ERIN MORTON
Principal Investigator, editor of Unsettling Canadian Art History
Erin Morton is PI of the SSHRC Insight Grant that funded the Unsettling Canadian Art History book, “Unsettling the Settler Artist: Reframing the Canadian Visual Arts.” Morton is Full Professor of Visual Culture in the Department of History at the University of New Brunswick. Her research and writing is on visual and material culture, settler colonialism, and critical assessments of whiteness.
CO-APPLICANTS
KRISTY HOLMES
Co-Applicant
Kristy Holmes is an expert in feminist art history and Canadian settler art and currently chair of the Department of Visual Arts at Lakehead University. She was Research Fellow in Canadian Art at the National Gallery of Canada, where she conducted archival research on the painter and filmmaker Joyce Wieland. Holmes has published seminal articles on Wieland and on feminist production and visual culture in Canada. She is on the Board of Directors at the Thunder Bay Art Gallery and the Universities Art Association of Canada and is Vice Chair of the Public Art Committee of Thunder Bay.
KIRK NIERGARTH
Co-Applicant
Kirk Niergarth holds a PhD in History and is Associate Professor at Mount Royal University. An expert in Canadian cultural history and Atlantic Canadian art, he has published widely on Canadian settler visual culture, including his 2015 book from UTP, ‘The Dignity of Every Human Being’: New Brunswick Artists and Canadian Culture, 1930-1950. He was the principal investigator of a SSHRC IDG project entitled “Through the Looking Glass and Back: Canadian Tourists and the Soviet Union, 1921- 1939,” awarded in 2011. He is Vice President of the Canadian Committee on Labour History and member of the board of the Chinook Country Historical Society. He was a member of the program committee of the 2016 meeting of the Canadian Historical Association in Calgary.
CARLA TAUNTON
Co-Applicant, chapter contributor
Carla Taunton is an art historian and Associate Professor in the Division of Art History and Critical Studies at NSCAD University. She is a co-investigator on the SSHRC IDG (PI Julie Nagam) “The Kanata Indigenous Performance, New and Digital Media Art Project,” a collaborative research partnership which traces Indigenous practices and methodologies in the areas of performance, digital and new media arts. Her research focuses on the writing of Indigenous-specific art histories, recent Indigenous and settler research/arts collaborations, and strategies of creative-based interventions that challenge colonial narratives, national/ist institutions and settler imagination. She is an Alliance Member of the Aboriginal Curatorial Collective and an independent curator.
COLLABORATORS
SUSAN CAHILL
Collaborator
Susan Cahill is an independent filmmaker, curator, and Associate Professor of Art History at the University of Calgary. She is the Principal Investigator of the SSHRC-funded “Art and Surveillance Project,” a database dedicated to Canadian artistic engagements with the surveillance state post-9/11. An expert in Canadian contemporary settler art, Cahill has a research program that engages a number of regional contexts, including the Ontario Arts Council-Northern Arts Program funded curatorial and artist residency project “You Art Here: Visualizing Place at the ‘Gateway to the North.’” She recently completed filming a documentary on the historical resettlement of Newfoundland out-port communities.
MARK A. CHEETHAM
Collaborator, chapter contributor
Mark A. Cheetham is Professor of Art History and a Senior Fellow at Massey College, University of Toronto. He was the Principal Investigator for the SSHRC Partnership Grant project CACHET, of which Morton was the co-investigator. He became a Fellow of the Royal Society of Canada in 2008 and received fellowships from the John Simon Guggenheim Memorial Foundation Fellowship and the Sterling and Francine Clark Art Institute. He has received two awards from the Ontario Association of Art Galleries for curatorial work: in 2008 the long essay award, and in 2011 the exhibition of the year award for his co-curated exhibition Jack Chambers: The light from the darkness, silver paintings and film work. Cheetham’s books include Abstract Art Against Autonomy: Infection, Resistance, and Cure since the 60s (Cambridge UP, 2006); Remembering Postmodernism: Trends in Canadian Art, 1970–1990 (Oxford UP, 2012); and relevant to this research program Alex Colville: The Observer Observed. Toronto: ECW Press, (2nd ed., 1995).
