New Graduate Student Travel Fund

Graduate Student Travel Fund
Monday, March 26, 2018

The Office of Graduate Studies is pleased to announce the introduction of the new OCAD University Graduate Student Travel Fund!

This new fund will create a more equitable framework (open to all graduate students across all graduate programs) and with three deadlines annually will create a more balanced approach than the current first-come, first-served funding option.

While many university graduate student travel funds are limited to dissemination (e.g. conference or symposia), the nature of our programs suggests that students would benefit significantly from travel that allows them to do research as well. Rather than create two separate entities, we have determined to use a single fund for ease of operation and distribution. This new fund will be designated exclusively to student travel related to research and dissemination; we anticipate being able to support between 25 and 35 applications annually.

To get things started, we are launching the first competition today (March 2), with a deadline of March 26, 2018. All students who are planning conference or research travel in the next six months are encouraged to submit an application. Principal Advisors and graduate faculty members should also encourage their students to consider applying to the fund in support of their students’ research.

The guidelines and application procedures for the new Travel Fund are available here.

If you have any further questions, please contact the Graduate Studies Officer, Anne Ahrens-Embleton at


State of Grad Studies: an opening gambit

Ashok Mathur - Dean, Graduate Studies
Saturday, March 10, 2018

Greetings everyone.

Mera naam Ashok Mathur, and as some of you know, and I’m finding out with increasing regularity, I’m the new Dean of Graduate Studies here at OCAD U. As of today, I have been in the dean’s seat for two months now, adjusting from a very creative (and relaxed) administrative leave from my position as Head of Creative Studies at the University of British Columbia’s Okanagan campus. And, to be frank, I would still be there, enjoying the second part of my leave with its unrestricted freedoms, had I not been enticed by a number of forces and sources to relocate to Toronto and take on what amount to considerable though by no means insurmountable challenges at this, the largest art+design uni in the nation. Why did I come here? Onto that in a moment, but first, a bit about myself, stuff that goes beyond what you might have read in formal press releases and promo materials.

I was born in Bhopal, Madhya Pradesh, barely more than a decade into post-independence India. My mother, now passed, was a Parsi, a formidable woman with a dedication to heart and life, and my father, a Hindu of the Kyasth caste, a community often engaged in various professions of a bookish nature. Their mixed marriage, contested to various degrees by their families at the time, convinced them to carve their futures abroad. This eventually brought us to the eastern shores of this continent, Mi’kmaq territories, then west to the Prairies where we landed at the intersection of Siksika, Tsuu T’ina, and Stoney nations. After growing up in a small city and watching it mature from a culturally monolithic to considerably diverse cosmopolitan centre, I began teaching at the Alberta College of Art and Design as well as at Old Sun College (a University of Calgary satellite campus, converted from a one-time residential school, on the Siksika nation).

After a few years of teaching itinerantly, I earned a doctorate in literature at the University of Calgary, focussing on art and racialization that commensurated with my then-experience working with artists of colour and Indigenous artists. I returned to ACAD for a brief sessional stint, but soon after accepted my first tenure-stream position at the Emily Carr Institute of Art and Design (now Emily Carr University) in Vancouver. I was excited by this shift as I knew many Indigenous and other racialized art-colleagues in Vancouver who had been active on an equity front for years, some of them teaching at Emily Carr, others known voices in the city. When I accepted the position, I suggested to the Provost that I initiate a working group of racialized artist-instructors (a precursor to the more recent BIPOC movements). While she was supportive of this gesture, the Provost informed me that at that time I would be the only non-white tenured or tenure-stream professor in the entire institute. This came as some surprise since I knew the demographics of the undergraduate student body represented a far more diverse population, and it was one of many indicators I have encountered over the years to suggest that institutions shift at glacial paces compared to their student intake and regional populations.

I realized that in order to see progressive shifts, I had to work with the institution to change hiring practices, adjust curriculum, and otherwise make the space more welcoming for a radically diverse faculty, something I dedicated my time to as I took on the Headship of Critical Studies and endorsed multiple initiatives to these effects. By the time I left Emily Carr, these changes had started with the hiring of several Indigenous and racialized faculty, and while slow, at least it was a steady move in the right direction.

