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Past Fellows in Canadian Art

2008/2009 2007/2008 2006/2007 2005/2006 2004/2005 2003/2004 2002/2003 2001/2002 2000/2001
1999/2000 1998/1999 1997/1998 1996/1997 1995/1996 1994/1995 1993/1994 1992/1993 1991/1992


Fern Bayer, of Toronto, holds a master’s degree from the University of Toronto, and was previously chief curator of the Government of Ontario Art Collection. She is now an independent researcher, curator and consultant with extensive publication and exhibition experience. Bayer will use her fellowship in order to complete a catalogue raisonné of the works of the artist collaborative General Idea and to write an essay on their production.

Virginia Solomon, of Brooklyn, New York, is a graduate of Stanford University, with a master’s degree from the University of Southern California, where she is now a doctoral candidate. Solomon’s research will explore how the projects of General Idea enumerate a different way of understanding being, meaning-making and the political potential of art.


Kristy Holmes, of Sackville, New Brunswick, has been awarded a Fellowship in Canadian Art. She will be researching how Canadian art was being defined and constructed during the late 1960s and early 1970s, with particular reference to four large-scale international exhibitions mounted by the National Gallery of Canada, including Joyce Wieland’s True Patriot Love (1971). Kristy Holmes graduated from Queen’s University, Kingston, where she also obtained a doctorate. In addition, she holds a master’s degree from Leeds University in the United Kingdom. She has taught at Queen’s University and at Mount Allison University in Sackville, New Brunswick, and will be Assistant Professor in Art History at Lakehead University, Thunder Bay, Ontario.

Julia Pine, of Arnprior, Ontario, has been awarded a Fellowship in Canadian Art in order to investigate the diverse ways in which Canadian artists have used apparel and the idiom of the clothed body as a source of inspiration, humour and cultural critique. Julia Pine graduated from Carleton University, where she is currently pursuing her doctorate. She has curated exhibitions at the Bata Shoe Museum in Toronto and has published extensively on art and fashion.


The 2007/2008 Fellowship in Canadian Art has been awarded to Anne-Marie Ninacs, of Montreal. Mrs. Ninacs has Masters degrees in Art Studies and in Museology from the University of Montreal. A curator of modern art at the Musée national des beaux-arts du Québec, she also has extensive experience as a curator, researcher and writer, and has held positions in various museums in Quebec and Ontario. During her residency at the National Gallery of Canada, she is analyzing the relationship between creativity and spirituality in the works, writings and theories of David Brown Milne.


Dr. Dominic Hardy, Montreal, Quebec, is examining the National Gallery of Canada's programme of acquisitions and exhibitions of caricature, emphasizing the extensive work carried out by the NGC in this area over nearly a century. Dr. Hardy has held curatorial, education administration and teaching positions in Canadian art galleries and universities and has been actively involved in numerous arts organizations. He has completed his Ph.D. in Art History at Concordia University.

William Wood, Vancouver, British Columbia, is focusing on the history of contemporary art in Canada from a broader critical, theoretical and social perspective. He is investigating fictional strategies in video in Toronto from 1975 to 1985, examining in particular a series of works by Vera Frenkel, General Idea, John Massey and Tom Sherman. A writer and scholar, Mr. Wood is also a former editor of Vanguard magazine and has held teaching positions at a number of Canadian universities.

Kirsten Olds, Ann Arbor, Michigan, is investigating artists' collectives in the 1970s, and focusing her research on the General Idea Collection presently on loan to the National Gallery. She holds a Master's in Art History from the University of Michigan, where she is currently a Ph.D. candidate. She has extensive teaching and curatorial experience.


Patricia Grattan, St. John's, Newfoundland, is examining the relationship between the visual arts and geology, and its expression in Canadian landscape art over the past 200 years. Ms. Grattan is an independent curator and writer. She has held curatorial, arts administration and teaching positions in St. John's since 1976, and has been an active force in provincial and national arts organizations for more than three decades. From 1982 to 2003, she was Executive Director and Senior Curator of the Art Gallery of Newfoundland and Labrador.

Katie Cholette, Ottawa, Ontario, is a doctoral candidate in Canadian Studies at Carleton University. Her research focuses on the relationship between two London, Ontario, artists, Greg Curnoe and Jack Chambers, as well as on the National Gallery of Canada during the 1960s and 1970s, a period of Canadian cultural nationalism and vigorous debate about the role of contemporary artists in the promotion of national cultural identity.