DAYNA DANGER
Collaborator, chapter contributor
Dayna Danger is a 2Spirit/Queer, Metis/Saulteaux/Polish visual artist raised in so-called Winnipeg, MB. Using photography, sculpture, performance and video, Dayna Danger‘s practice questions the line between empowerment and objectification by claiming space with their larger than life scale work. Danger’s current use of BDSM and beading leather fetish masks explores the complicated dynamics of sexuality, gender, and power in a consensual and feminist manner. Danger is currently based in Tio’tia:ke. Danger holds a MFA in Photography from Concordia University. Danger has exhibited their work in Santa Fe, Winnipeg, Ottawa, Montreal, Peterborough, North Bay, Vancouver, Edmonton and Banff. Danger currently serves as a board member for the Aboriginal Curatorial Collective (ACC/CCA).
LEAH DECTER
Collaborator, chapter contributor
Leah Decter is a Tier 2 Canada Research Chair (CRC) in Creative Technologies and Community Engagement at NSCAD University and an inter-media artist and scholar currently based in Winnipeg, Canada; Treaty 1 territory. Her artwork and research focus on contested spaces, largely contending with histories and contemporary conditions of settler colonialism and systems of white dominance through a critical white settler lens. She holds a PhD in Cultural Studies from Queens University (Kingston) and an MFA in New Media from Transart Institute (Berlin). Decter has exhibited, presented and screened her work widely in Canada and internationally in the US, UK, Germany, Malta, the Netherlands, Australia and India. In 2017 she was a Visiting Research Fellow at University of New South Wales’ National Institute for Experimental Arts in Sydney, Australia. Her artwork has been featured in The Journal of Canadian Art History, Craft and Design in Canada, Fuse Magazine and Border Crossing, and her recent journal articles have been published in the Journal of Critical Race Inquiry, Liminalities: A Journal of Performance Studies and Canadian Theatre Review.Her co-authored writing (with Carla Taunton, Ayumi Goto and Jaimie Isaac respectively) has been published in Fuse Magazine’s Decolonizing Aesthetics Issue, The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation and West Coast Line’s Reconcile This!.
MIREILLE EAGAN
Collaborator
Mireille Eagan is Curator of Contemporary Art at The Rooms in St. John’s, NL. Prior to this, she was a curator at the Confederation Centre Art Gallery in Charlottetown, PEI, where she was a founding member of Prince Edward Island’s artist-run collective This Town Is Small. Eagan has curated more than 50 exhibitions, including: Jenny Holzer: Truisms; Folklore and Other Panics; Christopher Pratt: The Places I Go; and The Free World. Collaborative projects include co-curation of the nationally touring retrospective Mary Pratt (with Sarah Fillmore and Caroline Stone), Mary Pratt: This Little Painting (with Jonathan Shaughnessy) at the National Gallery of Canada, and enter the fog (with Josée Drouin-Brisebois). Eagan was co-curator of the Terra Nova Art Foundation’s Collateral Project at the 55th Venice Biennale, titled About Turn: Newfoundland in Venice, Will Gill and Peter Wilkins (with Bruce Johnson). She has lectured across the country at galleries, conferences, and universities such as the University of Toronto, University of Waterloo, and Memorial University, published extensively in catalogues for private and public galleries and written for national magazines and periodicals including Border Crossings, C Magazine, canadianart.ca, and Visual Arts News. She was the Atlantic Juror for the Sobey Art Award in 2013, and was on the jury for the RBC Painting Competition in 2017. Eagan holds a Master’s in Art History (Concordia University, 2008).
D.J. FRASER
Collaborator, chapter contributor
D.J. Fraser is a writer, poet, and graduate of the University of British Columbia (B.A.), and the University of Victoria (M.A.), and a third-year doctoral student at Concordia University’s Interuniversity Doctoral Program in Art History. Past publications include academic, poetic, non- and fictional work. They enjoy activism and queer ideas of fun at the intersections of artistic and gender non-conforming communities. As an instructor and a person, anti-oppressive scholarship and an invigoration of liminal queer sensibilities and marginalized voices is paramount in their work. Currently investigating such mythical queer figures as ghosts, unicorns and other specters in the archive and its performance capabilities, D.J. believes that queer possibilities in artistic expression and art history are endless, and is pursuing such trajectories in their work.
