MRP/Thesis Writing Intensive

Web Banner for MRP Thesis Intensive
Monday, December 18, 2017 - 10:00am to Thursday, December 21, 2017 - 4:00pm

Working on your Masters Thesis or MRP? Deadlines are coming and the Writing & Learning Centre wants to help you get it done! This four-day writing "bootcamp" will help you work through your tough spots, flesh out your ideas and access individual consultations in a supportive group environment and with a minimum of distraction. We'll set daily goals, work on practical tools and strategies to maximize productivity, benefit from peer feedback and fire up your writing engines. Let's commit and sit - together.

For information, or if you are interested but the fee is prohibitive, contact Jessica Wyman, Graduate Writing & Learning Consultant at jwyman@faculty.ocadu.ca

December 18th to December 21st, 2017
10:00 am to 4:00 pm

$120 fee, including coffee, snacks, and lunch
Enrollment space is limited

To fill out an application, please click here.

Applications are due by 5 pm, December 1st

Some comments from past participants:

  • "The clear designation of time and space to write were the most important aspects. That, and the provided snacks/lunch!" (December 2016)
  • "The Intensive is exactly what I needed to do the work that I have needed to do. The Intensive provided the structure, environment and access to professionals who expertise in thesis/MRP writing. It was a catalyst in getting the writing well underway and have a plan to finish the project." (December 2016)
  • "The environment was conducive to getting the work done." (December 2016)
Venue & Address: 
205 Richmond St. W.
Website: 
http://bit.ly/2iXUai3
Cost: 
$120, including coffee, snacks, and lunch

Hult Prize 2018: Quarter Final Campus Competition at OCAD University

Hult Prize Challenge: Harnessing the Power of Energy
Saturday, December 9, 2017 - 9:00am to 3:00pm

We are proud to announce the annual Hult Prize Quarterfinals Campus Competition at OCAD University: 

In partnership with the United Nations, the Hult Prize Foundation has created the world’s largest student movement and crowdsourcing platform dedicated to solving the most pressing social challenges on the planet. The 2018 Global Finals awards a winning team with 1 million USD in start-up capital and world renowned business-design mentorship. A quarterfinal round of the Hult Prize competition showcases diverse teams of brilliant minds with big ideas from across OCAD University. The winning team gets to by pass 20,000 plus applicants and fast track to regionals! 

Come compete with your team or simply join us on Saturday December 9th 2017 to watch the next wave of social entrepreneurs! 

Free admission

Register your team here: http://hultprizeat.com/ocad

Application deadline: Wednesday, December 6th 

Venue: Auditorum Rm. 190, 100 McCaul

Snacks and socializing! 

#hp18ocadu #PowerforGood

#Socent #HultPrizeEffect 

Venue & Address: 
OCAD University Rm. 190 100 McCaul Street
Website: 
http://hultprizeat.com/ocad
https://www.facebook.com/HultPrizeatOCADU/
Email: 
ocaducampusdirector@gmail.com
Cost: 
Free
Hult Prize Challenge: Harnessing the Power of Energy

2017 CADN Speaker Series: Where is your Disruption?

2017 CADN Speaker Series: Where is your Disruption?
Tuesday, March 7, 2017 - 7:00pm to Wednesday, March 22, 2017 - 7:00pm

Divisiveness has been a prominent feature in the cultural and political discourse of the past year. Given such fragmentation, what are the possibilities for remedying social cohesiveness? What role can art play in addressing the disruptiveness that permeates contemporaneity? The speaker series explores the manifold ways that disorder and fragmentation pervade contemporary art, design and new media theory, practice and exhbition. Our speakers will discuss some of the emerging ideas of a history not yet written - the history of a contemporary art entangled with political issues, social trends and millenial concerns.

The MA Program in Contemporary Art, Design and New Media Art Histories (CADN) at OCAD University invites teh public to participate in two sets of conversations between artists, scholars and acticis on the current state of art and politics.

2017 CADN Speaker Series

Click above for more photos

Venue & Address: 
Auditorium 190, 100 McCaul Street OCAD University
2017 CADN Speaker Series: Where is your Disruption?

2016 CADN Graduate Student Conference: #Trending: Mobilizing Art and Culture

#trending: mobilizing art and culture
#nature: Artwork by featured artist Sean Martindale
#nature: Artwork by featured artist Sean Martindale
Friday, March 11, 2016 - 8:00am to 10:00pm

#TRENDING: MOBILIZING ART AND CULTURE

The influence of trends is undeniable in contemporary culture, but rarely are its implications fully fleshed out. How can a trend mobilize or call others to action? As scholarship in contemporary art, design and new media becomes increasingly focused on networked lives, the digital platforms through which we communicate, interact, and share information demand academic and social inquiry. This interdisciplinary conference looks to the topic of #trending in its myriad meanings as it produces and affects subjects and citizenship, social and political change, visual and material culture. We must consider the longevity, impact, and relevancy of cultural work and research as the implications of cultural trends, their makers, and media are nuanced and complex. Are trends disposable or lasting? How should scholarship respond to trends -- by defining them or following them? What can trends tell us in their sequencing, forecasting, and analysis?

100 McCaul, Auditorium 190

OCAD University

8:00 AM – 9:00 AM

Free registration at 100 McCaul

9:00 AM - 9:30 AM

Opening Remarks

Conference Organizer Treva Pullen (CADN)

Dr. Robert Diaz (FoLAS/SIS)

9:30 AM – 11:00 AM

Conscious Fringes: Trends from Ends to Edges

Mark Dudiak, Marc de Pape, John-Patrick Ayson

Moderated by Treva Pullen

Geographical, ideological and cultural ‘fringes’ having shaped much of the twenty-first century’s speculative imaginary and its imagery. Philosophy, art and design have experienced a bursting open of ontological parameters and a surge towards hybridized methodologies. The digitized space of the Internet, which has powerfully influenced these trends is also considered to be a space without border or periphery, where the ‘fringe,’ practices and ideologies of the analog world are able to blossom. This panel looks at such peripheral philosophies and art forms: flickering post-human ontologies, new-media sound art, and tomb design.

11:00 AM - 12:30 PM

Selfies, Self-Care, Socializing: Constructing and Deconstructing the Online Self

Sophie Bishop, Estelle Wathieu, Lauren Fournier, Margeaux Feldman, Jenna-Lee Forde

Moderated by Andrea Pelletier

Social media provides many tools for constructing digitized yet fully formed online selves. With an influx of self-photographing, self-documenting and self-surveillence technologies, to what extent are our digital avatars both genuine and constructed? How are these identities formed and what are the implications of this online performativity? Responding to questions of age, gender, privacy and beauty through examining artists such as Petra Collins, YouTube make-up tutorials and the discursive trend towards ‘self care,’ this panel looks at how these new considerations of the ‘self’ are affecting visual culture.

