Presenters & Panellists


David Aurandt
Emily Falvey
Simon Frank
Janna Graham
Lise Hosein
Anna Hudson
Andrew Hunter
Lynda Jessup

Ivan Jurakic
Rachel Kalpana James
Kent Monkman
Dennis Reid
Stuart Reid
Seth Scriver
Anna Stanisz
Georgiana Uhlyarik

Brandon Vickerd
Peter Vietgen
Colin Wiginton
Douglas Worts
Liz Wylie
Joyce Zemans



David Aurandt was born in Connecticut and was educated there and in Massachusetts before taking permanent residence in Canada in 1965 and Canadian citizenship in 1971. In addition to full-time study at the New School of Art in Toronto he has a B.A. from Fairfield University in Connecticut, an M.A. from the University of Toronto, and an M.F.A. in painting from the Milton Avery School of Graduate Studies, Bard College, New York. During the past twenty five years he has taught at several universities including University of Prince Edward Island, Algoma University College-Laurentian University, Lakehead University, Brock University, and Trent University. He served as special advisor to the Art Gallery of Algoma in its early development, and was a consultant, programme planner, and curator for exhibitions for the Algoma Fall Festival. In 1983 he was appointed Director of the Thunder Bay Art Gallery where he curated several exhibitions of contemporary Canadian artists. Mr. Aurandt was a consultant for Eastman Kodak and was instrumental in establishing their new gallery at the Creative Imaging Centre in Camden, Maine. He is a curator and writer as well as a painter and printmaker whose work has been exhibited in a number of shows in Canada and the U.S., most recently at, Maine Coast Artists, Rockport, Maine; Maine/Maritime International at the University of Maine, Niagara Pumphouse Art Gallery, Niagara-on-the-Lake; Gallery of the School of Ideas in Visual Art, Niagara Falls. He was a founder and President of the Board of Theatre Algoma, a member of the Algoma University College Board of Trustees, a board member of Kaministikwia Theatre Laboratory as well as Monitor North Video Production in Thunder Bay, and a founding member of Artists North of Superior. For five years he was weekly film reviewer and commentator for CBQ-CBC Radio. In 1994 David Aurandt was appointed Director of Rodman Hall Arts Centre in St. Catharines, Ontario. He was a member of the Board of Niagara Vocal Ensemble and a member of the Brock University Dean’s Council for the Humanities. He is a founding member of Short Hills Art Gallery, and has served on the Vice-president’s Committee on Art at Niagara College, as well as on the City of St. Catharines Cultural Policy Committee. In January 2000 he was appointed Executive Director of The Robert McLaughlin Gallery in Oshawa. He is Past President of the Ontario Association of Art Galleries, and a member of the Canadian Art Museum Director’s Organization.

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Originally from Nova Scotia, Emily Falvey has worked in Ottawa as a curator, art critic, and writer since 2001. She received an MA in art history from Concordia University (2000), and has written numerous catalogue essays for contemporary art galleries and museums across Canada, including the Owens Art Gallery, the National Gallery of Canada, and the Southern Alberta Art Gallery. She has curated many contemporary and historical art exhibitions, including Hot Mush and the Cold North (2005), Dead Nature – La Vie immobile (2005), and Full Space: Modern Art from the Firestone Collection of Canadian Art (2004–2006). She recently collaborated with the independent curator, Milena Placentile, to present Off Grid (The Ottawa Art Gallery), an ambitious program of interdisciplinary art devoted to the margins of urban culture. She is currently curator of contemporary art at The Ottawa Art Gallery.

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Simon Frank is an artist, a poet, and a rustic-furniture maker. He was born in Glasgow, Scotland, in 1968 and now lives in Hamilton, Ontario. He obtained an honours BA in English from the University of Guelph in 1991.

The natural environment provides the source of both materials and inspiration for Frank’s continued investigation of the relationship between nature and culture. By utilizing a wide- range of approaches in his practice, including sculpture and installation (both permanent and ephemeral), performance, photography, video, painting and print-works, Frank makes interesting connections between a broad range of artistic traditions that link us to nature. These works challenge ideas about what art is or can be, and attempt to redefine human culture within the context of nature. Recent exhibitions include Brush (the land paints a picture of itself), Deleon White Gallery, Toronto (2005); Concrete Poetry, Art Gallery of Peterborough (2005); Group of Seven Revisited, Cambridge Galleries (2005); LANDeSCAPES, McMaster Museum of Art, Hamilton (2004); SPASM II, Saskatoon (2004); the Geumgang Nature Art Project, Korea (2002); and Zone 6B, Hamilton (2000). He has upcoming exhibitions at the WKP Kennedy Gallery, North Bay, and the Koffler Gallery, Toronto.