ANDREW GAYED
Collaborator, chapter contributor
Dr. Andrew Gayed is the newly appointed Assistant Professor of Art History and Visual Culture at OCAD University where he will teach courses in Visual and Critical Studies within the Faculty of Arts and Sciences. An Egyptian-Canadian art historian, Dr. Gayed has an academic background in diasporic art, queer visual culture, and Middle Eastern art histories among other areas of study. Before joining OCADU, Dr. Gayed was the Visiting Global Scholar at NYU’s Center for the Study of Gender and Sexuality where he researched the artistic practices of the queer diaspora. Gayed holds a PhD in Art History and Visual Culture from York University, an M.A. in Art History, and a B.F.A. in Visual Arts. Gayed’s research is located at the cutting edge of interdisciplinary and transnational inquiry in art history, gender studies, and critical race theory. The 2018 Osgoode Law research fellow in Transnationalism and Human rights, Gayed has been the recipient of notable awards including two SSHRC Joseph-Armand Bombardier Awards and the Ontario Graduate Scholarship. Dr. Gayed’s scholarship has appeared in books, including a forthcoming contribution to the Routledge Handbook of Middle Eastern Diasporas, and peer-reviewed journals including Photography and Culture, Journal for Studies in Art Education, and the Journal of Anthropology of Contemporary Middle East and Central Eurasia. He was a lecturer of Islamic Art and Architecture at York University, and at OCADU Dr. Gayed looks forward to developing courses in contemporary Arab art and critical race theory in addition to teaching courses on photography and global contemporary art.
MIMI GELLMAN
Collaborator
Mimi Gellman is an Anishinaabe-Ashkenazi Métis (Ojibway-Jewish Métis) conceptual artist, art historian, and Associate Professor at Emily Carr University of Art and Design. A practising, multidisciplinary visual artist and curator with many years of experience, Gellman has an impressive list of accomplishments: from creating half-million dollar public art projects for the Rogers Centre and the Toronto Transit Commission to the building of large-scale architectural glass installations for sacred places (churches, synagogues, and mosques). She is currently a PhD candidate in Cultural Studies at Queen’s University. Her dissertation, “Between the Dreamtime and the GPS/the Metaphysics of Indigenous Mapping,” explores why land matters through the lens of Indigenous maps and will be manifested as an embodied project-based/research praxis PhD.
SYLVIA D. HAMILTON
Collaborator, chapter contributor
Sylvia D. Hamilton is a Nova Scotian filmmaker, writer and artist who is known for her award-winning documentary films as well as her publications, public presentations, and extensive volunteer work. Her films include Black Mother Black Daughter, Speak It! From the Heart of Black Nova Scotia, Portia White: Think on Me and The Little Black School House. Her poetry collection, And I Alone Escaped to Tell You, was a finalist for a League of Canadian Poets award and the Nova Scotia Masterworks Award. Excavation/Here We Are Here, her multi-media installation, has toured to galleries and museums in Nova Scotia, New Brunswick, Quebec and Ontario. While working at the National Film Board’s Studio D (the Women’s Studio) she co-created New Initiatives in Film (NIF), a program for women of colour and Indigenous women. She was a contributor to and co-editor of We’re Rooted Here and They Can’t Pull Us Up: Essays in African Canadian Women’s History, the first collection of its kind published in Canada. Hamilton’s recognitions include a Gemini, the CBC Television Pioneer Award and three honorary degrees. She held Nancy’s Chair in Women’s Studies at Mount Saint Vincent University and the Roger’s Chair in Communications at the University of King’s College in Halifax where she is an Inglis Professor. In 2019 she received the Governor General’s History Award for Popular Media.
DOMINIC HARDY
Collaborator
Dominic Hardy est Professeur, historiographie et histoire de l’art du Québec/Canada avant 1900 et vice-doyen à la recherche et à la création pour la Faculté des arts de l’UQAM. Il est spécialiste de la caricature et de la circulation de l’image satirique au Québec (18e-20e siècles). Il dirige les activités de l’ERHAQ (Équipe de recherche en histoire de l’art au Québec) dont le projet scientifique est d’établir une première synthèse de l’histoire de l’art au Québec pour la période 1600-1960. Il est aussi co- directeur du Laboratoire numérique des études sur l’histoire de l’art au Québec (LANEHAQ).