12:30 PM - 1:30 PM

Lunch

1:45 PM – 2:00 PM

Performance: First Things First

Christopher Lacroix, afallenhorse

2:00 PM - 3:30 PM

The Word Made Digital

Fan Wu, Mary C. Baumstark, Merray Gerges

Moderated by Katie Connell

As communication via devices becomes ubiquitous, the notion that ‘words are sacred’ is increasingly both a cliché and an untruth. This panel is designed to trouble this notion through interrogating the influence of new media on writing and speaking. With a publishing industry in upheaval, as well as online dissemination of philosophy and viral sharing, writing can be metareflective of these shifts. Words, and our ability to choose the right ones, are extremely important to us when expressing and asserting ourselves in moments of both marginalization and empowerment.

3:45 PM - 5:15 PM

Performance and Solidarity

Barbora Racevičiūtė, Victor Arroyo, Lina El-Shamy, Alina Tigountsova

Moderated by Dr. Robert Diaz

News spreads rapidly and in myriad forms of new media: Twitter, Facebook, Instagram and blogs are but a few deterritorialized news sources. Additionally, these online forums have become critical sites for the proliferation and explosion of both grass roots activism and international movements. #BlackLivesMatter, #IdleNoMore, #KillBillC51 and the Syrian refugee crisis have taken shape on social media, organizing and inspiring pivotal protests amongst bodies in public spaces. Yet social media has also resulted in both corporatized activism and what has been popularly decried as ‘slacktivism’ – an online attendance to politically charged protests, marches and gartherings that is not physically carried out. This panel interrogates the digital sides of activism, hegemony and the popular media responding to it: surveillance technologies, television and hashtags.

6:00 PM - 7:30 PM

Keynote Speaker: Janaya Khan

Opening remarks from Dr. Andrea Fatona (CADN)

Janaya Khan, known as Future in the Black Lives Matter movement, is a black, queer, gender-nonconforming activist, staunch Afrofuturist, social-justice educator and boxer based in Toronto. As the co-founder of Black Lives Matter Toronto, they are committed to black liberation, transformative justice and indigenous sovereignty and operate through a black transfeminist lens. They have previously been featured in the Feminist Wire and RaceBaitR and can be found shutting it down at an action near you.

7:30 PM – 10:00 PM

Reception

#nature: Artwork by featured artist Sean Martindale

OCADU Graduate Gallery at 205 Richmond

Sean Martindale is an internationally recognized interdisciplinary artist and designer based in Toronto. His interventions activate public and semi-public spaces in order to encourage engagement, often focused on ecological and social issues. His playful works question and suggest alternate possibilities for existing spaces, infrastructures and materials found in urban environments. Frequently, Martindale uses salvaged goods and live plants in unexpected ways that prompt conversations and interaction.    Martindale has taken part in multiple solo and group exhibitions, and his projects have been shown in cities such as across Canada as well as in Madrid, New York, Shanghai, Hong Kong, Shenszhen, Venice, Birmingham, Bristol, Liverpool, Oxford, London, Las Vegas, Minneapolis, Paris, Angers, Brussels, Berlin and Doha. In 2013, he was the lead artist on the tallest mural in the world, the result of a community project in St James Town, Toronto, with local youth, STEPS and the Toronto Muralists. Sean has continued to lead other notable community arts projects, and has been awarded the 2012 Artist Prize by the Toronto Friends of the Visual Arts.

The 2016 CADN Graduate Conference at OCAD U is dedicated to the perspectives of emerging scholars. The interdisciplinary all-ages conference will promote an open space for dialogue about the art historical, socio-cultural and political trends of the contemporary moment. We hope to foster a welcoming atmosphere that takes into account accessibility, privilege and sustainability thereby encouraging not only inventive and radical conversations during the conference but future collaborations continuing the trend of giving voice to new and exciting ideas.

Venue & Address: 
100 McCaul, Auditorium 190 & Graduate Gallery at 205 Richmond OCAD University
Website: 
http://cadnconferenceocadu.blogspot.ca/

2015 CADN Graduate Student Conference: MULTIPLE LI(V)ES OF ART/ISTS &...

Keynote Performance: Brendan Fernandes
Friday, March 27, 2015 - 10:00am to Saturday, March 28, 2015 - 7:00pm

MULTIPLE LI(V)ES OF ART/ISTS &...DISCIPLINARY FUZZINESS AND THE FUTURE(S) OF ART CRITICISM

March 27-28, 2015

Multiple Li(v)es of Art/ists &... investigates projects that actively destabilize binaries, permeate borders, and foster interdisciplinary engagement to trouble the transitory spaces that condition contemporary society. This conference addresses ways that art  and its many disciplinary iterations continue to morph and change. By providing an armature onto which scholars and artists might graft semblances of understandings gained through the ex/interchange of knowledge and ideas, the conference leverages productive energies of discourse and critique to tease out questions that accompany exploration of the contemporary.

CONFERENCE SCHEDULE March 27 – 28, 2015

FRIDAY, MARCH 27

Keynote Speaker: Dr. Sarah Thornton

Credibility & Confidence: Behind the Scenes with Artists Today
in conversation with Francisco-Fernando Granados

10:00AM - 11:30AM, 100 McCaul, Auditorium 190

In 33 Artists in 3 Acts (2014), Thornton asks some of the world’s most influential artists (including Jeff Koons, Ai Weiwei, Cindy Sherman, Maurizio Cattelan and Andrea Fraser) the question: “What is an artist?” A writer, ethnographer, and sociologist of art, Thornton delivers a candid look at a world where the artist's persona is often as famous as their work. Researched over five years as Thornton travelled the globe getting to know hundreds of artists, 33 Artists in 3 Acts tells the stories she amassed after spending time with the final 33 in their studios and homes, seeing how their messes and methods, artistic practices and lifestyles combined. Speaking about her experiences researching and writing the book, Thornton will share what it was like to have unprecedented access to these artists, and how they altered her understanding of what artists are, or could be.

            Thornton is also the author of Seven Days in the Art World (2008) and Club Cultures (1996). She has written for The Economist, Artforum, the Guardian and The New Yorker, and spoken at museums and universities worldwide. Her books dissect the workings of the artworld, its institutions, and the processes of reputation and value in the art market. She is joined in conversation by Francisco-Fernando Granados, a Toronto-based artist, writer, and educator working in performance, drawing, and multidisciplinary critical practices.

