Posts Tagged: contemporary art

Plastic Heart: A DIY Fieldguide for Reducing the Environmental Impact of Art Exhibitions

Produced by the Synthetic Collective for the exhibition Plastic Heart: Surface All the Way Through (Art Museum at the University of Toronto, Fall 2021), this Fieldguide gives a step by step overview of curating less carbon intensive exhibitions.

Plastic Heart: A DIY Fieldguide for Reducing the Environmental Impact of Art Exhibitions

Produced by the Synthetic Collective for the exhibition Plastic Heart: Surface All the Way Through (Art Museum at the University of Toronto, Fall 2021), this Fieldguide gives a step by step overview of curating less carbon intensive exhibitions.

From Remote Stars: Buckminster Fuller, London, Speculative Futures

This exhibition was scheduled to open at Museum London in May, 2021. Postponed due to the pandemic, it is now scheduled for 2022. Curated by Kirsty Robertson and Sarah E.K. Smith In 1968, futurist, systems theorist, and architect R. Buckminster

From Remote Stars: Buckminster Fuller, London, Speculative Futures

This exhibition was scheduled to open at Museum London in May, 2021. Postponed due to the pandemic, it is now scheduled for 2022. Curated by Kirsty Robertson and Sarah E.K. Smith In 1968, futurist, systems theorist, and architect R. Buckminster

No Small Matter: Micromuseums as Critical Institutions

with Helen Gregory. “No Small Matter? Micromuseums as Critical Institutions,” RACAR (special issue: Critical Curating) 43.2 (2018), pp. 89-101. Focusing on three micro-institutions located in Canada, each with specifically challenging and/or political mandates, this article examines the critical potential of

No Small Matter: Micromuseums as Critical Institutions

with Helen Gregory. “No Small Matter? Micromuseums as Critical Institutions,” RACAR (special issue: Critical Curating) 43.2 (2018), pp. 89-101. Focusing on three micro-institutions located in Canada, each with specifically challenging and/or political mandates, this article examines the critical potential of

Cabinet of Shadows: The Reliquary for Lost Animals

Cabinet of Shadows was an exhibition curated by students in my VAS/VAH Museum and Curatorial Practicum class in 2015-16. A catalogue is available here. The website can be accessed here. More images of the exhibition can be seen here. Cabinet

Cabinet of Shadows: The Reliquary for Lost Animals

Cabinet of Shadows was an exhibition curated by students in my VAS/VAH Museum and Curatorial Practicum class in 2015-16. A catalogue is available here. The website can be accessed here. More images of the exhibition can be seen here. Cabinet

Secret Stash: Textiles, Hoarding, Collecting, Accumulation and Craft

In this essay, I look first at the history of hoarding and bring this discourse up to date to examine the recent pathologization of hoarding as a mental disease through its 2013 acceptance into the Diagnostic and Statistical Manual of

Secret Stash: Textiles, Hoarding, Collecting, Accumulation and Craft

In this essay, I look first at the history of hoarding and bring this discourse up to date to examine the recent pathologization of hoarding as a mental disease through its 2013 acceptance into the Diagnostic and Statistical Manual of

Shopping Cartographies

“Shopping Cartographies.” In The Vancouver Carts: Photographs by Kelly Wood. James Patten, ed. London: Black Dog Publishers, 2016. A catalogue essay to accompany the exhibition and publication of The Vancouver Carts by photographer Kelly Wood. Excerpt: “Kelly Wood’s photographs record

Shopping Cartographies

“Shopping Cartographies.” In The Vancouver Carts: Photographs by Kelly Wood. James Patten, ed. London: Black Dog Publishers, 2016. A catalogue essay to accompany the exhibition and publication of The Vancouver Carts by photographer Kelly Wood. Excerpt: “Kelly Wood’s photographs record

Four Houses, Never at Home: Tents, Capitalism and the Fabric of Living

It seems, these days, that tents are everywhere. In the wake of natural disasters, in the face of manufactured crises, after conflict, and on the edge of borders, can be found fragile, ephemeral fabric dwellings. This paper tells the stories

Four Houses, Never at Home: Tents, Capitalism and the Fabric of Living

It seems, these days, that tents are everywhere. In the wake of natural disasters, in the face of manufactured crises, after conflict, and on the edge of borders, can be found fragile, ephemeral fabric dwellings. This paper tells the stories

Quilts for the 21st Century: Activism in the Expanded Field of Quilting

“Quilts for the Twenty-First Century: Activism in the Expanded Field of Quilting” In Handbook of Textiles, eds. Janis Jefferies, Hazel Clark and Diana Wood Conroy. London: Bloomsbury Press, 2014, pp. 197-210. In this chapter, I begin by exploring the rich

Quilts for the 21st Century: Activism in the Expanded Field of Quilting

“Quilts for the Twenty-First Century: Activism in the Expanded Field of Quilting” In Handbook of Textiles, eds. Janis Jefferies, Hazel Clark and Diana Wood Conroy. London: Bloomsbury Press, 2014, pp. 197-210. In this chapter, I begin by exploring the rich

Oil Futures/Petrotextiles

The Petrotextiles project is one of my contributions to the Visualizing the Invisible project. It is made up of a series of research papers and talks documenting the fraught relationship between textiles and oil. So far, this project has been

Oil Futures/Petrotextiles

The Petrotextiles project is one of my contributions to the Visualizing the Invisible project. It is made up of a series of research papers and talks documenting the fraught relationship between textiles and oil. So far, this project has been

Negotiations in a Vacant Lot

At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked:

Negotiations in a Vacant Lot

At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: