Archives for category: Graduate Students


Symposium Poster Exhibitions Poster


Dr. Lucian Gomoll is an Andrew W. Mellon Postdoctoral Fellow at Wesleyan University in Connecticut. He earned his doctorate in the History of Consciousness program at the University of California Santa Cruz; his Master’s in Performance Studies at New York University; and his Honours Bachelor’s in Women’s Studies and Literature at the University of Michigan, Ann Arbor.

Dr. Gomoll served as Director of Museum and Curatorial Studies at UC Santa Cruz from 2009-2012, and hosted lectures by scholars such as Griselda Pollock, Amelia Jones, Amy Lonetree, and Irit Rogoff. In 2010, he organized with Lissette Olivares the international conference The Task of the Curator: Translation, Intervention and Innovation in Exhibitionary Practice at UC Santa Cruz, with James Clifford as keynote speaker. His research has been supported by a Eugene Cota-Robles (UC Diversity) Presidential Fellowship, a James and Sylvia Thayer Fellowship, an Irvine Memorial Fellowship, a Porter Fellowship, and an Institute for Humanities Research Dissertation Fellowship.

Chronotopography, a Curatorial Method


Curators mediate and subtly transform our engagements with art. They make decisions to highlight or deemphasize in their presentational milieu important aspects of art such as form, themes, historical contexts, cultural contexts, artist intentions and creative processes. This lecture explores the ways that temporality becomes incorporated into exhibitionary practices of encoding and decoding. I propose a new critical term for the mapping of time in displays – chronotopography – and characterize it as a task of the curator that has persisted for over two hundred years, since the act of walking in the Louvre was coded to be a form of virtual time travel through European art history. Chronotopography has been carried out in a variety of fashions since the nineteenth century, such as in Alfred H. Barr’s presentation of modern art as an evolution toward abstraction, a model that influenced art critic Clement Greenberg. To offer another example, Rosalind Krauss has revealed how, in the late twentieth century, modern museums became synchronic spaces that tended to dispense of history and frame art objects as assets rather than cultural patrimony. My intervention encourages contemporary curators to experiment with mapping new temporal display models that resist commodification and depthless bricolage via dynamic, historically-informed arrangements. By taking cues from installation artists who construct entangled genealogies rather than linear histories, as well as contemporary curators who chart unconventional relationships of influence and transformation, we will encounter new possibilities for engaging with art in the twenty-first century.


Thinking Through

Art & Design Practices

Friday and Saturday, May 17-18, 2013

The ADGSA at the University of Alberta is pleased to announce our preliminary 2013 symposium schedule.  Please stay tuned for further updates and panel information.

Friday May 17

Room 2-20 Fine Arts Building (FAB) at the U of A:

1:30 – 3:00pm  

Panel: Strategies of Display: Curating as Negotiation

Brand New Paint Job (Art of Jon Rafman), Stefan Hancherow, MFA, OCAD University, Toronto, ON

Ambiguous Images in Disambiguous Networks, Mikhel Proulx, MA, Concordia University, Montreal, QC

Going Public: The Emergence of Privately-owned Contemporary Art Exhibition Spaces in Toronto, Jennifer Simaitis, MFA, OCAD University, Toronto, ON

3:30 – 5:00pm

Keynote Address

Chronotopography, a Curatorial Method

Dr. Lucian Gomoll, Wesleyan University, Middleton, CT

SNAP Gallery Event:

7:00 – 10:00 pm Encoding Identities Art Exhibition Opening Reception

Saturday May 18

Room 2-20 FAB at the U of A:

12:00 – 1:30 pm

Panel: Reception and Intent: The Dialectic of Interpretation

Watching Paint Wet: Art History as Action Through Video, Painting and Performance, Nathaniel Wong, MFA, Simon Fraser University, Vancouver, BC

The Green Priestess of the Cosmic Computer: Star Trek and the Aesthetics of Camp, Lauren Levitt, MA, NYU Steinhardt, New York, NY

The Role of Art Direction in Awareness Campaigns and the Portrayal of Homelessness, Sarah Dugan, MDes, York University, Toronto, ON

2:00 – 3:30 pm

Panel: Exegesis of the Inexplicable: Translation and Invisibility

A Series of Exchanges: Blood, Sweat, and Tears, Josée Ouellette, MFA and Erik Osberg, MFA, both from Glasgow School of Art, Glasgow, Scotland

Spiritual Secrets in Ancestral Art Practices, Mary Gagler, MA, City College of New York, NY

Mediation and Agency in the Practice of Germaine Koh, Chantale Potie, MA, Concordia University, Montreal, QC

Dc3 Art Projects Events:

6:00 – 7:00 pm Artist Panel

7:00 – 10:00 pm Encoding Identities Art Exhibition Opening Reception


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Come support the ADGSA during this fundraising event for the 2013 Graduate Symposium and Exhibitions!

– Silent Auction: featuring auction packages donated by local businesses and work donated by your area artists
– Live music by: Zebra Pulse and Look Away
– Drinks
– Good Times

Doors at 7p Music at 8:30p

Tickets are $8 advance and $10 at the door.