Keynote Performance: Brendan Fernandes

Encomium - Durational Performance
Opening Reception, 6:00PM - 9:00PM, 230 Richmond St West
The former OnSite Gallery [at] OCAD University

Encomium is inspired by Plato's Symposium, a classical text in which love is examined through speeches of praise. In a display of physicality, endurance and prowess, two men perform a dance as described and instructed by three narrative texts written by the artist that refer specifically to the speech of Phaedrus, in which he describes the asymmetrical love between a man and a younger male lover. In the work, Fernandes explores the way in which codes of language are articulated through classical ballet, and the way dance acts like any other language form, creating barriers that allow for understanding within specific groups and communities. Encomium will be performed by Damian Norman and Sky Fairchild-Waller.

            Brendan Fernandes is a nationally and internationally recognised Canadian artist of Kenyan and Indian descent. His recent work considers the transitional nature of identity through the complex language of dance.

______________________________________________

SATURDAY, MARCH 28

3rd floor, 205 Richmond St West

8:00 AM - 9:00 AM: Registration

 

9:00 AM - 10:30 AM: SESSION ONE

PANEL 1, Rm 7320 
Multiple knowledges: Activating the Gaps between Imagined Totalities 
Amy Beingessner, Gregory Elgstrand, Soheila Esfahani

Moderated by Marsya Maharani
This panel gathers presentations that seek to destabilize and traverse cultural and disciplinary boundaries from a variety of perspectives. Amy Beingessner points to the construction and reconstruction of the myths of cohesive identities, speaking particularly to question efforts to reproduce notions of authenticity for the making of cultural heritage. Building upon this line of questioning, Soheila Esfahani and Gregory Elgstrand open up the spaces between multiple cultures and disciplines as new sites of knowledge production that are receptive to subjective imagination and improvisation.

PANEL 2, Rm 7301
Performativity
Shauna Janssen, Victoria Mohr-Blakeney

Moderated by Marianne Fenton
This panel considers performativity as a strategy, a method and an outcome through an investigation of specific art and curatorial practices. Shauna Janssen will consider the notion of “performing encounters” through a consideration of her own, situated, curatorial practice.  Victoria Mohr- Blakeney interrogates performance through the medium of dance. Her investigation addresses related concerns of the archive, memory, space and issues around the re-performance of dance.

WORKSHOP 1, Rm 7310
Doodling in the Margins: Process, Idle Gestures, and Mark-Making
Daniel Marrone

Easily overlooked, the doodle turns up wherever more deliberate marks are made, often finding its home in marginal spaces. It is tempting to classify it as a cousin to the sketch, or a kind of precursor to the cartoon, but the doodle resists comparison to other forms of visual culture, always at the periphery of art, craft and writing. Combining theory and practice, “Doodling in the Margins” explores the ways in which typically unassuming, marginal, and indistinct marks relate to the well-defined disciplines whose peripheral spaces they often inhabit. A short talk will introduce a series of practical doodling exercises. To contextualize these and other exercises, the workshop will invite participants to consider a wide range of instructive examples, among them: the marginalia in medieval codices, Hokusai’s 1812 manual Quick Lessons in Simplified Drawing, Richard Serra’s preparatory doodles, choreographic diagrams from contemporary dance, and the sketchbook work of cartoonist Kate Beaton. The hallmark of the doodle is its lack of cultivation, its status as an index of idle gesture and involuntary energy. Though it does not require any training and rarely aspires to art, it is frequently part of an artist’s process. It can be iconic, indexical, symbolic, purely expressive, or some indefinable combination of modes – ultimately, the doodle is an instance of mark-making at its most elemental.

 

10:30 AM - 12:00 PM: SESSION TWO
PANEL 3, Rm 7320
Engagement through (re)production & disruption
Adam Barbu, Alison Cooley, Anastasia Howe Bukowski, Rebecca Noone 

Moderated by Jenn Snider
The presenters on this panel speak to the questions of process and response when layers and acts of production are engaged. Most especially, they are asking what we do when we encounter whatever it is we encounter when we are in between known practices—when there is an exchange afoot of an indistinguishable quality yet active as an amalgam. A matter of (de)materiality and performance, of objective and reflexive entanglement, of politics and aesthetics, the negotiations are at play with a multiplicity of potentials and the fluid power of interpretability. Of critique, of protocol, of expectation, whether they emerge from institutional settings, ritual, affective response… the analysis of relations of power are inherent to all engagement as a meeting or a blending of forces. To move within a context of autonomy and its implausibility, where co-option is a rule not the exception, to break from power or to at least to disrupt dominance these projects encourage readings and re-readings of a dynamics of differentiation.

ROUNDTABLE 1, Rm 7301
Places of enunciation: private acts and public gestures
Kendra Ainsworth, Deborah Margo, Geneviève Wallen

Moderated by Marsya Maharani and Melanie Schnidrig
Arriving from various personal and disciplinary perspectives, Kendra Ainsworth, Deborah Margo, and Geneviève Wallen will discuss the roles and responsibilities of participants within and surrounding the contemporary art discourse. Occupying multiple roles that include those of an artist, curator, writer, educator, student, settler, and/or gardener, their interests are centered around the relationship between the identity and positionality of cultural producers and their contribution to the public discourse of art and culture. This open roundtable discussion is aimed at exploring and questioning the place of personal identities within cross-cultural dialogues.

WORKSHOP 2, Rm 7310
The Mobile Special Collections and Rare Books Reading Room
Christian Julien Siroyt
The aim of the workshop is to discuss the interplay of disciplines, art forms, and fields of study, using the books in the collection to explore the themes of the conference. The workshop begins with an overview of the scope of the collection, including a display of some of the selected items included in the installation. From the Comics Collection this includes original comic artwork by cartoonists such as Charles Burns, Chris Ware, Seth, Chester Brown, Adrian Tomine, & Marc Bell, and rare & relevant comic books from the Comics History Special Collection, some of which prominently features the town of Strathroy. From the Donald Theall Special Collection this includes Theall's annotated copy of Joyce’s Finnegans Wake and many other relevant titles that demonstrate his devotion to interdisciplinary study. Theall was a professor at University of Toronto, President of Trent University, and a colleague of Marshall McLuhan. His work explored avant-garde media concepts, and he published a book titled “The Virtual Marshall McLuhan” and a book called “James Joyce’s Technopoetics”.
            On hand will be cartooning supplies such as pigment liners of varying widths, brush pens, paper, etc. and the workshop will conclude with participants creating comic work under specific parameters responding to the holdings of these collections, pulling images and text from them to generate comic-literary work that demonstrates the themes discussed. This workshop aims to upset the traditional notion of the rare books reading room as a staid space in which the holdings sit dormant. Here it is dynamic and generative, flexible and mobile, and contravenes traditional museum policies by installing a Rare Books and Special Collections Reading Room on-site at the conference.