Dr. Jayne Wark, Halifax, Nova Scotia, is carrying out research toward a history of Conceptual art in Canada. The project makes particular use of the Art Metropole Collection (donated to the National Gallery Library by Jay A. Smith, Toronto, in 1999) and the General Idea Archives (on loan to the National Gallery Library from AA Bronson). Dr. Wark is Associate Professor of Art History at the Nova Scotia College of Art and Design, and Chair of the Historical and Critical Studies Division of the College. She received her doctorate in art history from the University of Toronto and has published and lectured extensively on 20th-century art history and theory.

Lesley Johnstone, Montreal, Quebec, is carrying out research on the history of art magazines in Canada from the 1960s to the present, in order to determine the influence they have had on the construction of a discourse on contemporary art in Canada. Johnstone received her B.A. in art theory from the University of Ottawa and her M.A. in art history from the Université de Montréal. Her extensive career in art publishing include positions with Vanguard magazine, Artexte Editions and the Canadian Centre for Architecture in Montreal. Her most recent position was Artistic Coordinator of the International Garden Festival in Métis, Quebec.

Jessica Bradley, an independent curator and critic based in Toronto, Ontario, has been awarded a travel grant for research at the National Gallery on the innovative work of Iain Baxter/N.E. Thing Company and Les Levine between 1965 and 1971. Bradley completed her undergraduate studies in art history at Ottawa's Carleton University and Toronto's York University, and received her M.A. in Communications and Cultural Studies from McGill University. She has held senior curatorial positions at the National Gallery of Canada and, more recently, at the Art Gallery of Ontario, where she was Curator of Contemporary Art from 1995 to 2003.

Dr. Linda Morra of Vancouver, British Columbia, has been awarded a travel grant that will allow her to investigate resources at the National Gallery and Library and Archives Canada relevant to her study of Emily Carr's literary life and publications. Dr. Morra received her B.A. and M.A. in English literature from the University of Toronto and the University of Ottawa, respectively, and her doctorate in Canadian Studies from the University of Ottawa. She is currently a Social Sciences and Humanities Research Council Postdoctoral Fellow at the Centre for Research in Women's Studies and Gender Relations, University of British Columbia, where she is engaged in the study of Emily Carr's writing.


Fern Bayer, Toronto, Ontario, has been awarded a Fellowship in Canadian Art for research toward a catalogue raisonné of the works of the artist collaborative General Idea. Fern Bayer was Chief Curator of the Government of Ontario Art Collection, 1977-1995, and a consultant to the province on international cultural promotion, 1986-1995. She was the guest curator of the exhibition Search for the Spirit: General Idea 1968-1975, held at the Art Gallery of Ontario in 1997, and is the author of a catalogue raisonné of General Idea multiples, included in General Idea Editions 1967-1995, published on the occasion of a traveling exhibition organized and circulated by the Blackwood Gallery, University of Toronto at Mississauga, 2003.

Alicia Boutilier, Hamilton, Ontario, has received a Fellowship in Canadian Art for research on Harry Stevenson Southam, 1875-1954, as a collector and patron of Canadian art, as a donor to public art collections and in his role as Chairman and member of the Board of Trustees of the National Gallery of Canada from 1929 to 1953. Alicia Boutilier received her MA in Canadian art history from Carleton University in 1998 and has a curatorial and education background with the Art Gallery of Hamilton, Art Gallery of Ontario, Art Gallery of Northumberland and the McMichael Canadian Art Collection.

Karen Henry, an independent curator and editor based in Vancouver, British Columbia, has received a Fellowship in Canadian Art for research on the life and work of Doris Shadbolt. This study will chronicle and analyze the education and curatorial aspects of Doris Shadbolt’s career, her relationship to the ideas and attitudes of her times, and the impact of Shadbolt’s contribution at the local, regional and national levels. Karen Henry has a long association with cultural organizations and institutions on the West Coast, including Video Inn, Western Front Society, Burnaby Art Gallery, the City of Vancouver Office of Cultural Affairs, and the Presentation House Gallery.


Roald Nasgaard, Chair and Professor, Department of Art, Florida State University, Tallahassee, and Adjunct Professor, University of Toronto, has been awarded a Fellowship in Canadian Art. After receiving his doctorate from the Institute of Fine Arts, New York, Mr. Nasgaard had a distinguished curatorial career at the Art Gallery of Ontario from 1975 to 1993. He has written and lectured extensively on 20th century Canadian and international art. His research at the National Gallery will be in preparation for the publication of Abstract Painting in Canada: A History, to be issued in 2003.