ADRIENNE HUARD
Collaborator, chapter contributor
Adrienne Huard is a Two-Spirit/Indigiqueer Anishinaabekwe registered at Couchiching First Nation, Ontario, and born and raised in Winnipeg. After graduating in 2012 from the University of Manitoba with a Bachelor of Fine Arts majoring in photography, they pursued a Bachelor of Fine Arts in Art History at Concordia University in Tiohtià:ke/Montreal. Huard graduated from Concordia in April 2018 and went on to complete OCAD University’s graduate-level program in criticism and curatorial practice. In September 2020, they began the PhD-level program in Indigenous studies at University of Manitoba. Huard’s research focuses on desire within Two-Spirit and queer Indigenous visual culture, specifically located on the Prairies. Their goal is to highlight these practices, which are often overlooked by the contemporary art world, while pushing to make them more accessible for Indigenous artists to participate. Huard curated their first program of queer Indigenous/Two-Spirit short films—titled Kinship and Closeness, co-presented by MEDIAQUEER.CA—which toured extensively across Canada in 2018. Since then, they have developed a curatorial collective, gijiit, alongside their collaborators Jas M. Morgan and Dayna Danger, who continue to work between Montreal and Toronto.
HEATHER IGLOLIORTE
Collaborator
Heather Igloliorte (Inuit, Nunatsiavut Territory of Labrador) is Concordia University Research Chair in Indigenous Art History and Community Engagement. Some of her recent publications related to this work include chapters and catalogue essays in Manifestations: New Native Art Criticism (2012); Changing Hands: Art Without Reservation 3 (2012); Curating Difficult Knowledge (2011); Native American Art At Dartmouth: Highlights from the Hood Museum of Art (2011); Inuit Modern (2010); Response, Responsibility, and Renewal: Canada’s Truth and Reconciliation Journey (2009). One of her current projects is the reinstallation of the permanent collection of Inuit art at the Musée National des Beaux-Arts du Québec. She is on the Board of Directors for North America’s largest Indigenous art historical association, the Native North American Art Studies Association. She is the Principal Investigator of the SSHRC IDG project, “Arts of the Labrador Inuit Visual e-database (ALIVE)” and co-investigator of the SSHRC PG (PI Anna Hudson) “Mobilizing Inuit Cultural Heritage.”
ALICE MING WAI JIM
Collaborator
Alice Ming Wai Jim is Associate Professor of Contemporary Art and University Research Chair in Ethnocultural Art Histories at Concordia University (Montreal, QC, Canada). Her recent publications include chapter contributions to Narratives Unfolding: National Art Histories in an Unfinished World (McGill-Queen’s University Press, 2017); Desire Change: Contemporary Feminist Art in Canada (McGill-Queen’s University Press, 2017); Mass Effect: Art and the Internet in the 21st Century (The MIT Press, 2015); and Negotiations in a Vacant Lot: Studying the Visual in Canada (McGill-Queen’s University Press, 2014). Recent exhibitions include Yen-Chao Lin: DIY Haunt (Oboro, Montreal, QC, Canada, 2017) and Yam Lau: A World is a Model of a World (Darling Foundry, Montreal, QC, Canada, 2013).
LINDSAY McINTYRE
Collaborator, chapter contributor
Lindsay McIntyre is a film artist with an MFA from Concordia and a BFA from the University of Alberta. She applies her interest in film chemistry, analogue technologies and structure to make award-winning short 16mm films and expanded cinema performances. Her works are often processed-based and involve documentary and experimental techniques. Interested simultaneously in the apparatus of cinema, portraiture, representation and personal histories, she bridges gaps in collective experience and remains dedicated to integrating theory and practice, form and content. Her research involves the autoethnographical exploration of intergenerational trauma and the grandmother effect as a biological survival mechanism and also the ways and means of indigenizing institutions. Internationally, she has contributed a body of knowledge to the practice of silver gelatin emulsion making and coating for motion picture film and teaches this and other celluloid-based practices around the world. She was honoured with the REVEAL Indigenous Art Award from the Hnatyshyn Foundation (2017) and was named the Victor Martyn Lynch-Staunton Award recipient for Excellence in Media Arts by the Canada Council for the Arts (2013). She is Associate Professor of Film + Screen Arts at Emily Carr University of Art and Design on unceded Coast Salish territories and is of Inuit and settler Scottish descent.