 

1:00 PM - 2:30 PM: SESSION THREE
PANEL 4, Rm 7320
Glitch Glitch
Marcin Kedzior, Nick White 

Moderated by Sam Strong
A glitch disrupts the normal functioning of a code system. Glitch Art embraces the visual style of the glitch for various conceptual and aesthetic reasons. Increasingly, theorists are turning to the analysis of glitch and glitch art as a productive failure that challenges existing systems and strategies of organization in the digital age. This panel, featuring presentations that critique and rework the contemporary study of glitch art, might be thought of as a glitching of glitch. The papers presented here share an interest in rethinking glitch theory and the possibilities that glitch art offer.

PANEL 5, Rm 7301
(Re)Viewing the Gaze
Frances Dorenbaum, Julia Havard, Jamie Ranger

Moderated by Brittany Higgens
From the notion of the Lacanian ‘gaze’, this panel aims to explore contemporary mechanisms of reviewing, returning, and subverting this ‘gaze’ in art practice. Frances Dorenbaum, Julia Havard and Jamie Ranger will speak to acts of witnessing and the ethics of spectatorship as audiences are confronted with the marginalized body in contemporary photography and performance art. Their presentations will enable discussion of how artists invite, control, combat, or reflect awareness of the gaze, be it male, colonial, and/or sexualized encounter.

WORKSHOP 3, Rm 7310
Anti-Ekphrasis - Transcribing Images, Picturing Poetry & Rematerializing Art
Mat Laporte, Sarah Pinder and Yosefa Raz from the Contemporary Poetry Research Group

Is there an ekphrastic impulse at the heart of criticism and aesthetic theory, a desire to describe objects of interest and rematerialize art? The Contemporary Poetry Research Group seeks to explore this question in a workshop designed to break down or permeate the relationship between spectators and art objects. In doing so, the project suggests ways that writing might intervene and transform art objects into critical feedback mechanisms. The workshop embraces ekphrasis’ fundamental fusion of writing and art, but also inverts, interrogates and moves beyond this traditional descriptive relationship between art object and textual mediation. Following an introduction of the potential for ekphrasis as a critical mode of engaging with art, the workshop will present a series of practical exercises designed to facilitate collaboration between visual artists and poets/writers. Participants are invited to bring existing material, but will also be encouraged to generate new individual and collaborative work through the exercises.

 

2:30 PM - 4:00 PM: SESSION FOUR
ROUNDTABLE 2, Rm 7320
Break it down: Sighting/Citing/Siting Performance Art
Alison Cooley, Shauna Janssen, Victoria Mohr-Blakeney, with Brendan Fernandes

Moderated by Marianne Fenton and Jenn Snider
Brendan Fernandes’ interdisciplinary practice considers identity as in-process and transitional.  His more recent works (of which Encomium is an example) continues this investigation, but through the medium of dance. In Encomium, multiple disciplinary practices intersect in the gallery space as text, linguistic devices (morse code), space, dance, performance, and the body all work towards a queering that is activated through a practice of art’s edges. Translation and embodiment as queering methodologies become a part of both the investigative tools and outcomes.  Our three participants will use his work as an anchor from which they will consider the productive overlapping, situating angles of sight and the sensorial, citation and the referential, and the site in space, place, and time as expressed through the medium of performance art.

ROUNDTABLE 3, Rm 7301
Service Interruption Due to Interventions
Moderated by Melanie Girdwood and Sam Strong

This panel will open up questions and discussion about the adoption of the unintended, the out-of-place, and the easily overlooked as viable methodological processes for meaningful, productive and perfectly imperfect boundary making. These processes represent interventions into established academic institutions and, often through experimentation and play, disrupt existing conceptions of what it means to do intellectual work.

 

4:00 PM - 4:30 PM: CLOSING PLENARY, Rm 7310
Tracing Art’s Edges
Andrea Fatona, Johanna Householder, Vladimir Spicanovic

Moderated by Brittany Higgens and Melanie Schnidrig
As the final session of Multiple Li(v)es of Art/ists &... we invite all conference participants and attendees to join us for a roundtable plenary. This roundtable will consist of scholars selected from OCAD University’s esteemed Graduate Studies faculty. Faculty members have been chosen for their respective expertise in disciplines including art history, curating, design, performance and new media studies. The roundtable members will respond to the day’s discussions, facilitated by questions and comments collected in a ballot boxes throughout the conference proceedings. This session will act as a concluding discussion on pertinent threads and concerns surrounding “art’s edges” as foregrounded by conference participants and attendees.

 

CLOSING RECEPTION, 4:30 PM - 7:00 PM

______________________________________________

The 2015 CADN Graduate Conference is pleased to welcome the following presenters:

Kendra Ainsworth is an emerging curator and interpretive planner working in the arts and culture sector in the GTA and 905 region. She is currently the Assistant Curator at the Art Gallery of Mississauga. She holds a Masters in Museum Studies from the University of Toronto with a focus on interpretation of contemporary art. Through her practice Kendra aims to remove both intangible and tangible barriers to public engagement with contemporary art, and allow it to serve as a catalyst for community building and intellectual development. Recent projects include Scotiabank Contact Photography Festival Featured exhibition Fausta Facciponte: Six Characters in Search of a Photograph at the AGM, and Infinite Daydreams | Reflections on the Sublime Imaginary, at the Art Gallery of Burlington.

Adam Barbu is a writer and curator based in Ottawa. He has produced exhibitions nationally and internationally that explore themes of displacement and cultural memory. Recently, he was the curator in residence at the Parque Cultural de Valparaíso (Valparaíso, Chile) and currently works for contemporary art space La Petite Mort Gallery. His current research focuses on “post-AIDS” discourses, early minimalist art and Derridian deconstruction. He will be pursuing an M.A. and Ph.D. in Art History at the University of Toronto starting fall 2015.

Amy Beingessner is an MA candidate in the Art History and Visual Culture program at the University of Guelph. During her undergraduate studies in communications at the University of Ottawa Amy also pursued fine art courses at the Ottawa School of Art, design courses in Florence, Italy, and worked at a non-profit organization in Paris, France, dedicated to providing quality publicity to emerging musicians and artists. She completed her degree in 2005, then spent several years travelling and working before deciding to take up the challenge of studying art history full-time. Her primary focus is on the relationships we form to material works of art, especially those we deem to be historically significant, and how these relationships form ideas about cultural identity. Amy hopes to complete her MA this spring and to continue studying our stunning visual world.

Alison Cooley is a critic, curator and educator currently based in Toronto. She holds a BA in Studio Art and Art History from the University of Saskatchewan, and an MA in Art History from York University. Her research deals with art and the nature-culture divide, socially-engaged artistic practice, epistemological tools such as Google search and internet memes, and experimental critical and curatorial practice. She was the 2014 recipient of the Middlebrook Prize for Young Canadian Curators. Her writing has recently appeared in FUSE, Canadian Art, Blackflash, and the Journal of Curatorial Studies. She is the host and producer of What it Looks Like, a podcast about art in Canada.

