Christine CONLEY

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Christine CONLEY
Part-time Professor, Department of Visual Arts

2005: Post-Doctoral Fellow, Institute for Comparative Studies in Literature, Art & Culture, Carleton University, Ottawa
1998: PhD, Department of Art History and Theory, University of Essex, U.K.
1991: MA, Institute of Canadian Studies, Carleton University, Ottawa
1980: BA, Art History, University of Toronto

Room: 100 Laurier Ave. E., Room 106
Office: 613-562-5868
Work E-mail: cconley@uOttawa.ca

Christine CONLEY

Biography

C Conley, Double Desire
Double Desire: Transculturation and Indigenous Contemporary Art
C Conley, Terms of Engagement
 
Terms of Engagement: Averns, feldman-kiss, Stimson
Christine Conley - inside
Inside the Death Drive
Christine Conley - after
Photography after Conceptual Art
Christine Conley - Charlotte
Reading Charlotte Salomon
Christine Conley - caught
Caught in the Act
An anthology of performance art by Canadian women
Edited by Tanya Mars and Johanna Householder

 

Christine Conley - Theodore
Theodore Wan,
Dalhousie Art Gallery,
Halifax, 2003

Courses taught

ART4115 – Special Topics in History and Theory of Art: Culture in Conflict

ART2360 – Histories of Art I

ART2361 – Histories of Art II

ART2160 – Art Histories

ART2161 – Art Theories

ART3117 – Art and Feminism / Art and Gender

ART3171 – Art, Utopia and the Avant-Garde

ART3170 – Modernism and the Crisis of Representation

ART3181 – Artistic Strategies of the Postmodern Era

ART3334 – Canadian Art

ART4115 – Special Topics in History and Theory of Art: The Art of War

 

Discovery University / University of Ottawa – Art, Portraiture, Subjectivities

Member of Steering Committee, Discovery University (2009 – present)

 

Selected publications

“States of Precarity.” n.paradoxa 35 (2015): 5-15.

“The Feminist Shift: Time Travelling with Maria Hupfield.” In Double Desire:    Transculturation and Indigenous Contemporary Art, edited by Ian McLean, 185-206.   Newcastle upon Tyne: Cambridge Scholars Publishers, 2014.

“Terms of Engagement.” In Terms of Engagement: Dick Averns, nichola feldman-kiss, Adrian Stimson, 17-23. Kingston: Agnes Etherington Art Centre, 2014.

“Howie Tsui: Friendly Fire,” (Review). Curated by Jan Allen, Kingston 2012. Canadian Art 29, no. 4 ( 2013): 148.

“Making Space for Utopia: FAG and the Aesthetics of Activism, an interview with Allyson Mitchell and Deirdre Logue.” n.paradoxa, Issue on Feminist Aesthetics 30 (2012): 67-76.

“Preternatural,” (Review). Curated by Celina Jeffery, Ottawa 2012. Journal of Curatorial Studies 1, no. 3 (2012): 374-377.

“Empathic Relations: Rebecca Belmore and Faye HeavyShield.” In Inside the Death Drive: Excess and Apocalypse in the World of the Chapman Brothers, edited by Jonathan Harris, 145-172. Liverpool: University of Liverpool and Tate Liverpool, 2010.

Crossings/Traversées: A Performance Art Exchange, Ottawa-Belfast. Galerie SAW Gallery, Ottawa, 2010. 8 page brochure.

“Morning Cleaning: Jeff Wall and the Large Glass.” In Photography After Conceptual Art, edited by Diarmuid Costello and Margaret Iversen, 172-191. Oxford: Wiley-Blackwell, 2010.

Anna Frlan: Kitchen Anatomy. Karsh-Masson Gallery, Ottawa, 2010.

“Morning Cleaning: Jeff Wall and the Large Glass,” Art History 32 no. 5 (2009): 996-1015.

“Ed Pien: Flicker.” Gallery AxeNéo7, Gatineau, Québec, 2009.

“Theodore Wan: Conceptualism and the Subject of Medical Illustration.” RACAR 33 no. 1-2 (2008): 14-27.

“Memory and Trauerspiel: Charlotte Salomon’s Life? or Theater? and the Angel of History.” In Reading Charlotte Salomon, edited by Michael Steinberg and Monica Bohm- Duchen, 88-104. Ithaca, New York: Cornell University Press, 2006.

“May Chan: Coming Into Her Own.” In Caught in the Act: an Anthology of Performance Art by Canadian Women, edited by Johanna Householder and Tanya Mars, 140-149. Toronto: YYZ Books, 2004.

“Theodore Saskatche Wan.” In Theodore Wan, edited with Sue Gibson Garvey, 11-44. Dalhousie Art Gallery, Halifax, 2004. 

“Touching Home: An interview with May Chan.” n.paradoxa 13 (2004): 84-89.

“True Patriot Love: Joyce Wieland’s Canada.” In Art, Nation and Gender: Ethnic Landscapes, Myths and Motherfigures, edited by Tricia Cusack and Sighle Bhreathnach-Lynch, 95-112. Aldershot, Hants. UK and Burlington USA: Ashgate Publishers, 2003. 

“The Gendering of Allegory: Mary Kelly’s Post-Partum Document and Benjamin’s Melancholy Dialectics.” In Differential Aesthetics: Art Practices, Philosophies and Feminist Understandings, edited by Nicola Foster and Penny Florence, 211-226. Aldershot, Hants. UK: Ashgate Publishers, 2000.

 

Selected curatorial projects:

Terms of Engagement: Averns, feldman-kiss, Stimson. A co-production of the Mount Saint Vincent University Art Gallery, Halifax, the Agnes Etherington Art Centre, Kingston, and Esker Foundation, Calgary, 2014.

Crossings/Traversées: A Performance Art Exchange and Residency, Ottawa-Belfast. Galerie SAW Gallery, Ottawa (June 14-22) and Bbeyond Live Art Collective, Belfast, Northern Ireland (October 22-31): Alastair MacLellan, Sandra Johnston, Sinéad Bhreathnach-Cashell, Maria Hupfield, Skeena Reece, Jackson 2bears, 2010.

Theodore Wan. A national touring exhibition: Dalhousie Art Gallery, Halifax; Ottawa Art Gallery; Liane and Danny Taran Gallery, Saidye Bronfman Centre, Montreal; Blackwood Gallery, University of Toronto, Mississauga; Vancouver Art Gallery, 2004-2005.

Theodore Wan: Personal Archives. Anna Leonowens Gallery, NSCAD, Halifax and Vancouver Art Gallery. An exhibition of items related to the artist from the private collections of his contemporaries, mounted  in conjunction with the national touring exhibition Theodore Wan, 2004-2005.

Fields of Interest

  • Feminism and art
  • issues of Gender and Difference
  • Trauma and issues of secondary witnessing
  • The ethics of performance
  • Conceptualism and photography
  • Curatorial practice
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