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Janna Graham is manager of community programs at the Art Gallery of Ontario in Toronto, where she has developed collaborative and participatory programming with artists and cultural and community organizers since 1999. These initiatives include Teens Behind the Scenes; an annual artists in residence program; and ArtsAccess, an inter-regional, gallery-initiated community arts initiative. Janna received her MA from the Department of Fine Art at Leeds University, is an editor, board member and contributor to FUSE and has worked on independent writing, curatorial and education projects with Mercer Union, Art Metropole (Toronto), Walter Phillips Gallery (Banff), Centre CATH (Leeds, UK) and 16 Beaver (New York). Her writing has appeared in the Journal of Visual Culture, the Journal of Cultural Studies and will appear in the forthcoming publication Museums After Modernism, edited by Griselda Pollock and Joyce Zemans.

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Lise Hosein is a writer and curator, currently working as assistant curator at the Justina M. Barnicke Gallery, at Hart House. She is a doctoral candidate at the university, writing her dissertation on issues of violence and dissection in representations of animals in contemporary art. She sits on the board of directors of Mercer Union Centre for Contemporary Art.

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Prior to joining the Department of Visual Arts at York University in 2004, Anna Hudson was the associate curator of Canadian art at the Art Gallery of Ontario. Hudson has curated a wide variety of exhibitions, permanent collections and installations including: No Escapin’ This: Confronting Images of Aboriginal Leadership (with Jeff Thomas), Woman as Goddess: Liberated Nudes by Robert Markle and Joyce Wieland, and Inuit Art in Motion (co-curated). Hudson publishes on Canadian historical art, representations of gender, post-colonial questions of voice and national identity in visual culture. She continues to work in the area of her doctoral dissertation, "Art and Social Progress: The Toronto Community of Painters, 1933–1950."

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Independent artist, writer and curator Andrew Hunter has produced exhibitions, publications and writings for public museums across Canada in the United States and Europe. He has become widely known for his innovative use of collections, his explorations of history and his commitment to creating projects that are engaging and accessible to broad audiences. Hunter has produced a distinct body of work on early Canadian art with a particular focus on the Group of Seven and their peers. He consistently emphasizes a broader vision of Canadian art, embracing social, cultural and environmental issues and exploring nationalism, myths and popular culture.

Hunter’s projects include Up North: A Northern Ontario Tragedy (Tom Thomson Memorial Art Gallery, 1997–98), Convergence (Winnipeg Art Gallery/Art Gallery of Peel, 1998), Ding Ho/Group of Seven (with Gu Xiong, McMichael Canadian Art Collection and Mendel Art Gallery, 2000–2001), Billy’s Vision (Mendel Art Gallery, Dunlop Art Gallery, Walter Phillips Gallery, National Gallery of Canada, 2000–2002), Stand by Your Man (Art Gallery of Hamilton, Confederation Centre Art Gallery, Edmonton Art Gallery, 2001–2002), In the Pines (Macdonald Stewart Art Centre, 2001), The Donnelly Project (Museum London and Confederation Centre Art Gallery and Museum, 2002–2003), Peake’s Folly (Art Gallery of Greater Victoria, 2003), Giddy Up! (Walter Phillips Gallery, 2004), Hanksville (Mendel Art Gallery, 2004), Lalla Rookh: A Poetic Archive (Proboscis, London, England, 2004, and Museum of Modern Art, Dubrovnik, 2005). Heart-Shaped Box (City of Toronto, 2005) and Up Jumped the Devil (Kitchener Waterloo Art Gallery, 2005). Hunter has curated numerous exhibitions of contemporary art and his major historical projects include Lawren Harris: A Painter’s Progress (Americas Society Art Gallery, New York, 2000), Tom Thomson (Art Gallery of Ontario and National Gallery of Canada, with Charles Hill and Dennis Reid, 2003), Come A Singing! (Edmonton Art Gallery, McMichael Canadian Art Collection and MacKenzie Art Gallery, 2003–2004), The Other Landscape (Edmonton Art Gallery and McMichael Canadian Art Collection, 2003–2004), To a Watery Grave (Confederation Centre Art Gallery and Museum, 2004) and The Road: Constructing the Alaska Highway (Edmonton Art Gallery with Catherine Crowston). His historical Canadian projects currently in development are: The Good Fight: Imagining the Great War (Confederation Centre Art Gallery and Museum), Carl Schaefer: Storm on the Horizon (Museum London), Dominion City (with the graphic novelist and cartoonist Seth) and Northern Passage: Jackson, Banting and Harris and the Beothic Voyages of 1927 and 1930. Hunter is also a contributing writer to the National Gallery of Canada and Vancouver Art Gallery’s upcoming major retrospective on Emily Carr.