Following my time in Vancouver, I took on two different posts in the interior of B.C. The first was as Canada Research Chair in Cultural and Artistic Inquiry for the brand new Thompson Rivers University in Kamloops. I set up a centre for innovation in research-creation, working with numerous artists and collectives regionally, nationally, and internationally, and producing work that fed my interests in anti-racist and anti-oppressive change. Following this, and my last move before coming to OCAD U, I took up the Headship of Creative Studies at UBC Okanagan, a dynamic department that combined performance, visual art, creative writing, and various elements of computational graphics and design under one departmental roof (a rarity in the Canadian postsecondary landscape). The major reason for taking on this most recent posting was that UBCO had been hosting a most remarkable Summer Indigenous Institute on its campus and I was delighted to join that team, helping to grow it over the past four years to become one of the largest such intensive curricula in the country. Indeed, I still retain an adjunct professorial post there and hope to develop continued affiliations between UBCO and OCAD U, as I have noted further down this message.

So, why did I leave such a rewarding post, you might ask? Well, there are a number of contributing factors, including my solid interest in graduate studies in creative environments and the challenge of a new situation, but perhaps the most pressing is that when the hiring firm contacted me to ascertain my interest in this decanal post, I asked them point blank about OCAD U’s intended practice. As I noted then, I wasn’t interested in moving to an institution that was speaking the right language but not committed to doing the right thing. This is all too common in organizations such as government agencies and postsecondary sites, and too many of us are too familiar with this practice! But upon conferral with the hiring firm, and then with colleagues at OCAD U, and finally with hiring committee, I became less leery and then quite excited by what I saw as an agile and forward-thinking creative-based institution that was taking a big step forward where others trepidatiously feared to tread. And so when the offer came, I realized this was a chance for real and critical institutional movement in precisely the areas I have cared about throughout my academic and artistic career.

As might be clear from the rolling out of my history, I very much want to engage BIPOC and other marginalized communities at the student, faculty, and regional level, not just to foster a greater awareness of issues faced by our communities, but to determine ways to strengthen our position within the university. By this I do not mean integrating into a mainstream, but making this mainstream more accountable and responsible to those of us who inhabit what are variously determined precarious spaces of identity. And I emphasize here that such precarity is not uniform by any stretch of the social fabric we at one time called identity politics in Canada. Anti-black racism is a serious blight on our consciousness and needs to be addressed at all levels including the institutional; colonial oppression that resulted in the residential school system amongst many other atrocities continues to damage and deny basic human rights to Indigenous individuals and communities; Islamaphobia is becoming rampant at home and abroad; refugees are unfairly criminalized and incarcerated in a state that purports to welcome immigrants; and if we look back at our history, from the Komagatu Maru to the Chinese Exclusion Act to the Toronto Bath House Raids, to incidents both legal and customary and far too many to enumerate, we begin to see the patterns of social oppression from which we must necessarily disentangle to create a just future. With this in context, I come to the present, then, and the path ahead.

First, I’d like to increase the availability of financial support for graduate student research, particularly for first generation students and those from outside the GTA. One way in which grad students can benefit from their studies is by travelling and sharing their research with colleagues in the region, the nation, and internationally. To this end, I have instituted a new graduate student travel fund with multiple annual deadlines. The monies may not be large, but they will get students to places where they can perform or disseminate their research. I anticipate we will be able to fund about ten projects at each of the competitions which will be held three times per year.

Second, to engage with OCAD U’s academic plan and its first stated priority to enhance Indigenous education, I am implementing a Graduate Studies Indigenous Innovation fund which is intended to support projects around teaching and learning at the graduate level. This may be development of new programs, enhancement of existing ones, or any other innovation that can engage Indigenous ways of knowing and encourage Indigenous participation, including other BIPOC communities, at the student to faculty level.

Third, and somewhat related, I want to encourage partnerships across institutions to engage in Indigenous learning, and to that end I will be supporting a program this year to enrol up to five current graduate students in an independent study and residency that will take our small group to the Vancouver Art Gallery’s inaugural exhibition by its first Indigenous Curatorial Fellow, and to the Summer Indigenous Intensive in Kelowna at UBCO. This will be a portfolio-driven course which means rather than readings and regularly scheduled lectures, the students will engage with the exhibitions, guest artists, visiting speakers, and each other over an intensive 16-day trip, at the end of which they will have a learning experience quite unlike others they may have undertaken in their masters education. I am in the process of rolling out an information session followed by selection criteria, and the successful candidates will be asked to deliver a presentation in the Fall 2018 about their experience.

Fourth, I am working with my fellow Deans at finding ways to direct more teaching assistantships to our current graduate students. As we all know, one of the strongest elements of professionalization at the graduate level often comes with such GTAs, plus it has the added benefit of further albeit limited financial support for students, many of whom cannot afford to come here or stay here without such support.

Fifth, any graduate studies program in art and design needs to look toward its community to find mechanisms for support, and I will be working with the Advancement Office to encourage benefactors, alumni, and philanthropists who want to support OCAD U’s graduate studies through scholarships, bursaries, and other financial means, again to ensure that this is a place for all including those who haven’t the privilege or access to attend.

Sixth, upon reviewing many international contexts of art and design graduate education, it is apparent that we need to further investigate a doctoral program to complement our seven and growing existing masters degrees. To date, Canada does not have such a program, though there are a few places where practice-based research can lead to such a degree in some limited fashion. It would be impressive to see this take off at OCAD U, particularly with a socially-progressive mandate, and it looks like there will be a will at the school to pursue this in some capacity.

There are, of course, many more avenues of approach to what Graduate Studies can be at OCAD U, and needless to say, the day to day operations are also very critical to student satisfaction and a pursuit of best practices. So that too is at the forefront as I enter into the third month of an extremely challenging yet unrelentingly rewarding task. I look forward to travelling this road with many of you in the days ahead.


Ashok Mathur
Dean, Graduate Studies

Info Session - GroundWorks: an Indigenous intensive learning experience

GroundWorks Banner
Tuesday, March 13, 2018 - 2:00pm to 3:00pm

Every July, the University of British Columbia (Okanagan campus in Kelowna) holds a four-week Indigenous intensive program featuring numerous guest lecturers, resident artists, visiting curators, and cohorts of graduate and undergraduate students.

There are courses in visual art, creative writing, Indigenous studies, all toward developing an immersive learning experience.

This year, the Dean of Graduate Studies at OCAD U will be offering “GroundWorks,” an independent study for up to five graduate students which will involve:

  • an initial visit to the Vancouver Art Gallery to participate in the inaugural exhibition by Tarah Hogue, Senior Indigenous curatorial fellow;
  • a two-week participatory residency at the UBCO campus in Kelowna;
  • and participation in the “Beyond Reconciliation” seminar at the end of July, also in Kelowna.

Activities will include a seminar and conversation with the artists at the Vancouver Art Gallery (Peter Morin and Ayumi Goto), studio and lecture visits at UBCO, participation in formal and informal course offerings, and a visit to the BUSH gallery, a conceptual space for land based art and action led by Indigenous artists in Neskonlith (two hours from Kelowna).

As an immersive environment, Groundworks will be portfolio based, with students consulting with the instructor to determine individual trajectories.

This course will be of particular interest to students who wish to engage with Indigenous artistic practices and ways of knowing, but is also of general interest, so students would not need this to be a focus of their Masters project.

We will hold a short information session on Tuesday, March 13, 2018 at 2:00 p.m. in Room 701K at 205 Richmond Street West to show past intensives and answer questions.

Students will be granted airfare to Vancouver and bus transport to Kelowna, and accommodation for three days in Vancouver and two weeks in Kelowna. They will be asked to present on their experiences to the wider graduate community in the fall of 2018.

Students should submit a letter of interest by March 19, 2018.

The letter should express:

  1. your interest in attending the course 
  2. why you think this would be advantageous for you and your area of study
  3. your availability for the entire16 days (July 12 to July 28)**

**You will need to be available to fly from Toronto to Vancouver on July 12 and return by flight from Kelowna on July 28 (we will go to Kelowna by bus or road transport around July 15 or 16). 


Venue & Address: 
Room 701K @ 205 Richmond Street

un-histories: art and the unconcluded

un-histories: art and the unconcluded
Friday, March 9, 2018 - 7:00pm to Saturday, March 10, 2018 - 8:00pm

March 9, 7:00 PM

Keynote by Dr. Monika Kin Gagnon (Concordia University)

March 10, 9:30 AM-5:30 PM

Conference panel presentations from graduate students, artists, and arts professionals from Toronto and abroad, followed by a closing reception at OCADU’s Graduate Gallery


Within the term “history” lies a conceptual confinement—the presumption that the topics being written about remain consigned to the past. This conference seeks to counter history’s containment and to foreground its continuing relevance in the present. Through the notion of “un-histories,” conventional limits can be unsettled by prompting critical inquiries into how history functions: by re-organizing the composition of the past, by re-constructing methods of transmitting narratives, and by destabilizing the seeming linearity of events. Un-histories reimagine history as a practice for addressing the “unconcluded”—subjectivities and narratives previously considered spectral, disparaged, marginalized, erased, shamed, abashed, or localized.