Frances Dorenbaum was born in Toronto. She earned a Combined Honours BA in English and Spanish from the University of King’s College in 2012, and is currently a Master of Arts candidate in the department of Modern and Contemporary Art History, Theory, and Criticism at the School of the Art Institute of Chicago.  She has a special interest in contemporary photography. Her essay, “Images of Hair in John Donne’s Work” can be found in the 2012 issue of Verso, Dalhousie’s journal of literary criticism, and she currently writes for SAIC’s F Newsmagazine.

Gregory Elgstrand has curated and organized numerous exhibitions across Canada and his writings on art and architecture have been published by Canadian Art, C, the Palais de Tokyo, YYZ, the Glenbow Museum, Stride Gallery and the University of Calgary. In 2012, he co-edited with Dave Dyment, One for Me and One to Share, a survey of artist multiples published by YYZBOOKS. Elgstrand is currently Curator at the Art Gallery at Evergreen and founder Editor of Bohart, published in Port Moody, BC. He has served as Director of YYZ, as Director/Curator of the Art Gallery of Calgary (AGC), Director of Truck in Calgary and Coordinator of Struts Gallery in Sackville, New Brunswick. In 1993, he and screenwriter, playwright and director Kris Elgstrand, co-founded AH UM Theatre in Vancouver. Elgstrand studied at the Emily Carr College of Art and Design, Simon Fraser University and the Nova Scotia College of Art and Design.

Soheila K. Esfahani grew up in Tehran, Iran, and moved to Canada in 1992. She received her Master of Fine Arts degree from the University of Western Ontario and her BA in Fine Arts from the University of Waterloo. She is a recipient of grants from the Social Sciences & Humanities Research Council of Canada, the Ontario Arts Council, and the Region of Waterloo Arts Fund. As part of the SSHRCC grant, Esfahani participated in a research/creation group entitled Immersion Emergencies and Possible Worlds: Engaging Water as Culture and Resource through Contemporary Art. Esfahani’s work is represented in public and private collections including the Canada Council’s Art Bank. Currently, she is a lecturer at University of Waterloo and works from her studio at Kitchener’s artist–run centre, Globe Studios.

Julia Havard is a PhD student at UC Berkeley in the department of Theater, Dance and Performance studies. She graduate from Harvard University with a Bachelor of Arts in History of Science and Dance and received a fellowship for health policy research at Mount Sinai Hospital in New York City from the Center for Public Interest Careers. Julia worked at Callen-Lorde Center connecting LGBTQ patients with affordable healthcare through the ACA and creating a presentation used to educate communities about access to care, which was also presented at the Lesbian Health Fund’s Annual Conference. She found a dance collective in New York City to explore issues of trauma, body memories, and intimacy through community workshops and performances across New York City and Brooklyn. Her research interests include interpersonal violence, healing and health, and performance as a site of resistance and recovery in queer and gender variant communities.

Anastasia Howe Bukowski is currently pursuing an MA in Art History at McGill University. Previously she has collaborated on public education projects with the City of Toronto and has worked in research positions at the Ontario Institute for Studies in Education, Ryerson University, and Concordia University. Her current research interests include contemporary video art, post-digital media theory, karaoke and forms of radical cultural praxis, theories of re-performance and reenactment, basketball and the visual culture of sports, and feminist and critical race theorizations of globalization and transnationalism. She received an Honours BA in Art History and Book and Media Studies from the University of Toronto.

Shauna Janssen is an urban curator with a background in theatre and interdisciplinary studies. She received her Ph.D in Humanities (2014), Centre for Interdisciplinary Studies in Society and Culture at Concordia University, where she has also taught in the Departments of Theatre and Art History. Her current research focuses on the cultural politics of postindustrial spaces and urban ruin in relation to themes of public space, the queer production of space, post-humanism, material and performative practices.  In 2010, she founded Urban Occupations Urbaines, a curatorial platform for artists, communities and the public to creatively and critically engage with cities and urban change. Since 2013, Shauna co-directs Points de vue, a Montreal based urban activist and community arts organization. She has given public lectures and presentations at cultural institutions such as The Canadian Centre for Architecture (Ephemeral City, 2010), Articule (“Would you be my curator?” 2012), and The McCord Museum (City Talks, 2013).

Marcin Kedzior is an educator and journal editor whose artistic practice involves sound, movement, installation, micro-architecture and public space. He received a BFA from Queen’s University, an M. Arch from the University of Toronto and SEED certification from Harvard. As part of AIMToronto, he performed in dozens of experimental sound and movement events. In 2014 he completed several installation projects including “Ground Scraper,” for SPARty at 401 Richmond, “Paper Orbs” for Nuit Blanche Ottawa Gatineau, and “Daniels Spectre,” in the vestibule of the Daniels Spectrum in Regent Park. He is a founding editor of the journal Scapegoat: Architecture | Landscape | Political Economy. He has taught in the Master of Visual Studies program and Architecture Studies at the University of Toronto, is a Faculty Associate at Willowbank School of Restoration Arts, a Professor in the School of Applied Technology at Humber ITAL and occasionally teaches in CS at OCAD U.

Mat Laporte, Sarah Pinder, and Yosefa Raz from the Contemporary Poetry Research Group. Founded in late 2014, CPRG is a loose research collective based in Toronto that is dedicated to creating spaces for engaged dialogue at the intersections of poetry and critical thought.

Deborah Margo was born in Montreal, and now lives in Ottawa.  She has a Bachelor of Fine Arts from Concordia University and a Master of Fine Arts from Temple University/Tyler School of Art in Philadelphia.   Exhibiting her work frequently in Canada, United States and Mexico, she is a faculty member in the Department of Visual Arts at the University of Ottawa where she teaches drawing, painting and sculpture.  When the opportunity arises, she writes and curates exhibitions.   During the spring and summer months she also works as a gardener. Deborah’s work is interdisciplinary and questions the architectural, historical and social contexts of public and private spaces.  Focusing on processes and materials relevant to these different contexts, a conversation takes place between a specific site and the materials she works with.  Her working process is both conceptual and intuitive, based on research yet open to so-called accidents.  Time, change and touch are key preoccupations.

Daniel Marrone holds a PhD in Humanities and Cultural Studies (University of London). In his work on visual culture, he often explores memory, liminal spaces, and the semiotic operation of comics. He lives in Toronto.