Hunter has held curatorial positions at the Art Gallery of Hamilton, Kamloops Art Gallery and Vancouver Art Gallery and has been adjunct curator with the Confederation Centre Art Gallery and Museum and the McMichael Canadian Art Collection. He has published numerous essays on his own practice including The Wandering Boy (BlackFlash, Fall 2001), Speaking of Billy in The Edge of Everything: Reflections on Curatorial Practice (Banff Centre Press, 2002) and Hanksville (BlackFlash, Fall 2004). His book Cul-de-Sac, a reflection on Canadian landscape painting, was published by the University of Lethbridge in 2004.

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Lynda Jessup teaches Canadian art history and museum representation in the Department of Art at Queen’s University in Kingston, Ontario. She has published a number of articles dealing with the politics of representation in museum exhibits, including those surrounding exhibitions of the Group of Seven. She is editor of Antimodernism and Artistic Experience: Policing the Boundaries of Modernity (Toronto: University of Toronto Press, 2001) and On Aboriginal Representation in the Gallery (Hull: Canadian Museum of Civilization, 2002). She is currently writing a book entitled Winners’ History: Exhibiting the Group of Seven. A study of recent exhibitions of the Group of Seven as sites of official nationalism, it focuses on the ways in which national art histories function as an operative part of the increasingly post-national processes of globalization.

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Ivan Jurakic is a visual artist, writer and curator based in Hamilton. Since 1994 he has organized and curated solo and group exhibitions, often focusing on installation and site-responsive projects. As the administrative director of Hamilton Artists Inc. from 1994-2002, he coordinated numerous exhibitions featuring emerging and mid-career Canadian artists including; Colleen Wolstenholme, David Acheson, Tom Bendtsen, Catherine Heard and Lisa Klapstock, among others. Selected curatorial projects include; Kelly Mark: Messages (1999), Zone 6B: Art in the Environment (2000), Exile on James Street 3 (2000), Goth(narcot)ic: The Art of Floria Sigismondi (2003), Re:cycle (2003) and Group of Seven Revisited (2005). He has written for gallery publications and has had reviews published in C, Mix, Lola and Espace. He received his MFA from the State University of New York at Buffalo in 2004. Ivan Jurakic is the curator of Cambridge Galleries.

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Rachel Kalpana James is a Toronto-based visual artist. She has exhibited her installation work locally and internationally, notably at the Art Gallery of Ontario, Bose Pacia Modern (New York), Habitat Centre (Delhi) and Crow Eaters Gallery (Lahore). Her work explores the construction of identity: how image, text and personal experience conspire to build identity and a perception of history, others, and ourselves that is both part real and part fiction. She is the current director of SAVAC (South Asian Visual Arts Collective) and will attend Goldsmiths College, University of London, for her MFA in 2006.

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Kent Monkman is an artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance and installation. His recent work facilitates dialogue about colonial power relations using sexuality as a forum to negotiate power. He has had solo exhibitions at the Art Gallery of Hamilton and the Indian Art Centre, and has participated in group exhibitions in Canada, USA, UK, and Mexico, including: “We come in peace…” Histories of the Americas, at the Musee d’art contemporain de Montreal, and The American West, at Compton Verney, in Warwickshire, England. Monkman has created site specific performances at the McMichael Canadian Art Collection, and at Compton Verney, and has also made super 8 versions of these performances that he calls “Colonial Art Space Interventions”. Monkman has won numerous awards from the Toronto Arts Council, the Ontario Arts Council and the Canada Council. His award winning short film and video works have been screened at various national and international festivals. His work is represented in the collections of the National Gallery of Canada, Museum London, the Woodland Cultural Centre, the Indian Art Centre, The Mackenzie Art Gallery, and the Canada Council Art Bank.

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Dennis Reid was appointed chief curator of the Art Gallery of Ontario in April 1999, after serving for twenty years as the Gallery’s Curator of Canadian Art.

