Presenter at “Reframing Family Photography” conference at the University of Toronto, September 21–23, 2017.

EMILIA-AMALIA “Session XI: Wages for Housework – The Canadian Context,” guest facilitated by Helena Reckitt and Christina Rousseau, meets at Art Metropole on September 5, from 6–9 pm.

An article developed from my dissertation research is out now in the Journal of Visual Culture: “Photographing Imperial Citizenship: The Colonial Office Visual Instruction Committee’s Lanternslide Lectures, 1900–1945.”

JULY 2017
Canadian author Jane Urquhart discusses her book A Number of Things: Stories about Canada told through 50 Objects alongside the ideas that informed “Propped” at Oakville Public Library, Thursday, July 6, 7 pm.

Vincent Chevalier hosts a participatory screening of Gregg Araki’s 1992 film The Living End as part of his project for “Propped.” Wednesday, July 5 at 7 pm, FAG (Feminist Art Gallery), Toronto, ON.

JUNE 2017
“Propped,” a group exhibition about the function of props in contemporary Canadian artistic practice, opens at Oakville Galleries, June 25.

“Sites of Assembly,” an exhibition of photographs from the permanent collection of the Morris and Helen Belkin Art Gallery, and the personal and research collections of John O’Brian and Marcia Crosby, co-curated with Lorna Brown, opens June 22 with a reception on June 29, 6–9 pm, in Vancouver, BC.

EMILIA–AMALIA will have a booth at the Toronto Art Book Fair, June 15–18, Artscape Youngplace, Toronto, ON

MAY 2017
Speaker as part of The Walrus Talks: We Desire a Better Country, alongside Wendell Adjetey, Margaret Atwood, Carl Bray, Geoff Green, Tom Jackson, Maneka Thakkar, and Syrus Marcus Ware, The Carlu, May 31, 7 pm

EMILIA-AMALIA are the artists in residence at the Art Gallery of Ontario from May1 to August 4, 2017.

My essay on the appearance of the indentured labourer in the Colonial Office Visual Instruction Committee’s lantern slide lectures—”Developing Historical Negatives: The Colonial Photographic Archive as Optical Unconscious”—is out now in Shawn Michelle Smith and Sharon Sliwinski’s edited volume, Photography and the Optical Unconscious (Duke University Press, 2017).