Victoria Mohr-Blakeney is an independent curator and writer with a focus on contemporary dance and performance. She has curated a series of performance exhibitions throughout Toronto in theatre, gallery, and site-specific settings. Alongside her curatorial work, she has worked as a Dance Columnist for the Toronto Standard, and co-founded the Toronto-based Nomadic Curatorial Collective. Mohr-Blakeney has worked at the CB Gallery in Toronto and interned at the Centre for Contemporary Arts in Santa Fe, New Mexico, as well as the Art Gallery of Ontario where she conducted research into the history of performance at the AGO. She holds an MA from the University of Toronto, and has studied at the University of Havana, Cuba, and the University of Salamanca, Spain, as well as at York University in the Choreography and Dance Dramaturgy program. Mohr-Blakeney is currently earning an MFA in Criticism and Curatorial Practice at OCAD University.

Rebecca Noone  is an artist and a PhD student at the Faculty of Information, University of Toronto. Her quiet, humour-filled interventions interrogate the banal futilities and the muted hopes implicit in our everyday encounters and interactions with information, systems, and technologies. In her work, Rebecca has asked theoretical physicists how they cope with the mundane, compiled maps of hand-drawn directions collected from helpful passers-by, archived detritus in demolition-slated homes, built an interactive library cataloguing system, compiled a mail-based analogue Internet from deaccessioned library materials, and bartered the periodic table of elements at art and music shows. She has contributed to spaces and exhibitions in Canada, the USA, and Europe including Elsewhere Living Museum in Greensboro, NC; NES in Skagaströnd Iceland; The Luminary in St. Louis, MO; Wreck City in Calgary, AB; and the Long Winter Takeover at the Art Gallery of Ontario.

Jamie Ranger is an emerging curator, art critic and write based in Toronto. She is currently a fourth-year undergraduate student, majoring in the Criticism and Curatorial Practices Program at the Ontario College of Art and Design University. As a curator, Jamie has worked on the following projects: Simplexity, an exhibition to accompany OCAD U’s inaugural TedxTalk of the same title, Bending the Horizon, an exhibition that celebrate the work of OCAD U’s LGBTQ12S community, and Symbology, a solo print show. Her current research focuses on the development of an ethics of spectatorship applicable to the study of disability performance art.

Christian Siroyt is the Exhibits & Programming Coordinator at Museum Strathroy-Caradoc. In 2013 he received his BA from Trinity College in the University of Toronto, where he majored in Book and Media Studies and Literary Studies with German and Cinema Studies. Christian produces films, comics, and literary works from his studio in Strathroy. He is particularly interested in Middle High German literature and the styling of James Joyce. In 2014 Christian established the Comics History Special Collection and the Donald F. Theall Special Collection at Museum Strathroy-Caradoc. He is currently working on two cinematic projects.

Geneviève Wallen is interested in issues of ethnocultural representational spaces as a Curator and art historian. Geneviève is a candidate in the Criticism and Curatorial Practice  program at OCAD University (2015) and holds a BFA in Art History from Concordia University in Montreal (2012). She is particularly concerned about the platforms prescribed to artists of Caribbean and African descent within Canadian art institutions, and the lack of documentation on this subject. She believes that the inner workings of cultural consciousness not only affect daily experiences, but also shape how individuals perceive themselves and how they perform their social interactions. Her awareness of how different systems of marginalization operate in the art world drives her current curatorial practice and academic research.

Nick White is an interdisciplinary scholar and artist whose work interrogates hybrid embodiments, interfaces, and intersections in physical/digital space. He is a Masters student in the Communication & Culture joint program at Ryerson & York Universities and is a Research Associate in McLuhan Studies at St. Michael’s College, University of Toronto.

 

SESSION MODERATORS

Marianne Fenton received a BA in Fine Arts and then an MFA at the University of Stellenbosch, South Africa.   She has exhibited her work in South Africa, London and New York.  Marianne is currently pursuing her MA in Contemporary Art History at OCAD University. Her research is focussed on three artists whose works investigate notions of belonging, identity and ethnicity through an examination of English accents.

Melanie Girdwood-Brunton is from Montreal, where she received her BFA from Concordia University. Thereafter she worked in higher education, props fabrication and styling in diverse areas, including retail and museum exhibitions. Her research at OCAD University concerns the (re) emergence of the designer-maker, as a multi-disciplinary intermediary pursuing craftsmanship as an ideological position towards labour as self-production. Melanie currently teaches at Sheridan College where she endeavors to instill a love of making in her students.

Brittany Higgens is currently an MA candidate in the Contemporary Art, Design and New Media Art Histories Program at OCAD University. Brittany holds a Bachelor of Fine Arts Honors degree from Brandon University with a specialization in painting. Her research investigates questions of representation, the parameters of taste in cultural production and the ideological, philosophical and aesthetic sensibilities of Jeff Koons’ Made in Heaven series within the postmodern and contemporary art eras.

Marsya Maharani received an Honours BA in Art History from the University of Toronto. She has held curatorial assistant and coordinator positions at the newly federated University of Toronto Art Centre / Justina M. Barnicke Gallery, the Toronto International Film Festival, and Telephone Booth Gallery. Marsya is currently pursuing an MA in Contemporary Art History at OCAD University. Her research explores the multidisciplinary practices of itinerant artists Vera Frenkel and Jamelie Hassan within the context of migratory culture.

Melanie Schnidrig completed her Bachelor of Fine Arts degree at The University of the Fraser Valley Abbotsford, B.C. Her studio practice includes photography, painting and print media. She is currently pursuing an MA degree in Contemporary Art, Design and New Media Art Histories at OCAD University. Her research interests center on the multisensorial and synesthetic dimensions of contemporary immersive installation art.

Jenn Snider is currently an MA candidate in the New Media Art Histories section of the CADN Program at OCAD U. Her research, supported by a Graduate Studies SSHRC award in 2014, focuses on art administration within the artist-run centre as a practice of research-creation and institutional critique. Snider explores artist-run culture and organising as performative practice, and as an artist and curator, her work considers the social tensions of collaborative meaning creation and the formation of an ethic of irreverence.

Sam Strong is an artist, writer and media theorist. Despite a background in traditional art and literature, he loves exploring the messages and structural complexities in new media and popular culture. At OCAD U, he is exploring the way in which panel structures in comics influence readers’ responses to visual narrative, both semiotically and emotionally.