Keynote Presentation

Unthinking Expo 67

Dr. Monika Kin Gagnon (Concordia University)

March 9, 7:00 PM, 100 McCaul Street, room 190

Dr. Gagnon will present on her co-curated exhibition À la recherche d’Expo 67 / In Search of Expo 67 (2017) which featured 19 Canadian and Québec contemporary artists taking inspiration from the landmark international event, 50 years later.  Discussing the original Expo 67 in connection to artworks by Althea Thauberger, Leisure, CINEMAexpo67, Geronimo Inutiq and others, Gagnon speaks on the distinct methods of contemporary art offers for exploring cultural history.  Engaging the process of “unthinking” developed by Ella Shohat and Robert Stam, which activates the movement between knowledge, history and media, Gagnon will show how the artworks of In Search of Expo 67 are positioned as vital forms of animating the archive and knowing the past in the present.

Monika Kin Gagnon is Professor of Communication Studies and a Concordia University Research Fellow. She has published widely on cultural politics, memory, and visual/media arts since the 1980s. Her books include Other Conundrums: Race, Culture and Canadian Art (2000), 13 Conversations about Art and Cultural Race Politics (2002, with Richard Fung), and Reimagining Cinema: Film at Expo 67 (2014, with Janine Marchessault). Her media works include the DVD-catalogue and restoration project of her late artist-father’s experimental 1960’s film, Charles Gagnon: 4 Films (2009), and the interactive database Archiving R69 (2011). Currently, she is completing a book exploring posthumous collaborations with filmmakers as a form of creative archiving.



Graduate Gallery
205 Richmond Street West
Saturday March 10, 2018

Shown in conjunction with the 2018 CADN Graduate Student Conference un-histories: art and the unconcluded, which seeks to seeks to counter history’s containment and to foreground its continuing relevance in the present. Using the notion of “un-histories” to unsettle conventional limits of history by prompting critical inquiries into how history functions, encouraging: re-organizing the composition of the past, re-constructing methods of transmitting narratives,
and destabilizing the seeming linearity of events. Un-histories reimagine history as a practice for addressing the “unconcluded”—subjectivities and narratives previously considered spectral, disparaged, marginalized, erased, shamed, abashed, or localized.


Artwork on display:
Ukiuktaqtumi, Stephen Puskas, 2017
30:10 minutes, colour

A father picking arctic berries with his daughters on a sunny September day and a group of elders playing dice at a local community centre make up two separable moments bound together by Montreal-based Inuk artist Stephen Agluvak Puskas’s short-film Ukiuktaqtumi (2017). Lyrically stitching together video footage found on the web (each
borrowed with consent from the original videographers), Puskas shapes a wide-ranging view of Inuit life ukiuktaqtumi (“in the North”). In a gesture of endurance, the independent yet woven threads of narrative in Ukiuktaqtumi often begin inside of a moment and unravel without conclusion.

Through these rifts in continuity, Puskas echos the imperative of self-representation for Inuit communities in Canada, whose prolonged subjugation to the colonial lens has fostered inaccurate narratives that call for an unlearning and dismantling of such histories. Ukiuktaqtumi does just this—made in response to non-Inuit filmmaker Dominic Gagnon’s Of the North (compiled of taken footage that constructed a distorted image of Inuit), Puskas presents a selfdetermined
and consenting outlook of life in the North – full of variance, movement, and (dis)/continuities.


Artist Bio:
Stephen Agluvak Puskas is co-founder and former producer for Nipivut, Montreal's Inuit community radio show. Selected by the Senate in 2017 as an Indigenous Youth Leader, Stephen works to improve Indigenous representation in media and to shed light on the exploitation of Inuit culture like with Ungava Gin. He volunteers for Dawson College's Indigenous Education Council and has also helped write the Inuit chapter of the Indigenous cultural awareness manual for the SPVM. Stephen's film about Inuit self-representation, Ukiuktaqtumi (OO-KEE-UKTAK-
TOO-MEE) recently won the Prix de la Releve at 2017's Presence Autochtone and he is currently an associate producer at the National Film Board, working on the coastal Labrador project, which aims to support Labrador Inuit in producing documentary films.


Throughout this exhibition we are encouraging and accepting donations for Inuit Tapiriit Kanatami: The National Representational Organization Protecting and Advancing the Rights and Interests of Inuit in Canada.
Inuit Tapiriit Kanatami serves as a national voice protecting and advancing the rights and interests of Inuit in Canada, with a stated vision for Canadian Inuit to prosper through unity and self-determination.
More information can be found at :


We would also like to thank VTape ( for their assistance in organizing the presentation of this work.

This conference is organized by students in the MA Program in Contemporary Art, Design and New Media Art Histories at OCAD University. Special thanks is given to the Office of Graduate Studies, the President's Office, the Faculty of Art, and the Faculty of Liberal Arts and Sciences/School of Interdisciplinary Studies for their generous support.





Venue & Address: 
OCAD University, Auditorium, Rm. 190 100 McCaul Street, Toronto Ontario, M5T 1W1
un-histories: art and the unconcluded
un-histories: art and the unconcluded-gagnon

OCADU Graduate Academic Intensive Workshop Series

Thursday, January 11, 2018 - 3:00pm to Thursday, February 1, 2018 - 5:00pm

These workshops are designed to aid graduate students whose native language is not English and to give them strategies to support their academic work. In addition to helping students with their academic reading, research and writing, additional objectives include improving oral fluency, speaking and presentation skills. The workshops are designed to be interactive and student-centred. Students should be prepared to participate in group discussions, do in-class exercises as well as takehome assignments. While priority will be given to ELL students, all graduate students interested in attending the series or a single workshop should contact the facilitator or the WLC.

All workshops will be held in 205 Richmond, Room 511 on Thursdays from 3-5pm.

Week 1: Critical Reading Strategies— Jan 11th, 2018
This workshop will focus on time-saving tips, skimming, increasing vocabulary, and techniques for retaining information. Students will also practice more advanced skills such as recognizing style, tone, contexts, cultural allusions and references, implicit/explicit meanings, rhetorical strategies, types of argumentation by examining and analyzing different kinds of texts. Students will also generate discussion questions and gain confidence with sharing opinions and debating topics with their peers.

Week 2: Research Pathways— Jan 18th, 2018
Graduate students often begin their research journey with questions, issues and problems that combine fields and disciplines. This workshop will give students strategies for mapping out graduate their research pathways, accessing sources in the library catalogue and databases, and engaging with research materials. Along with an overview of note-taking, summarizing and paraphrasing research, we will also discuss various research challenges that graduate students encounter.

Week 3: Improving Writing Style— Jan 25th, 2018
Learning to make stylistic choices based on one’s topic and audience is the foundation to finding one’s voice as a writer. This workshop will empower students to improve their writing by analyzing tone, diction, sentence structure, and paragraph organization. This workshop may also address writing “crimes” such as clichés, jargon, lack of clarity, and weak argumentation. Students will also give peer feedback on written work, identify common errors and learn to incorporate feedback.

Week 4: Presenting and Pitching— Feb 1st, 2018
For designers and creators, strong presentation skills are not supplementary, but necessary to community-building and collaboration. In this workshop, students will gain more confidence with presenting their work and pitching their ideas effectively in a range of formal and casual situations. Students will hone their storytelling abilities to gain comfort with networking and describing their experiences and expertise.

If you wish to attend this workshop series or have any questions, please contact:
Phoebe Wang, ELL Writing and Learning Consultant
416-977-6000, Ext. 3354

Venue & Address: 
205 Richmond St. W., Room 511
416-977-6000, Ext. 3354

You're Invited! Meet & Greet with Ashok Mathur, Dean Graduate Studies

Ashok Marthur
Thursday, January 11, 2018 - 10:30am to 11:30am

Join us in welcoming our new Dean of Graduate Studies, Dr. Ashok Mathur.

Dr. Mathur holds a Ph.D. in Postcolonial Literature from the University of Calgary. He recently completed a term as Head of Creative Studies at the Okanagan campus of the University of British Columbia. Dr. Mathur served as a Tier 2 Canada Research Chair in Cultural and Artistic Inquiry, and Director of the Centre for Innovation in Culture and the Arts in Canada (CiCAC) at Thompson Rivers University.

A long-time advocate of critical race theory as it pertains to the postsecondary institution, Dr. Mathur works continuously to address radical forms of equity and Indigenous knowledge.

Please drop by the Graduate Studies Office (room 501, 205 Richmond St W) anytime between 10:30am-11:30am this coming Thursday, Jan 11 for light refreshments and good conversation.

We look forward to seeing you!

Best wishes,

Graduate Studies

Venue & Address: 
Graduate Studies Office (room 501, 205 Richmond St W)

Strategic Foresight and Innovation Students Ranked #1!