CHARMAINE A. NELSON
Collaborator, chapter contributor
Charmaine A. Nelson is a Tier 1 Canada Research Chair in Transatlantic Black Diasporic Art and Community Engagement and Professor of Art History at NSCAD University. She received her PhD in Art History from the University of Manchester (UK) in 2001. Her research and teaching interests include postcolonial and black feminist scholarship, Transatlantic Slavery Studies and Black Diaspora Studies. She has made ground-breaking contributions to the fields of the Visual Culture of Slavery, Race and Representation, and Black Canadian Studies. Nelson has published six books including the edited book Ebony Roots, Northern Soil: Perspectives on Blackness in Canada (Newcastle upon Tyne, UK: Cambridge Scholars Press, 2010), and the single-authored books The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America (Minneapolis: University of Minnesota Press, 2007) and Slavery, Geography, and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica (London: Routledge, 2016). She has garnered several prestigious fellowships and appointments including a Caird Senior Research Fellowship, National Maritime Museum, UK (2007) and a Fulbright Visiting Research Chair, University of California – Santa Barbara (2010). In 2016, she was named as a Fellow of the Royal Society of Canada, College of New Scholars, Artists, and Scientists. Currently, she is the William Lyon Mackenzie King Visiting Professor of Canadian Studies at Harvard University (2017-18).
SHAISTA PATEL
Collaborator, chapter contributor
Shaista Patel is a Muslim feminist whose work explores the intersections between white settler colonialism, imperialism, Islamophobia, and anti-Blackness in North America. She has published on circulations of the figure of the “Muslim terrorist”, colonial law and racial securitization of white settler state of Canada, and complicity of South Asian diaspora in upholding colonial and casteist hierarchies in North America. Her work has appeared in Theory & Event, Feral Feminisms, The Feminist Wire, and from Palgrave Macmillan and University of British Columbia Presses.
CARMEN ROBERTSON
Collaborator, chapter contributor
Carmen Robertson (Lakota-Scottish) is a specialist in Canadian Indigenous art history, visual culture, and colonial issues. She has written several essays and two books related to the art of Norval Morrisseau, including Mythologizing Norval Morrisseau (UMP, 2016) and The Art and Life of Norval Morrisseau (ACI, 2016-ebook). She currently heads up the Morrisseau Project: 1955-1985, a team-led research project investigating all aspects of the artist’s arts practice. Her book Seeing Red, co-authored with Mark Cronlund Anderson, has elicited awards and favourable reviews by scholars and non-academic pundits. She has curated exhibitions and written numerous exhibition catalogue essays. Dr. Robertson is the Canada Research Chair in North American Indigenous Art and Material Culture (tier 1) at Carleton University, jointly appointed to the School of Indigenous and Canadian Studies, the School of Arts and Culture, and the Institute for Comparative Studies in Literature, Art, and Culture.
HENRY ADAM SVEC
Collaborator, chapter contributor
Henry Adam Svec is an artist and cultural history scholar and Assistant Professor of Communication Arts at the University of Waterloo. His first book, American Folk Music as Tactical Media (Amsterdam UP, 2018), explores the rich diagrams of communication and media littered across the long American folk revival, from Alan Lomax’s digital “Global Jukebox” to Bob Dylan’s noisy typewriter. Before moving to the University of Waterloo in 2018, Henry worked at Millsaps College in Jackson, Mississippi, and at the University of New Brunswick in Fredericton. His most recent artwork, Artificially Intelligent Folk Songs of Canada, explores the possibility that he has built an artificially intelligent database of the history of Canadian folk music. He has been an artist-in-residence at The Banff Centre, Roberts Street Social Centre, the Klondike Institute of Art & Culture, and the University of New Brunswick, and his work has been featured in The Globe and Mail, The Toronto Star, and several times on CBC Radio. Svec’s creative work feeds into his scholarship and teaching. He is currently conducting research on the Canadian painter Greg Curnoe in conjunction with the SSHRC IG project, “Recovering Mechanology: Media Making as Research Method” (Mark Hayward, PI).
TRAVIS WYSOTE
Collaborator, chapter contributor
Travis Wysote is a Listuguj Mi’gmaq student, teacher, musician, researcher, and writer currently living and studying on the occupied traditional territory of the Haudenosaunee. He holds a Bachelor’s degree in Honors History from the University of New Brunswick, a Master’s degree in Art History and Communication Studies from McGill University, and is currently working towards his Interdisciplinary PhD in Humanities at Concordia University. Travis’ research interests are broadly related to the fragmentation of mythology and history, with an emphasis on historical revisionism, secularization, and the politicization of recognition, commemoration, and refusal in settler-dominated polities. Using a methodology called Two-Eyed Seeing, his latest work attempts to foster integrative dialogues between Indigenous and Western forms of scientific and proto-scientific knowledge.