At the AGO, Mr. Reid has organized a number of national and international exhibitions that have shed significant new light on Canadian art, such as From the Four Quarters: Native and European Art in Ontario 5000 BC to 1867 AD (1984); Alberta Rhythm: The Later Work of A.Y. Jackson (1982); Canadian Jungle: The Later Work of Arthur Lismer (1985); Atmas Buddhi Manas: The Later Work of Lawren S. Harris (1985); Lucius R. O’Brien, Visions of Victorian Canada (1989); Michael Snow: Walking Woman Works (1994); Krieghoff: Images of Canada (1999); Greg Curnoe: Life and Stuff (2001). Most recently, Mr. Reid co-curated the exhibition Tom Thomson (2002) in partnership with the National Gallery of Canada.

Dennis was formerly curator of Post-Confederation Canadian Art at the National Gallery of Canada, Ottawa. He has also taught at Carleton University in Ottawa and at the Nova Scotia College of Art and Design, Halifax, and is currently Professor, History of Art, at the University of Toronto.

He holds a Master of Arts degree in Art History from the University of Toronto, and among his many publications is the well-known A Concise History of Canadian Painting (second edition 1988).

Dennis Reid was made a Member of the Order of Canada in 1998. In 2000, the Ontario College of Art and Design named Mr. Reid an honorary fellow for his contribution to the ideals of the college in art, design and education. He also received an Honorary Doctor of Fine Arts from the University of Lethbridge, Alberta, in 2001, for his scholarship in art history and his significant contribution to Canada’s cultural heritage.

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Born in Dundee, Scotland, Stuart Reid immigrated to Canada in 1967. He studied art and art history at York University in Toronto (BFA 1986). From 1990 to 1992, Reid was an associate curator at the Craft Gallery of the Ontario Crafts Council in Toronto. From 1992 to 2001, Reid was curator of the Art Gallery of Mississauga. In 1997, he was a guest of the British Council on a study tour of contemporary art in Northern Ireland. Since 2001, he has been director and curator of the Tom Thomson Memorial Art Gallery in Owen Sound. Reid is an alumnus of the J. Paul Getty Trust’s Museum Leadership Institute (2002) at the University of California at Berkeley. Reid is an active curator, critic and writer; recent exhibitions include Kevin Yates: My ex-girlfriend is a slut; Lorna Mills: Reality Show and The Limestone Barrens Project: a creative residency exchange between Ontario, Newfoundland and Labrador, and Ireland.

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Seth Scriver, born and raised in Toronto, attended the Nova Scotia College of Art and Design and received an interdisciplinary BA in fine arts. He is currently living and working in Toronto.

Most of his art-making is based on personal experience and stories told to him. His visual aesthetics push toward a type of fantasy world created through a stream-of-consciousness drawing style. The drawings present a believable view of a chaotic world in which unknown entities play out small dramas.

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Anna Stanisz is acting manager of education at the McMichael Canadian Art Collection. She holds master's degrees in art history and archeology (University Paris IV, Sorbonne). Prior to joining the McMichael staff in April 1997, Anna worked in Poland as an assistant curator at the National Museum in Cracow. Anna began her career at the McMichael as an educator, leading tours for school and adult groups. Anna now administers the gallery’s school programs and participates in the development of these programs, which support the Ontario curriculum. She coordinates the McMichael’s docent program. In this role, she supervises and trains more than 40 volunteers, who lead school and adult tours. For this group, she develops training materials on the gallery’s permanent collection and special exhibitions. Anna has just completed a training package on Loyal She Remains – Ontario: Selections from the Peter Winkworth Collection of Canadiana.

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Georgiana Uhlyarik is curatorial assistant in the Chief Curator's Office at the Art Gallery of Ontario. She curated Arthur Lismer: Works from the Permanent Collection at the AGO, as part of the Group of Seven Project 1920 to 2005. She also serves on the publication committee for the Project. Prior to working at the AGO, she worked at the McMichael Canadian Art Collection, The Power Plant, and Victoria University in the University of Toronto. She currently serves on the board of the Toronto artist-run centre Mercer Union, and has served on the board of Gallery TPW (Toronto Photographers Workshop). Ms. Uhlyarik has written for Prefix magazine, Hive, and eye, in addition to several AGO publications. She received her MA in art history from York University.

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Brandon Vickerd is a Toronto based sculptor and professor of visual arts at York University. He received his BFA from the Nova Scotia College of Art and Design (1999) and his MFA from the University of Victoria (2001) and he has taught and lectured in schools across Canada. His current research deals with Canadian culture’s mediate experience of nature through creating kinetic sculpture that simulates organic movements and forms.