Come celebrate the return of sunshine, warm weather and high spirits with art, music and friends.


We are very excited to be hosting exhibitions in two excellent galleries this year in conjunction with the Encoding/Decoding Symposium at the University of Alberta.


Cindy Baker, University of Lethbridge

Jon Bellona, University of Oregon

Joseph Doherty , University of Alberta

Kiel Fletcher, Pacific Northwest College of Art

Adam Forrester, video still from The Collapse of Order

Adam Forrester, video still from The Collapse of Order

Adam Forrester, University of Georgia

Emilie St. Hilaire, University of Alberta

Noah Krell, California College of the Arts

Erik Osberg, Glasgow School of Art

Kamie Robinson, Relationship, digital photograph

Kamie Robinson, Relationship, digital photograph

Kamie Robinson, Maryland Institute College of Art

Brian Rush, Azusa Pacific University

Tristan Sober-Blodgett, University of British Columbia

Guillermo Trejo, University of Ottawa

Tali Weinberg, California College of the Arts


Megan Dyck, University of Victoria

Cate Francis, Don't Look Back (Procedure 1), screenprint on gampi with Chine-collé, 14x19

Cate Francis, Don’t Look Back (Procedure 1), screenprint on gampi with Chine-collé, 14×19

Cate Francis, Nova Scotia College of Art & Design

Mario Gallucci, Pacific Northwest College of Art

Mario Gallucci, Hemisphere of Societal Tolerance, latex paint, coffee straws, paper, ink, hot glue, and graphite on bookbinders board on wood, 36 x 24

Mario Gallucci, Hemisphere of Societal Tolerance, latex paint, coffee straws, paper, ink, hot glue, and graphite on bookbinders board on wood, 36 x 24

Patricia Huijnen, Emily Carr University of Art & Design

Edith Krause, University of Alberta

Lisa Matthias, University of Alberta

Brad Necyk, University of Alberta

Mitch Patrick, Brooklyn College

Grace Sippy, Schism, digital print and silkscreen, 41.75 x 31

Grace Sippy, Schism, digital print and silkscreen, 41.75 x 31

Grace Sippy, University of Alberta

Darian Stahl, University of Alberta


Please note that the CFP deadlines have been extended until the end of January. Paper proposals for Encoding/Decoding: Thinking Through Art and Design Practices and artwork submissions for Encoding Identities: Spectatorship and the Subject are now due on January 31, 2013. Here is an updated pdf of the 2013 ADGSA call for proposals for downloading.


The ADGSA has officially released our Call for Papers and Call for Art proposals.

We are pleased to announce the graduate student symposium Encoding/Decoding: Thinking through Art and Design Practice and the related exhibition Encoding Identities: Spectatorship and the Subject.

Please review the following pdf document for submission guidelines and details.


The deadline for submission is January 15th, January 31st, 2013.


Kayla Cady,  Marywood University (Pennsylvania)

Alexandra Emberley, University of Alberta

Anna Gaby-Trotz, University of Alberta

Megan Hahn, University of Alberta

Megan Hildebrant, University of South Florida

Patricia Huijnen, Emily Carr University of Art and Design

Patricia Huijnen, Jawbreaker, wax, glass, metal, paint, 16” x 20” x 30”, 2011

Annie King, University of Alberta

Galia Kwetny, Emily Carr University of Art and Design

Nathalie Lavoie, Emily Carr University of Art and Design

Nathalie Lavoie, Strata Series, digital c-print, 24” x 30”, 2010

Colin Lyons, University of Alberta

Faye Mullen,  University of Toronto

Sam Pettengill, University of Massachusetts

Kimberley Thomas, Memphis College of Art

Alma Visscher, University of Alberta

Sam Walrod, University of Alberta

Sam Walrod, Roadkill Series, 12" x 12", 2011


The University of Alberta’s Art and Design Graduate Student Association is proud to present Dr. Laura U. Marks as the keynote speaker for the first annual art history graduate symposium, Instability in Visual and Material Culture. After earning her M.A. in 1994 and Ph. D. in 1996 – both in Visual and Cultural Studies from the University of Rochester – Dr. Marks has devoted much of her research to the study of new media arts, particularly film and computer-based works. A prolific academic, she has written over 130 publications including her latest book, Enfoldment and Infinity: An Islamic Genealogy of New Media Art (MIT Press, 2010). In addition, she has delivered nearly 120 lectures and has curated over 40 screenings of media art.  Dr. Marks is currently a Full Professor and Dena Wosk University Professor in Art and Culture Studies at Simon Fraser University’s School for the Contemporary Arts.

In her keynote address, Dr. Marks will discuss the question of individuation in light of her theory of enfolding-unfolding aesthetics. This theory explores the ways in which images both emerge from (unfold) and return to (enfold) the universe. Her research aligns with the theme of instability as she asserts that images are in a constant state of flux, continually undergoing the processes of unfolding or enfolding. She will compare contemporary genetic artworks and 17th-century carpets from the Caucasus–both algorithmic works that respond to new information to reach results not prefigured in the algorithm’s initial state.