RESEARCH ASSISTANTS
PERRY DYKENS
Research Assistant
Perry is entering his third year in Neuroscience at UNB. This is his second BA as he graduated in 2014 with a BA in History. Perry’s research interests are quite varied, likely due to the contrast of his two degree programs. His research interests include: the socio-behavioural aspects of history, the psychological aspects of art and their effects on society, the social utility of art, neurological and developmental disorders, connectivist and interactionist models of psychology and history, and biological determinants of social interaction and society.
ANNIE DY XU
Research Assistant
Annie is currently in her third year of undergraduate studies, double majoring in History of Art and History at the University of Toronto. She explored her artistic and design education for a short period at the OCAD University and continues to pursue her design interests while investing in her passion for art history, focusing on critical issues in modern and contemporary art in Canada.
DANIELLE HOGAN
Research assistant
Danielle Hogan is an artist and founding director of The Gynocratic Art Gallery. She earned a diploma in fine craft from the New Brunswick College of Craft and Design (’95), BFA Emily Carr University (’00), MFA the University of Victoria (’03), and a PhD in Interdisciplinary Studies from the University of New Brunswick (’17). Danielle’s research embraces craftivism, DIY, and craft in contemporary art broadly. An intersectional feminist, her dissertation investigates “Femaffect,” a term that she originated, which addresses the negatively feminized effects that are suffered by women and other members of the LGBTG2+ communities when they employ textiles in art.
JOSH SHEPPARD
Research Assistant
Josh is in the second year of the History M.A program at the University of New Brunswick. His research interests include Indigenous intersectionalities, colonial relationships in Canada, Indigenous cultures across Canada, and land claims in Eastern Canada.
LEANNA THOMAS
Research Assistant
Leanna is in the doctoral studies program at the University of New Brunswick. Prior to coming to UNB, she studied History and French Language at the University of Central Florida in Orlando. In 2009, she completed an MA thesis in History that examined changes in the construct of Acadian identity due to their dispersal and their resettlement in Louisiana. Based on her studies she went on to publish an article entitled “A Fractured Foundation: Discontinuities in Acadian Resettlement in Louisiana, 1755-1803.” She is now exploring the role of twentieth-century literature in creating new historical narratives within the marginalized Francophone communities of Acadia and Guadeloupe.
ELLYN WALKER
Research Assistant
Ellyn Walker is a curator and scholar based in what is presently known as Toronto. Her work explores questions of representation, place-making, and inclusion in the arts as they pertain to distinct positional, cultural, and institutional contexts. Ellyn’s research considers intersections between whiteness, diaspora, heteropatriachy, settler-colonialism, and capitalism, within contemporary museum practice, critical art history, and Canadian visual culture. Her work is inspired by Black feminism, Indigenous methodologies, queer phenomenology, and critical settler studies, and is driven by an ongoing commitment to social justice in all its forms. Ellyn recently completed a PhD in Cultural Studies from Queen’s University where her research focused on decolonial curatorial methodologies used in contemporary exhibition-making in Canada and beyond. She is currently working on a co-edited anthology with Michelle Jacques called Curatorial Contestations: Critical Exhibition-Making Practices in Canada that explores diverse curatorial pedagogies and critical exhibition projects from across the country. In fall 2021, Ellyn will present a curated online exhibition of works by visual artists and poets from across the globe that respond to the 20th anniversary of poet-writer Dionne Brand’s canonical book A Map to the Door of No Return.
RICHARD YEOMANS
Research Assistant
Richard is a PhD student at the University of New Brunswick in the Department of History. He holds a BA with Honours in History from UNB and a MA in History from Queen’s University. Richard’s SSHRC-funded Master’s thesis, “The Age of Constitutionalism,” investigates the effects of constitutional thought and debate upon the experience of white settlers during the American Revolution, with particular focus on the later impact that these mentalities had on the British colonies of Nova Scotia and New Brunswick. Richard’s doctoral studies will focus on nineteenth-century exhibitions throughout the Maritime Provinces and how these social gathers reinforced regional and imperial, as opposed to national, identities that persisted well into the early twentieth century.
UNSETTLING CANADIAN ART HISTORY 