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After serving in the role of visual arts teacher for ten years, and then as a visual arts consultant/curriculum advisor for the Toronto District School Board for another five, Peter Vietgen is an educator keen on bringing the arts alive in Ontario's schools. A former vice-president of the Ontario Society for Education through Art, he has taught art education at the Ontario Institute for Studies in Education/ University of Toronto, at Concordia University in Montreal, and at Brock University, St. Catharines, where he is currently a professor in the Faculty of Education. A frequent presenter at conferences locally, nationally and internationally, Peter Vietgen has pursued research interests in many areas, including social justice and the art classroom, school and gallery/museum partnerships, learning in non-school environments, architecture in the visual arts curriculum and teacher education. A recent teachingappointment with McGill University took him to Taloyoak (formerly Spence Bay), Nunavut, where he taught visual arts to a group of Inuit Pre-service candidates as a component of their studies toward the degree of Bachelor of Education. For Peter, this experience exemplified the true essence of Canada as a land of diversity—of both people and geography.

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Colin Wiginton is a graduate of Queen's University, Kingston, and the University of Toronto where he received a Master of Museum Studies degree. Colin has worked in Great Britain, the United States and Canada and, until recently, held the position of educator and curator at the MacLaren Art Centre in Barrie. As educator he was responsible for managing a diverse range of programs including "MacLaren Van Go", which reached thousands of school-aged children throughout Simcoe County each year. As curator he worked on numerous exhibitions of historical, modernand contemporary art featuring local, national and international artists.Some of these projects included From Plaster to Bronze: The Sculpture of Auguste Rodin, Shore/Lines: Responding to Place, Magdalena Abakanowicz:
The Long Wait, Dancing through Time: Indigenous Art of the Great Lakes Region, The New North: W.J. Wood and the Group of Seven
as well as numerous exhibitions of contemporary Canadian photography.

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Douglas Worts is an interpretive planner and audience researcher, currently working at the Art Gallery of Ontario, in Toronto. He has published and spoken widely, in Canada and internationally, on topics of museum education and audience research. During the 1990s Doug taught a graduate museum education course at the University of Toronto.

A founding member of the Visitor Studies Association (VSA), Doug also has been an assessor in the MAP III-Public Dimension Program of the American Association of Museums since 1991 - a program that helps museums to understand and improve their relationships to community. In Canada, Doug chaired the National Pilot Project of Museum Alberta’s Museum Excellence Program (MEP) and is currently the co-chair of the MEP National Steering Committee.

Doug is a Fellow of LEAD International (Leadership for Environment and Development) – a cross-disciplinary, global network, funded by the Rockefeller Foundation, set up to explore and promote the goal of sustainability.

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Liz Wylie, University of Toronto art curator since 1996, has worked as an independent curator and writer on art since receiving her MFA in Canadian art history from Concordia University in Montreal in 1980. Her MFA thesis was on the work of Winnipeg artist Lionel LeMoine FitzGerald. Her freelance curatorial projects include a retrospective exhibition on the Toronto painter Richard Gorman for the Ottawa Art Gallery in 1996, and In the Wilds: Canoeing and Canadian Art, a large group exhibition for the McMichael in 1998. She was director/curator of the gallery at the University’s Scarborough Campus, a position she held from 1994 to 1996. She has also taught courses in the history of art at the Ontario College of Art and Design, the Universities of Alberta and Saskatchewan, Brock University, and York University. Her main areas of interest and expertise are modern and contemporary art, and Canadian art. She has published reviews and articles, mostly on Canadian historical and contemporary art, for over twenty years in various magazines and journals, such as NOW, Canadian Art, the Journal of Canadian Art History, Queen’s Quarterly and the University of Toronto Quarterly.

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Senior Scholar and University Professor Emeritus, art historian, curator and arts administrator, Joyce Zemans is the Director the MBA Program in Arts and Media Administration in York University’s Schulich School of Business (Toronto). She has served as director of the Canada Council for the Arts (1988-1992); dean of York’s Faculty of Fine Arts (1985-88) and chair of the Department of Visual Arts (1975-81). From 1966-75, she taught at the Ontario College of Art where she directed the Liberal Art Studies Program.

Zemans’ research and teaching focus on both art history and cultural policy, with specific reference to the Canadian experience. She has curated exhibitions of and written about 20th century Canadian art. Her research has also focused on the work of Canadian women artists. [In cultural policy, her publications include Where is Here? Canadian Cultural Policy in a Globalized Environment (Robarts Centre 1996) and Comparing Cultural Policy: A Study of Japan and the United States (AltaMira 1999). ]

Zemans has received honorary degrees from the University of Waterloo and the Nova Scotia College of Art. She is an Honorary Fellow of the Ontario College of Art and Design. She is a member of the Order of Canada.

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