2014 CADN Graduate Student Conference: RECOMBINANT CREATIVITY

RECOMBINANT CREATIVITY: TEMPORAL INTERSECTIONS, (DE)HISTORICIZING STRATEGIES, AND CONTEMPORARY CULTURAL PRODUCTS
Thursday, March 6, 2014 - 8:00am

RECOMBINANT CREATIVITY: TEMPORAL INTERSECTIONS, (DE)HISTORICIZING STRATEGIES, AND CONTEMPORARY CULTURAL PRODUCTS

In Postmodernism, or, The Cultural Logic of Late Capitalism, Fredric Jameson spoke of a “dialectical intensification of the autoreferentiality of all modern culture, which tends to turn upon itself and designate its own cultural production as its content." Building upon Jameson’s insight into the character of contemporary cultural production, this conference asks broadly about the role of appropriation and interdisciplinarity. Has the traditionally discipline-based structure of scholarship been challenged or changed by recombinant forms and processes of critical engagement?

The Annual Graduate Conference at OCAD University will present graduate papers that acknowledge the place and implication of Jameson’s ideas of autoreferentiality or the practices of assemblage, bricolage, collage, remixing, sampling, borrowing, mashups, hybridity, and the role of technology as strategies for creativity.  These papers will be presented by graduate or recently graduated students from around the world.

https://recombinantcreativity.wordpress.com

Thursday, March 6

7:00 PM - 8:00 PM, Rm 190, 100 McCaul Street

Keynote speaker

"Anything is Everything"

Douglas Coupland

Friday, March 7

8:30 AM - 9:45 AM, Rm 7320

Morning Roundtable: LANDSLIDE: Issues in Curation and Practice. Janine Marchessault - Sean Martindale - Lisa Myers

9:45 AM - 10:00 AM, Rm 7318

Coffee Break

10:00 AM - 11:10 AM

Performance Art, Rm 7320

  • Lowell Gasoi – “Impiety and Live Dissent in a Mediated World”
  • Paromita Kar – “Knickers, Fishnets and Punk Rock – An Intimate Enthography of Toronto’s Cancan Revival”
  • Katherine Paige Calvin – “I built this because I can: Wangechi Mutu and Performing Intersectionality”

Sampling as Productive, Rm 7401

  • Brett Potter – “‘Appropriation’ to a ‘Culture of Use’: Re-thinking Creativity and Narrative through Bourriaud’s Postproduction”
  • Gillian Pistell – “Ray Johnson’s Collaged Histories.”
  • Ben Harrison – “The Epistemological Orientation of Hip-Hop in the mid-1980’s”

11:15 AM - 12:30 PM

Media Art, Rm 7320

  • Robert Luzar – “Subtractions of Vital Presence”
  • Spencer Stuart – “Guilt by Association?: Changing Conceptions of Digital Technologies and Their Relations to Speculative Realism in the ‘Post-Crtical’ Age”
  • Matthew Jarvis Wall – “Technologies of Play: The Ludification of Culture”

Spatial Activism, Rm 7315

  • Aria Spinelli – “The Occupy Effect of Art: Redefining the Notion of the Political in Art Practice”
  • Natalia Dmushowska – “The Art of Jaywalking: A Contemporary Approach to Interaction, Ownership and Creation in Public Space”
  • Laura Mahlstein – “Recombinant Dispositif: Assemblage and the Mise-en-Scene of Complex Exhibition Projects since the 1990s”

12:30 PM - 1:00 PM Lunch, Rm 7315

1:00 PM - 2:00 PM, Rm 7320

The Restless Museum: Curating at the Boundaries of Discipline, Nicholas R. Bell, Fleur and Charles Bresler Senior Curator of American Craft and Decorative Art, Renwick Gallery, Smithsonian American Art Museum.

2:00 PM - 3:00 PM

Subaltern Sampling, Rm 7320

  • Jerina Hajno – “Carbon into Diamond: Subaltern Aesthetics and Enfolded Relations in Otolith II and Letters from Sibera”
  • Matt Ossias – “Syndromes and a Century: Deleuze and Jameson in the Post-Contempoary Art Cinematheque”
  • Carmen Victor – “Die Antwoord: (De)facing Identities”

Identity, Rm 7301

  • Cindy Kim – “Asian Fetish, White Fetish”
  • Ella Cooper – “Body Land Identity: Reclaiming the Black Female Nude through Multiracial Feminist Art Inquiry and a National Participatory Arts Based Exploration of Black Female Identity in the Canadian Landscape”
  • Robert Dayton – “The Canadian Romantic: Sex Magick Canada”

3:10 PM - 3:30 PM Break

3:35 PM - 4:45 PM, Rm 7320

Between Making and Market

  • Alison Snowball – “Immaterealities of Dematerialization in Contemporary Art and Finance”
  • JP King – “Assembling Everyday Knowledge: Relational Publishing in Erick Beltran’s The World Explained: A Microhistorical Encyclopedia”
  • Martin Budny – “Desired States of Being”

4:45 PM -  6:00 PM, Rm 7320

Afternoon Roundtable: Recombinant Practices. Aleesa Cohene - Derek Liddington - Philip Monk - Christina Ott

Venue & Address: 
OCAD University, 100 McCaul Street & 205 Richmond Street West
Website: 
https://recombinantcreativity.wordpress.com/
RECOMBINANT CREATIVITY: TEMPORAL INTERSECTIONS, (DE)HISTORICIZING STRATEGIES, AND CONTEMPORARY CULTURAL PRODUCTS
Douglas Coupland. Photo by Mark Peckmezian for MONTECRISTO Magazine

2012 CADN Graduate Student Conference and Art Exhibition: Art & Struggle

Art & Struggle
Thursday, March 8, 2012 - 12:30pm to Friday, March 9, 2012 - 7:00pm

ART & STRUGGLE

Graduate Student Conference and Art Exhibition

Presented by the MA Program in Contemporary Art, Design and New Media Art Histories

March 8-9, 2012


OCAD University


100 McCaul Street, Rooms 190 & 230


Toronto, ON, M5T 1W1

The term “struggle” contains both liberating and oppressive connotations. The resulting tension has long been considered an inherent aspect of art production. Struggle manifests in various forms, whether political, cultural, economic, or personal. While the “struggling artist” has been a problematic art historical trope, this symposium seeks to revisit the issue of struggle in an unromanticized, contemporary vein.

Keynote Speaker: Kirsty Robertson

Capitalist Cocktails and Moscow Mules: Protest in the Museum and Gallery

Friday, March 9, 2012, 6:00 pm


Room 230, 100 McCaul St.

This talk looks at the relationship between contemporary art and protest. Are art exhibitions used to discipline dissent? Certainly that is the accepted view amongst many artists, activists and scholars, who argue that exhibitions of protest art might echo the issues of the protest, but they do so in “contexts without consequence.” A number of curators have recently tried something new, staging art exhibitions in the midst of large-scale protests as a way of potentially avoiding the institutional depoliticizing logic of the museum or gallery. The analysis is focused on a number of exhibitions and events, among them a PR event, “Massive Uprising,” held at the AGO in 2009 and, in contrast, two exhibitions, “Art Goes to Heiligendamm,” organized for anti-G8 protests, and “RETHINK,” held amid the COP15 negotiations in Copenhagen. Do the power relationships change if political or activist art is showcased outside of the institution? I conclude that the three examples mentioned here were ultimately unsuccessful in their aims, but that they nevertheless raise important questions regarding the role art might play in protest or oppositional action.