Winning Team Fleet with industry leaders and Hult Prize competition at OCAD U Judges
Bo Siu (top left) is a first year Strategic Foresight and Innovation MDes student and they spearheaded the program as selected c
Saturday, December 9, 2017 - 9:00am

The Hult Prize Foundation is the largest crowdsourcing platform and startup accelerator for emerging social entrepreneurs from universities around the globe. The annual Hult Prize competition aims to build and launch the most captivating social business solution for the most challenging problem impacting billions every day.

A group of changemakers from the Strategic Foresight and Innovation  MDes program participated in a quarterfinal round of the Hult Prize competition at OCAD University on December 9, 2017. Four core teams successfully pitched a scalable, sustainable, human-centered design solution to address the challenge of harnessesing the power of energy to transform the lives of 10 million people by 2025.

Congratulations to Team Fleet for ranking #1! Rachna Kumar, Lucy Gao, and Juan-Carlos Sandoval can pursue the opportunity to fast-track to a regional semi-final round and join the top 50 finalists world-wide by next March. The United Nations Headquarters host the 2018 Global Finals in September to award a winning team with 1 Million USD in seed capital plus mentorship from a renowned business network.

Team Fleet was placed at the top by an esteemed panel of judges and benefactors; Anna Dewar Gully is Founder and Chief Strategist of Women Strategy, Giovanni Marsico is Founder and President of Archangel Academy, and Katherine Roos is Founder and Executive Director of The Imagination Catalyst. Panel members had a special presence as social innovators with progressive values, significant entrepreneurship and scaling credentials.

The Hult Prize Quarterfinal Competition at OCAD University is an extracurricular non-profit student-led social entrepreneurship program. See more on Facebook!

Photo Credit: Krystle Merrow

News Story: Bo Siu

You're Invited! Not Your Ordinary Frosty Reception - Graduate Studies Holiday Open House

You're Invited! Not Your Ordinary Frosty Reception - Graduate Studies Holiday Open House - December 7th 11AM-1PM
Thursday, December 7, 2017 - 11:00am to 1:00pm

You're Invited! Not Your Ordinary Frosty Reception - Graduate Studies Holiday Open House - December 7th 11AM-1PM. All welcome!


“Me, My Elf and Pie”

The motto of the venerable and fantastical mince tart association of Canada


“Axe a question, Take a Bough: Manners for the critically-minded Woods-person

by I.M. Sharp


In Cider Trading: The confessions of a hard-pressed life

by Pippen McIntosh


‘Oh Yes we’ve got treble’: Musical Mysteries, Cleff-Hangers and other thrilling tales of song and sound

by D Major


“Its Rain, Dear’: Strange weather and wintry phenomena in the sky (the memoirs of a starry-eyed meteorologist

By Barry Metric 


“The Flakier the Better” 

The group chant of the Seasonal Pastry and Snow Storm Club of Canada


Sled Astray: the true- life and slippery slopes adventures of a social aspirant

By T. O. Boggan

Venue & Address: 
Office of Graduate Studies Room 501, 205 Richmond St. W
You're Invited! Not Your Ordinary Frosty Reception - Graduate Studies Holiday Open House - December 7th 11AM-1PM

Dr. Wendy Schultz at OCAD University: Methods Workshop

Strategic Foresight and Innovation
Wednesday, December 6, 2017 - 5:00pm to 8:00pm

Based in Oxford, England, Dr. Schultz is an academically trained futurist with over thirty years of global foresight practice. She has designed and facilitated futures research projects for NGOs, government agencies, and businesses. She has designed foresight training for Policy Horizons Canada, Forum for the Future, Argentina’s Ministry of Science and Technology and The Futures Company.

Actively involved with the Association of Professional Futurists, the World Future Society and the World Futures Studies Federation, Dr. Schultz’s specialties are futures research methods, participatory workshop design, and online software platforms for futures research, particularly crowdsourcing scanning and images of the future.

Dr. Wendy Schultz can be found online at

Venue & Address: 
OCAD UNIVSERSITY Rm. 301 205 Richmond St. West

1968 now: models, environments, and spatial politics

Tuesday, December 5, 2017 - 12:00pm to 2:00pm


Dear OCAD graduate studies community: you are invited to attend an end-of-term colloquium for VISD 6004


1968 now: models, environments, and spatial politics


Room 318, 205 Richmond

Tuesday, Dec. 5 




Roxanne Baril-Bédard

Alessia Pignotti

Brianne Service

Tommy Ting

Venue & Address: 
OCAD University RHA 318 205 Richmond St. West Toronto ON