 1:30 – 4:30pm

Admission is free and all are welcome.
For more information, visit, call 519.621.0460 or follow on Twitter @IdeaXchngART.


Venue & Address: 
Pick up at OCAD U Bus to Cambridge and return to OCADU

Stuart Reid: in transit

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Saturday, April 4, 2015 - 4:00am to Thursday, April 30, 2015 - 4:00am

Reception: Saturday, April 11, 1 to 5 p.m. Artist will be in attendance

The TTC subway at Union Station, Toronto’s main public transportation hub, is acquiring an extraordinary, world-class art installation, which is presently being installed and will be unveiled in time for the Pan Am Games. Created by awardwinning Canadian artist Stuart Reid, zones of immersion is a 7-foot high by 500-foot long richly worked glass wall that portrays the people who “ride the rocket” every day.

The large drawings in this exhibition are based upon small sketches drawn while riding the subway. These works (india ink on mylar) informed and developed the glass project.

Sky Goodden, the founding editor of Momus, writes of these drawings:

Reid’s evocation of our city’s “third class carriage” is rooted in a history that these images’ very line and media evoke—Honoré Daumier, Gustave Courbet, José Clemente Orozsco—and which their nod to both Social Realism and Impressionism implies. However, Reid’s subjects embody a common experience made contemporary. Scrawled with clipped texts of overheard conversation and passing allusion, Reid’s works capture the present moment through language. He circles our intimacy, investigates our autonomy, and portrays the human connections that are both performed and pressed between stations. How do we use the space we travel in order to get the time we need? With his subjects either moving out of frame, responding through posture or retreat, crushed against one another or framed alone, Reid produces a record of the river of movement that happens beneath our feet – one of isolation in crowds, community and class.

Of these drawings the artist writes:

These works specifically reflect on the human condition within urban transit – a world both intensely collective and remarkably isolated... a world where the anonymity of the no man’s zone offers us an unvarnished glimpse into the face, and hence perhaps a sliver of the psyche of one’s fellow passengers. I am interested in drawing that reveals the interrelationship of the ‘self’ and the ‘other’ with both empathy and freedom.

Stuart Reid was born in London Ontario. He studied with Paterson Ewen, Greg Curnoe, Richard DeMarco, Patrick Reyntiens and Joseph Beuys. He holds a B.A. (fine arts ) from the University of Guelph and a Masters of Architecture from UCLA. He is a professor at OCAD University. His many major public artworks include works for Holland Bloorview Kids Rehabilitation Hospital, Intercontinental Toronto Centre, Salzburg Congress. His artwork at St. James’ Cathedral was unveiled by Queen Elizabeth in July 1997. He is the great nephew of the early Canadian painter G.A.Reid.

Gallery Gevik welcomes visitors Tuesday to Saturday 10:30 am to 6 pm.

Venue & Address: 
Gallery Gevik – 12 Hazelton Ave. Toronto

Feminist Art Conference

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Thursday, September 24, 2015 - 4:00am to Sunday, September 27, 2015 - 4:00am

Feminist Art for Social Justice

The third annual feminist art conference will provide an opportunity for feminist issues to be explored and communicated artistically in a unique and creative space that encourages sharing, creating and discussion.

Our Vision

The mission for the Feminist Art Conference (FAC) is inspired by attacks on women’s and transgender rights in Canada, the US and abroad. Issues such as rape culture, trans phobia, racism, violence, media and political representation, cultural appropriation, online harassment, environmental degradation and impact on Indigenous lands, missing and murdered Indigenous women, and Islamophobic policies are areas of deep concern. These infringements on our right to agency and independence have been occurring in alarming numbers in our governments, in the media and in our communities. This conference provides an opportunity for these issues to be explored and communicated artistically in a unique and creative space that encourages sharing, creating and discussion. In the centuries old tradition of people organizing we believe that by coming together and communicating about these issues through our artistic practice, that we can initiate progressive change and spark collaborations accross disciplines.

Our Mission

We are looking for multidisciplinary art and workshop submissions including: visual art, film, theatre arts, music, dance, design, spoken word and literature. We will create a space that is celebratory,positive, intellectually engaging and provocative. We are committed to this space being trans inclusive, anti-racist, and intersectional. Furthermore, by providing an opportunity for feminist artists to meet and share their work, we believe we can provide opportunities for networking and future artistic collaboration that can inspire social change and empowerment. We have the vision that the ripple effect from this type of artistic sharing and learning can provoke positive transformations in both our communities and our minds.