Kirsty Robertson is an Assistant Professor of Contemporary Art and Museum Studies at the University of Western Ontario. Her research focuses on activism, visual culture, and changing economies. She has published widely on the topic and is currently finishing her book Tear Gas Epiphanies: New Economies of Protest, Vision, and Culture in Canada. More recently, she has turned her attention to the study of wearable technologies, immersive environments, and the potential overlap(s) between textiles and technologies. She considers these issues within the framework of globalization, activism, and burgeoning “creative economies.” Her co-edited volume, Imagining Resistance: Visual Culture and Activism in Canada, was released in 2011.

Art & Struggle Panels and Dates:

Day 1: Thursday, March 8, 2012 (100 McCaul Street, Room 190)


1:00-3:00 pm Panel 1: Feminist and Identity Struggles


3:30-5:30 pm Panel 2: Negotiations of and Movements Through Space

Art & Struggle Exhibition Opening


6:00-9:00 pm 205 Richmond St. West, Graduate Gallery, Ground Floor

Day 2: Friday, March 9, 2012 (100 McCaul Street, Room 230)


9:30-11:30 am Panel 3: Cultural and Collective Memory


1:00-3:00 pm Panel 4: Institutional and Local Critiques 


3:30-5:30 pm Panel 5: Government Control and Resistance


6:00 pm Keynote: Kirsty Robertson

 Art and Struggle

Click above for more photos

The conference committee would like to thank: the CADN first year students, Xerox Canada and the Office of Graduate Studies at OCAD University for their generous support.

 

Venue & Address: 
OCAD University

2011 CADN GRADUATE STUDENT SYMPOSIUM: WITHIN/OUT SPACE

WITHIN/OUT SPACE CADN SYMPOSIUM 2011
Thursday, April 28, 2011 - 6:00pm

Engaged in an ongoing process of development, the metropolis constitutes a defining aspect of contemporary society and artistic production. Since the rise of industrialization, conceptualizations of the city have been accompanied by notions of anxiety, progress, consumption, isolation, communication and dislocation. Within/out Space will engage with these varying conceptions and examine the metropolis through the lens of artistic engagement. Conditions and theories associated with urban space remain fertile ground for discussion among artists, critics, curators and theorists. This panel will engage with members of the Toronto artistic community whose work addresses issues raised by the metropolis.

The theme unifying all three presenters is that of the constantly evolving urban landscape and the psycho-geographical boundaries that shape our human psychology and identity.  He will seek to address the question of how is it that we negotiate the realistic conditions of urban life with media representations and popular culture.

"The face of the city changes more quickly, alas! Than the mortal heart."


- Charles Baudelaire

 

Speakers:

Evan Tyler

“Psycho-Geography and Urban Spaces”

Evan Tyler is a multi-media artist working in photography, video, drawing, text and performance. After providing an overview of his Having grown up in a small urban center, his ideals of the metropolis have become seminal to his current explorations. In this presentation, he will explore the theme of our discussion – Within/out Space – through three separate but related fascinating projects he has embarked on.

 

Flavio Trevisan

“The Game of Urban Renewal”

Flavio Trevisan is a visual artist and designer. He will discuss the Regent Park neighbourhood in Toronto and specifically how it was developed in the late 1940s to replace a notorious slum, only for it in turn to become a place associated primarily with crime and poverty. Flavio will present his work The Game of Urban Renewal as an in-depth study about how socio-political concerns continue to impact this particular community.

 

Keith Bresnahan

“The Metropolis and Its History”

Keith Bresnahan is Associate Professor at OCAD U, and a historian and theorist of modern architecture and graphic design. His writing and teaching explore the political, social and philosophical contexts of design. For our panel tonight, Keith will discuss the mapping (in) the city, particularly strategies for visualizing urban structures and flows, and the relation between such representations and lived urban experience. Keith will approach this talk from a historical and theoretical point of view, and the manner in which history has impacted today’s conceptions regarding the metropolis and urban spaces. He will emphasize problems concerning experience and representation, immediacy and mediation.

 

 

 

Venue & Address: 
100 McCaul Street, Room 190
WITHIN/OUT SPACE

Kate Kolberg (MA, 2018)

Friday, November 9, 2012 - 4:00pm

Kate Kolberg is a writer and curator based in Toronto. Her writing in poetry and prose has been published with Peripheral Review (forthcoming), Phile: The International Journal of Desire and Curiosity (2018), Xpace Cultural Centre (2018), Studio Beat (2016), and featured in Towards (2017), The Table (2017), and Art Metropole x The Table (2018). Kate is the co-owner and programmer of a project space, Sibling (formerly Little Sister), where she has co-curated numerous exhibitions including: Mike Goldby, Silver 35 (2018), Mary Manning, Blueprints (2018), and Dana Slijboom, Immoral Support (2017). The gallery has been featured in C Magazine (2017), Editorial Magazine (2018), Ravelin (2018), Vie des Arts (forthcoming), and Peripheral Review (forthcoming). Currently, Kate is completing an Editorial Internship at C Magazine, where she serves on the editorial advisory committee, and will be the event manager for the C Magazine Annual Contemporary Art Auction 2019. In June 2019, Kate will present material from her MA project Enduring Naïveté: Art and Hellenism in a Global-Turn at the first ‘Symposium on the Greeks’ in Paros, Greece, organized by Laurentian University.

 

http://sibling.online

Vanessa Bateman (MA, 2013)

Thursday, November 12, 2015 - 3:30pm

Vanessa Bateman is a PhD candidate in the Art History, Theory, and Criticism program at the University of California San Diego, funded by a 4-year SSHRC Doctoral fellowship. In addition to her doctoral work in Art History, Theory, and Criticism, Bateman is also pursuing a Specialization Track in the study of human origins through the Center for Academic Research and Training in Anthropogeny at UC San Diego and the Salk Institute of Biomedical Studies. Her dissertation research focuses on the history of animals in visual art and material culture, with a particular emphasis on visual representations of hunting in the early twentieth century. This project connects hunting practices and practices of display to technological developments in visual media concurrent with the rise of the conservationist movement in the United States, ca. 1890-1920. In 2018, Bateman was awarded the student essay prize from the Universities Art Association of Canada for her paper “Ursus horribilis,” which was subsequently published in the Spring 2018 issue of the peer-reviewed journal RACAR.

 

https://visarts.ucsd.edu/people/grad-students/vanessa-bateman.html

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