Lynda Jessup, Associate Professor, Department of Art, Queen's University, Kingston, Ontario, received her doctorate from the University of Toronto in 1992. She is the recipient of a Fellowship in Canadian Art for an investigation of the recent exhibition history of the Group of Seven and the relationship of these events to official cultural history, identity, values and authority. Lynda Jessup recently has edited Antimodernism and Artistic Experience: Policing the Boundaries of Modernity (2001) and On Aboriginal Representation in the Gallery (2002).

Martha Langford, of Montreal, Quebec, was awarded a Fellowship in Canadian Art Montreal, for research toward an intellectual biography of Toronto artist Michael Snow. Martha Langford was the founding Director and Chief Curator of the Canadian Museum of Contemporary Photography, an affiliate of the National Gallery of Canada. She completed her doctorate at McGill University in 1997 and was a 1999/2000 postdoctoral fellow at the Institute for the Humanities, Simon Fraser University. Her study of photography and orality, Suspended Conversations: The Afterlife of Memory in Photographic Albums, was published in 2001.


Jim Burant, Chief, Art and Photography Archives Section, National Archives of Canada, Ottawa, Ontario, has been awarded a fellowship in Pre-1970 Canadian Art. Mr. Burant is a senior member of the Canadian archives community, and has curated, published and lectured extensively on the history of the visual arts in Canada. His research will explore the ways in which the visual arts in Canada, in particular narrative history painting, influenced the shaping of a national historical consciousness during the first 60 years of Confederation, from 1867 to 1927.

Gemey Kelly, Sackville, New Brunswick, was awarded a second fellowship in Pre-1970 Canadian Art. Ms. Kelly is currently Director and Curator, Owens Art Gallery, Sackville, and Lecturer in Canadian art history at Mount Allison University, Sackville. Her research at the National Gallery will examine the work of New Brunswick artists Jack Humphrey and Miller Brittain in the context of regional, national and international developments in the visual arts and society during the 1930s and early 1940s. The Archives of the National Gallery houses the Jack Humphrey papers.

Jim Drobnick, Montreal, Quebec, is the recipient of a fellowship in Post-1970 Canadian Art. Mr. Drobnick is a graduate of Oberlin College and the Nova Scotia College of Art and Design, Halifax. He is currently a faculty member and doctoral candidate at Concordia University, Montreal, and an Assistant Editor of Parachute magazine. His project will examine the audio artworks in the National Gallery's Media Arts collection and the Art Metropole Collection, situate these works historically, and analyse them in the context of contemporary audio theories and practices.


Dr. Johanne Sloan, Department of Art History, McGill University, Montreal, Quebec, was awarded a Fellowship in Post-1970 Canadian Art. A graduate of Concordia University, Montreal, the Université de Montréal and the University of Kent, Canterbury, England, Dr. Sloan recently undertook post-doctoral research at Columbia University, New York. Her project at the National Gallery will study the Joyce Wieland exhibition True Patriot Love, organized by the National Gallery in 1971, and the Wieland film The Far Shore, as pivotal events in the development of conceptual landscape aesthetics in Canada.

Sarah Cook, a doctoral candidate in Curatorial Studies of New Media Art at the University of Sunderland, England, is the second recipient of a Fellowship in Post-1970 Canadian Art. Ms. Cook is a graduate of University of King's College, Halifax, and the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, with recent curatorial experience at the Walker Art Center, Minneapolis and the Walter Phillips Gallery of The Banff Centre for the Arts. Her work at the National Gallery will investigate the degree to which a distinct curatorial practice has emerged over the last 30 years in Canada in order to accommodate the computer and telecommunications-based manifestations of new media art.


Dr. Brian Foss, Associate Professor, Department of Art History, Concordia University, Montreal, Quebec, was awarded a Fellowship in Historical (pre-1970) Canadian Art. Dr. Foss will investigate and analyze the landscape paintings of Homer Ransford Watson (1855-1936), interpreting them within the visual culture of late nineteenth and early twentieth century Canada. The National Gallery houses the largest single collection of Watson's work, as well as important archival materials relating to the artist.

Kathy Zimon, Fine Arts Librarian Emeritus and Adjunct Assistant Professor, Department of Art, University of Calgary, Alberta, is the second recipient of a Fellowship in Historical Canadian Art. She will make use of the extensive documentation files on Canadian artists housed in the National Gallery Library, in order to assemble biographical information for a dictionary of Alberta artists born before 1950.

Ruth Kerkham, of Toronto, Ontario, was awarded the Fellowship in Contemporary (post-1970) Canadian Art. Her research will examine concepts of "race", "authenticity" and "origin" in the light of Jean Baudrillard's simulacra, as well as contextual social responsibility. She will question how such readings of race inform curatorial practices and will study works in the National Gallery collection by Carl Beam, Ron Benner, Panya Clark Espinal, Jamelie Hassan, Paul Wong and Jim-me Yoon.


Anne Bénichou, of Ottawa, Ontario, will study contemporary Canadian "artist/collectors" for whom the collecting, classification and display of objects and documents is an important artistic strategy, artists such as Panya Clark Espinal, Vera Frenkel, George Legrady, Liz Magor and Irene Whittome.

Johanne Lamoureux, of Montreal (Quebec), shares a fellowship in Contemporary Canadian Art. She is a professor at the Department of Art at the University of Montreal and is well known in Canada and abroad as an educator, an author and a critic. She holds a doctorate from the École des Hautes Études in social sciences and a Masters degree in art from the Department of Art History of the University of Montreal. During her residency at the National Gallery, Ms. Lamoureux will pursue an investigation on the controversy that took place at the Gallery during the exhibition Vanitas : Flesh Dress for an Albino Anorectic, in 1991.

Jeffrey D. Brison, Department of History, Queen's University, Kingston, Ontario, was awarded the Fellowship in Historical Canadian Art. Mr. Brison will investigate the relationship of mutual influence which existed between the National Gallery of Canada and the Carnegie Corporation of New York in the 1930s and 1940s, and the development of the faculties and discipline of art history in Canadian universities during this same period.


Cathy Busby, of Montreal, Quebec, Contemporary Canadian Art Fellow, is an artist, writer, critic and curator. Ms. Busby spent 1995-96 as a Fulbright Fellow in New York. She is presently completing her doctorate in communications studies at Concordia University. Her thesis is entitled. “Tragedies, Transgressions, and Transformations: Memory, Suffering and Pain within Recovery Culture”. As a curator she has explored the possibilities of museal installation as an aesthetic interrogation of artists books, most notably in shows at the Banff Centre and the New Museum in New York. During her fellowship Ms. Busby will review a substantial portion of the artists' books included in the Art Metropole collection (some 3.300), examining them as singular objects and as texts in discourse.

Jennifer Fisher, of Montreal, Quebec, Contemporary Canadian Art Fellow, is a writer, editor and curator, and teaches art criticism and museum studies in Montreal. She holds a B.F.A. from the Nova Scotia College of Art and Design, as well as an M.A. in Media studies and a Ph.D. in Humanities, both from Concordia University in Montreal. Her doctoral thesis is entitled, “Aesthetic Contingencies: Relational Enactments in Display Culture”. Until recently, Dr. Fisher was a visiting scholar in performance Studies at the Tisch School of the Arts, New York University. Her research, supported by the Fonds pour la formation de chercheurs et l'aide à la recherche (F.C.A.R) post-doctorai fellowship, investigated contemporary and historical manifestations of the phenomena of live display. From 1986 to 1992 she was Assistant Editor of Parachute. She is the author of "Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni and Marina Abramovic," forthcoming in the Art Journal. She is also involved in a curatorial project which is developing an experimental display prototype, "CounterPoses: Re-imagining Tableaux Vivants," involving ten site specific installations which incorporate a living person, and will take place at galerie Oboro in Montreal. During her fellowship, Dr. Fisher will complete a book, provisionally titled Performed Beholdings: Engaging the Haptic in Art and Exhibitions, which will examine how haptic, or non-visual, engagement operates in dimensions of aesthetic experience, artistic practice and in the enactment of exhibitions. The project will explore how a gallery's diverse spaces are performed and identify how particular aspects of haptic engagement are represented in works from the collection.


Douglas Ord, of Ottawa, Ontario, contemporary Canadian Art fellow, is a well-known essayist and art writer. His recent work includes articles in Parachute, C Magazine, Border Crossings, and The Ottawa Citizen, and monographs on Anselm Kiefer, Daniel Buren, David Milne and the socia1 aesthetics of Wildlife Art. In 1995 Mr. Ord contributed Preliminary Mapping of an Event, an essay for the exibition of Dennis Tourbin’s October Crisis/Continuum at the Ottawa Art Gallery. Most recent1y he has published "Magic Lanterns, Stars and No-Place" in the Spring 1996 Parachute and "Re-Excavated" in the Summer 1996 BorderCrossings. The former provides critical commentary on the symposium, Modern Utopias: Postformalism and the Parity of Vision which was held at the Musée d'art contemporain de Montréal in December 1995. The latter considers the juxtaposition, in adjacent rooms of the National Gallery in autumn 1995, of Paul Wong's Confused: Sexual Views and GeneraI Idea's One Year of AZT/One Week of AZT. During his fellowship Mr. Ord will be completing archival research for his book Simulating the Sacred: Contemporary Art and the National of Canada 1988- 1995. This is a work which examines how the presence and architecture of the new NGC have reconfigured the status of contemporary art in Canada, while in the same period undergoing implicit or explicit interrogation by such artists as Jana Sterbak, Tadashi Kawamata, Sara Diamond, Jane Ash Poitras, Roland Poulin, and John Scott. Mr. Ord will also be pursuing study on the broader theme of semantic production in art through context, and especiaIIy through contextual juxtaposition of artworks to form machinic events. This dimension of his research will buiId on a recently completed manuscript entitled Coincidence: Mapplethorp, Deleuze, Fehér.

Ruth Phillips, Ottawa, Ontario, Historic Canadian Art Fellow, is a writer, curator and Professor of Art History from Ottawa, Ontario. She has a B.A. from Harvard University, an M.A. in Art History from the University of Toronto, and a PhD in Art History from the University of London. School of Oriental and African Studies. Her thesis research was published in 1995 by the Fowler Museum of Cultural History at U.C.L.A. as Representing Woman: Sande Masquerades of the Mende of Sierra Leone. Since 1990 she has taught art history at Carleton University, and has focused her research and teaching on the historic and contemporary Native arts of the Northeast and Great Lakes. She has written and lectured widely, and has also curated and co-curated exhibitions on these arts. These include "Patterns of Power: The Jasper Grant Collection and Great Lakes Indian Art of the Early Nineteenth Century" (1984) for the McMichael Canadian Collection, and "The Spirit Sings: Artistic Traditions of Canada's First Peoples," (1988) for the Glenbow Museum. Her most recent research, supported by grants from the J. Paul Getty Foundation and S.S.H.R.C. has resulted in a book to be published in 1997 by the University of Washington Press, Trading Identities: Souvenirs from Northeastern North America, 1700-1900. During her fellowship, Prof. Phillips will be completing two book projects. The first, provisionally entitled Museum Pieces: Exhibiting Native Art in Canada, is a series of essays exploring the way that Native art has been represented in Canadian museums during this century, focusing on the momentous impact of postcolonial thinking and activism since 1967. The second is a volume surveying Native American art, co-written with Janet Catherine Berlo, commissioned for the new Oxford University Press history of art series.


John Murchie, of Sackville, New Brunswick, Historic Canadian Art Fellow, is a writer, artist, curator and farmer from Sackville, New Brunswick. With a B. A. in English and Philosophy from the University of Colorado, he earned a Master of Library Service degree at Dalhousie University. He has pursued studies in studio art and art history and received fellowship, scholarship and grant support from universities and government agencies, including the Ford Foundation, Dalhousie University, the Social Sciences and Humanities Research Council and the Province of New Brunswick. Mr. Murchie was on the staff of the Dalhousie University Library from 1968 to 1972 and Director of the Library of the Nova Scotia CoIlege of Art and Design from 1972 to 1990. He was first Assistant, then Associate Professor there for most of that period. He has organized exhibitions for several art galleries in Nova Scotia and New Brunswick. He is currently preparing a major retrospective of the Canadian 2nd World War artist Donald Cameron Mackay (1906-1979) to be held in 1999 at the Art Gallery of Nova Scotia, where he has recently been appointed Associate Curator. He will also organize for the AGNS a large exhibit on figurative representation and realism in Atlantic Canada, ca. 1887 to 1987. His own work has been exhibited extensively at the Eye Level Gallery in Halifax and at the Owens Art Gallery in Sackville N.B. Mr. Murchie is a well-known essayist and critic, particularly in the 1990s, in Arts Atlantic and Canadian Art. He has lectured widely and served on numerous boards and advisory committees of educational and other community organizations. Inspired by the research of Harry Piers, by J. Russell Harper's Early Painters and Engravers in Canada (1970) and by the unpublished research of Donald C. Mackay himself on the history of Nova Scotia art and artists, Mr. Murchie will develop an artists' handlist with biographies and bibliographies, of artists working in Atlantic Canada between 1605 and 1970.

Anne Whitelaw, of Montreal, Quebec, contemporary Canadian Art Fellow, is completing a doctorate in Communications at Concordia University in Montreal, on the subject of the special exhibitions and permanent collection displays of Canadian art at the National GalIery between 1980 and 1992. Her thesis title is: “Exhibiting Canada: Articulations of National Identity at the National GalIery of Canada”. She has a B.F.A. Honours Art History degree from Concordia, and went on to earn an M.A. in the History and Theory of Art at the University of Essex in England on the subject: “The Postmodern Museum: A Reconsideration of the Role of the Art Museum in the Late Twentieth Century”. Ms. Whitelaw has organized and collaborated in exhibitions, and has taught in Art History and Communications at Concordia since 1990. Her doctoral work has been supported by Fellowships from Concordia and from the Social Sciences and Humanities Research Council (1992-95). Most recently she was awarded a Social Sciences and Humanities Research Council post-doctoral fellowship for two years' study at the University of Rochester, where she will build on the research undertaken concurrently at the National Gallery. Ms. Whitelaw has published in Parachute and has presented papers at numerous conferences including the Universities Art Association of Canada, the Canadian Communication Association, and the International Communication Association. She has an essay on art museums and the 'Canadian aesthetic' in the forthcoming publication from McGill - Queen's University Press, J. Berland and S. Hornstein editors, entitled Cultural Capital: Symbolic Production and Community Formation in the Technological State. During her fellowship, Ms. Whitelaw will study the relationship between display practices at the Gallery and the formation of narratives of art history in Canada, through an analysis of the temporary and permanent installations of the National Gallery of Canada for the period from the 1930s to the 1960s.


Lynda Jessup, of Kingston, Ontario, Historic Canadian Art Fellow is an Assistant Professor and the Coordinator of Graduate Studies in the Department of Art at Queen's University. Ms. Jessup completed her doctorate in the history of art in 1992 at the University of Toronto with a thesis entitled, Canadian Artists, Railways, the State and 'The Business of Becoming a Nation`. She has lectured and published in both Canadian Studies and Art History circles. Her pubIished work includes “All the Smart People Like David Milne”, (Queen's Ouarterly Summer, 1992) and "'The Greatest Adventure Yet': Artists, Railways, the State and the Making of a Cultural Landscape," (in Canadian National: Explorations in Railway Culture, edited by Allen Seager). Her work has also appeared in University of Toronto Quarterly, Muse, and Labour/Le Travail. Her work at the Gallery will be primarily devoted to preparing her thesis for publication. Dealing with the decades around the turn of the century -- the climax of Canada's Railway Age – Ms. Jessup's study focuses on the collaborative effort of artists, railways, and government in Canada to define and advance a distinctively "Canadian" culture and, through it, an image of a nation that served their various interests. A second research project will revolve around the 1927 film Saving the Sagas, which documents the ethnographic activities that year of Marius Barbeau and Ernest MacMillan among the Nisga'a of the Nass River region of British Columbia.

Clive Robertson, of Montreal, Quebec, Contemporary Canadian Art Fellow, came to Canada from England in 1971 as a former graduate of Liverpool and Cardiff Colleges of Art (Sculpture) with an MFA from the University of Reading (Synaesthetics). He began an extensive career in collaborative artist projects and formations working as a media artist, curator, critic and publisher in Calgary, moving later to Toronto, Ottawa and Montreal. His media arts curatorial contributions have variously included an international artist-television series and national independent video festivals. More recently, in 1987-89, he was Artistic Director of Galerie SAW Video in Ottawa and in 1989-90, was National Spokesperson and Co-National Director af ANNPAC/RACA (National Association of Artist- run Centres). Since 1993 he has been a part-time lecturer at the Department of Communication Studies, Concordia University, where he is currently pursuing a Ph.D. in Communication. His critical writings on art production and cultural policy are widely known by readers of Fuse, Parallelogramme, Inter and Parachute. He has contributed to Video by Artists (1976) and Performance by Artists (1979), edited by A.A Bronson and Peggy Gale for Art Metropole. He is author (with Alain Martin Richard) of Perfomance Au/In Canada 1970-90, published by Editions Interventions, Québec and Coach House Press, Toronto in 1991. His own Cultural Debriefings, a collection of authors' essays on the contested changes in artistic and cultural practice and authorship in Canada during the Eighties is forthcoming from Tellem Press, Ottawa with Artexte, Montreal. Mr. Robertson's research at the CCVA will focus on "The Collaborative Role of the National Gallery in productions of public taste and art schoIarship in Canada 1955-76.”


Catherine Richards, of Ottawa, Ontario, is an artist whose works have encompassed video, installation works, performance pieces and multi-monitor installations, but most recently she has been experimenting with virtual reality technology, which she defines as "a recent technology developed to display computer imagery in three dimensions and to simulate a physical experience with that imagery." Ms. Richards' project as a National Gallery fellowship recipient is entitled: "New Subjectivities - Artists' Technologies." Ms. Richards has a B.A in English from York University in Toronto and a B.A. in Visual Arts from the University of Ottawa. She has been guest speaker at many conferences and festivals, including the Institute of Contemporary Art (ICA) Conference on Culture, Technology and Creativity in London, England, in April 1991, the Third Video Festival in Tokyo, Japan, in 1992, and the ICA Conference entitled "Towards the Aesthetics of the Future" in 1993. She is presently invited to exhibit an interactive piece at the opening of the new Eldorado Museum in Antwerp, Belgium, which is the "Cultural Capital of Europe” for 1993. In 1991, Ms. Richards was responsible for initiating and co-chairing Bioapparatus, an artists' residency at the Banff Centre for the Arts on the subject of art and the intimacy of the body with new technologies. This project received the Canadian Conference of the Arts Corel Prize for innovative projects in arts and new technologies in 1992. Ms. Richards has also served as a jury member for various arts organizations and festivals, including the Ontario Arts Council and the Festival international du nouveau cinema et de la vidéo de Montréal. The Canada Council recently gave Catherine Richards the Petro-Canada Award for Media Arts for 1992, which is presented every two years to an artist "who has demonstrated outstanding and innovative use of new technologies in media arts." Ms. Richards received the award in recognition of her two-phase research project entitled "Virtual Reality (Phase One) and the Subtle Body (Phase Two)."

Bruce Hugh Russell, of Montreal, Quebec, is originally from Vancouver where he studied at the Emily Carr College of Art and Design (formerly the Vancouver School of Art), and is a free-lance critic and curator. Mr. Russell will be working on "A study of the Douglas Duncan/Frances Barwick papers in the Archives of the National Gallery of Canada." Douglas Duncan was one of the most influential and revered sponsors of Canadian art and artists, affectionately known as DMD, a major part of whose collection of Canadian art came to the NGC through the kindness of his sister, Frances Barwick. Douglas Moerdyke Duncan was an exceptionally humane and seminal figure in the patronage of Canadian artists and the conservation of Canadian art, whose collection is also represented in over forty galleries and museums in Canada. Focusing primarily on Duncan's residence and travels in Europe during the inter-war decades, Mr. Russell hopes to use the Duncan family papers at the National Gallery library as the basis for a broader study of the responses of Duncan and Barwick's generation to International Modernism. Mr. Russell will bring to his project a strong commitment to the exploration of cultural materials in elucidating social history, sharpened by research since 1985 into the work and lives of New York artists and writers in the period 1917-38, on which he has written and lectured at universities in Canada and the United States. He guest-curated Three American Artists in Québec: Winslow Homer, Georgia O’Keefe and Milton Avery, an exhibition held at the Smith College Museum of Art in 1984. More recently, Bruce Russell has been compiling a collection of documents relating to the history of gay and lesbian experience in Canada from 1648 to 1900. He has published various articles in MTL Montréal, Vanguard and Canadian Art.


Renee Baert, of Montreal, Quebec, is the Research Fellow in contemporary Canadian art. She holds a BA. in English from the University of Alberta and an MA. from Concordia University in Media Studies. At present, Ms. Baert is pursuing a PhD. at McGill University in Communications (Cultural Studies) on the subject of representations of the body in feminist art. Her MA. thesis, entitled Desiring Daughters, dealt with a corpus of feminist videotapes related to the mother-daughter relationship, produced in Canada between 1974 and 1988. Ms. Baert's doctoral work as a National Gallery Fellow will also include research on Canadian and international video art, establishing relations between performative works of the 1970's and more recent productions. Renee Baert is well-known in Canada as an independent curator with numerous exhibitions to her credit during the 1980's. She is equally known as a writer and critic for her many articles in Canadian Art, Parachute and the former Vanguard. She is also the editor of two forthcoming publications. Ms. Baert is a teacher, has lectured widely, and served often on arts juries. Her work has been supported by the Canada Council, the Ontario Arts Council and Quebec's FCAR (Fonds pour la formation de chercheurs et l'aide à la recherche).

John O'Brian, of Vancouver, British Columbia, is sharing the fellowship in historic Canadian art. He took a B.A. at the University of Toronto in Political Science and Economics, an M.A. at York University in Art History and English Literature and finally a Ph.D. in Fine Arts at Harvard University with the thesis: Ruthless Hedonism: The Reception of Matisse in North America 1929-1954 (to be published in book form by the University of Chicago Press in 1994). Mr. O'Brian is currently Associate Professor of Fine Arts at the University of British Columbia and was a member of the Board of Trustees of the Vancouver Art Gallery from 1988 to 1992. He has written extensively, in book and article form, on David Milne, James Wilson Morrice, Post-Impressionism and the critic, Clement Greenberg. He is best known in Canada for his book David Milne and the Modem Tradition of Painting (1983) and his catalogue entitled The Flat Side of the Landscape: The Emma Lake Artists' Workshops (1989), for which he was given the Janet Braide Memorial Award for distinguished scholarship in Canadian art history. Professor O'Brian has lectured widely at North American universities and art museums. His work as a fellow wiIl be focused on David Milne's Temagami paintings and the influence of Matisse in the history of modern art in the U.S. and Canada. He will also be preparing, in collaboration with Bruce Barber, for the University of Toronto Press, a book on the controversy surrounding the National Gallery's purchase of Barnett Newman's Voice of Fire in 1989. This publication has been prompted in part by a symposium organized by the National Gallery in 1990.

William Wood, of Vancouver, British Columbia, has also been awarded a portion of the fellowship in historic Canadian art. He holds a BA. from the University of British Columbia in English Literature and has just completed an M.A. there with a thesis on the English conceptual art group called Art and Language, concentrating on their relations with the art world in New York in the late 1960's and early 1970's. Mr. Wood is recognized for his critical writing in C Magazine, Canadian Art, Parachute, and the former Vanguard. He has organized several seminars and panel discussions in Toronto and Vancouver, most recently on the N.E. Thing Company (NETCO) and Intermedia (with Nancy Shaw) for the UBC Fine Arts Department. For his fellowship, Mr. Wood will be working on the NETCO exhibition held at the National Gallery of Canada in 1969, the first 'installation' work of its kind organized by the NGC. He will be investigating NETCO's involvement with such Canadian institutions as the Canada Council and the Nova Scotia College of Art and Design, in relation to the New York art scene exemplified by conceptual art promoter, Seth Siegelaub, and critic/curator, Lucy Lippard. Mr. Wood will also be studying the art of Les Levine and Joyce Wieland in relation to the New York-Toronto axis, and the visiting artists' programme at NSCAD.


Susan Douglas, of Montreal, Quebec, is the National Gallery Fellow in contemporary Canadian art. Miss Douglas received her B.A. in Art History and Criticism from the University of Western Ontario and her M.A. in Canadian contemporary art from Carleton University's Institute of Canadian Studies, where her thesis dealt with the aesthetics of spatial representation. Now a PhD candidate in the Humanities at Concordia University, with a concentration in Art History, Philosophy and Sociology/Anthropology, Miss Douglas will spend the period of her fellowship preparing a critical study of "vision and visuality” (sight as physical fact and sight as perceptual phenomenon) in relation to the work of four contemporary Canadian artists: Attila Richard Lukacs, Geneviève Cadieux, Jamelie Hassan and Robert Houle. Ms. Douglas is also teaching two courses in art theory and cultural studies at the University of Ottawa and Concordia University.

Robert Stacey, of Toronto, Ontario, is the National Gallery Fellow in traditional Canadian art. Mr. Stacey will be pursuing research on a number of projects developed in the course of a long career as a freelance curator, writer and editor. This research will focus on key figures in the history of 20th century Canadian art and will include in particular the preparation of a monograph on the graphic art and design work of the Group of Seven founder-member J.E.H. MacDonald, completing a project initiated by the late Hunter Bishop, archivist of the Arts and Letters Club, Toronto. Mr. Stacey will also be doing research for an exhibition on the Toronto connoisseur, collector and gallery operator Douglas M. Duncan and his Picture Loan Society, and working on an essay for the catalogue of the Art Gallery of Windsor's forthcoming exhibition Wyndham Lewis in Canada.