Venue & Address: 
OCAD University, 100 McCaul Street,&nbsp;Toronto

Intersection: Entrepreneurship & Indigenous Art Conference

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Saturday, November 15, 2014 - 2:00pm to Sunday, November 16, 2014 - 10:00pm


INTERSECTION will be a unique gathering of Indigenous artists, entrepreneurs, experts and students, relating success stories and lessons learned by entrepreneurial arts organizations in Canada.

The keynote speaker is Dr. Jessica Metcalfe. Stemming from a social activism history, Dr. Metcalfe will speak about the Indigenous fine art market, the challenges of small businesses, and how entrepreneurship can address local and global social issues.

Three distinct panels will expand discussions on emerging business ideas and social innovation approaches. A series of practical workshops on the themes of Navigating the Entrepreneurial Space, and Arts and Leadership, including two workshops on design thinking and business model canvas, will allow attendees to test their ideas for scaling up and sustainability.

Keynote: Dr. Jessica Metcalfe

Dr. Jessica R. Metcalfe (Turtle Mountain Chippewa) earned her Ph.D. in American Indian Studies from the University of Arizona. She wrote her doctoral dissertation on Native designers of high fashion, and is in the process of editing her dissertation for a book manuscript.

She is the main author of the website, Beyond Buckskin, which focuses on all topics related to Native fashion, and is the owner of the Beyond Buckskin Boutique, which promotes and sells Native American-made couture, streetwear, jewelry, and accessories.

She has taught courses in Native studies, studio art, art history, and literature at tribal colleges and state universities. She has presented at numerous national conferences, lectured at museums, and co-curated exhibitions. Her current work focuses on Native American art, clothing, and design from all time periods, with an emphasis on contemporary artists.

The conference will:

  • Highlight successful examples of Triple bottom line (Financial, Social, Environmental) enterprises
  • Provide practical tools and workshops for students and aspiring entrepreneurs
  • Provide success stories of income generation for organizations looking for ways to replace government funding
  • Address intersections and breakdown barriers between creative and business type

Elder Garry Sault of the Mississauga New Credit, will offer the opening prayer 

Venue & Address: 
OCAD University Auditorium, Room 190 100 McCaul Street
Website: &nbsp;
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Art + Feminism Wikipedia Edit-a-Thon

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Saturday, March 22, 2014 - 5:00pm to 9:00pm

Wikipedia Edit-a-thon workshop at the OCAD U Library. Saturday 22 March 2014, 1pm-2pm tutorial; 2pm-5pm 1-on-1 help and working together.

Wikipedia editing session for uploading entries on Canadian, First Nations, OCAD U women artists.

On February 1, 2014, volunteers gathered around the world for the Art + Feminism Wikipedia Edit-a-Thon. The aim of the event was to balance out Wikipedia’s gender gap, adding or editing entries for women artists, who are historically underrepresented. During the event, volunteers added more than 100 women artists to Wikipedia. The organizers of the Toronto satellite event, which took place at Art Metropole, are now teaming up with OCAD U Library to continue the work begun on that day. With access to the OCAD U library’s extensive resources, students and volunteers will be able to work together to continue adding and editing entries for women artists, including Canadian and First Nations artists and artists from the OCAD University community.

Please join us on Saturday March 22, 2014, between 1 - 5 p.m., and bring your laptop! All are welcome, regardless of your level of experience. A beginner’s tutorial will take place from 1 - 2 p.m., and more experienced editors will be available throughout the event for one-on-one help. No preparation or experience is necessary, but we encourage participants to create a Wikipedia account before the event, as there is a limit to how many accounts can be created from one IP address. It is easy to do and instructions are here. Also, join our Facebook event page!

Want to get started on learning how to edit Wikipedia articles, so you can dive right in once you get here? Read this guide for beginners, or try this tutorial for students, which covers the basics.

Not sure which artist entry to add, or whose entry to work on? The Art + Feminism Wiki group has compiled a list of suggestions here!

Venue & Address: 
Dorothy H. Hoover Library, Room 1215, 2nd level 113 McCaul St Toronto, Ontario

Arte Intimo, Arte Publico: Spirit, Vision and Form, The Art of Judy Baca

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Friday, March 14, 2014 - 10:30pm

Public Talk by world renowned Chicana Muralist and Educator, Judy Baca

Co-presented by: Latin American Canadian Art Projects, Community Arts Practice (CAP) at York University, and The Faculty of Art, OCAD University

Venue & Address: 
Auditorium 100 McCaul St. Toronto, Ontario