Sarah Beveridge is an artist, curator, educator, writer and parent. She holds a Masters of Fine Arts from the University of Western Ontario (2002) and a Bachelor of Fine Arts from the University of Windsor (1997). As a sessional professor she has taught at the University of Western Ontario, Georgian College, and the University of Windsor. Her curatorial practice includes, Co-founder of Sis Boom Bah Gallery, Queen West, and Co-Director of I-Land Gallery, Morrow Ave, Toronto (1998-2000), SB Contemporary Art, Barrie, Ontario (2005-2007) and later the Curator of Exhibitions and Public Projects for the MacLaren Art Centre, Barrie, Ontario (2006 -2009). She has published writing on the work of contemporary Canadian artists; Sheila Butler, Jack Butler, Monica Tap, Patrick Mahon, Don Maynard, Vera Jacyk, Olexander Wlasenko and José Seoane.
Beveridge currently practices from her home studio and gallery SB Contemporary Art in Thornbury, Ontario. She operated and curated SB Contemporary Art, Windsor, Ontario from (2011-2019). @sbcontemporaryart
Talysha Bujold-Abu (she/her) is an artist-illustrator, researcher, and arts facilitator – she holds a Masters of Fine Arts (MFA) from the University of Windsor (2018) and is recent recipient of the Conundrum Press Mini-Comic Bursary for Black and Indigenous Creators (2021). Residencies include: New Zealand Pacific Studio (2016), ArtsPond artist in residence (2020-2021) and the Pelee Quarry – Stone & Sky Artists Residency (2020).
Bujold-Abu has spoken and exhibited at the Intersections | Cross Sections Conference in Toronto, ON (2018) on the conceptual hybridity of black bodies, and participated in the Structures of Anticipation Research Symposium and Exhibition in Windsor, ON (2019). Recent panels include: Reclaiming Hidden Histories: Researching, Writing, and Re-Imagining Community Narratives in Windsor, ON (2019) the International Women’s Day: Artists Panel Discussion in Windsor, ON (2020) and the Black Creators Series/Discussion with the Art Gallery or Windsor (2020).
Selected exhibitions include: Art is a Living Thing in Masterton NZ (2017), The Truth Has Legs in Leamington ON (2019), and The Body Electric – Diversity in Residency Education: Training in a World of Differences, Royal College of Physicians and Surgeons (RCPSC) Ottawa ON (2019).
Talysha Bujold-Abu is the new co-director of TRUCK Contemporary. TRUCK Contemporary Art is a non-profit artist-run centre dedicated to the development and public presentation of contemporary art. Established in 1983 as The Second Story Art Society, TRUCK provides a forum for the production and dissemination of contemporary art and related cultural practices in Calgary, on Treaty 7 Territory in the Southern Alberta region.
Fiona Couillard is a Calgary based visual artist currently pursuing an MFA at the University of Calgary and holding a BFA with distinction from the Alberta University of the Arts. Her practice explores patriarchy and its relationship to trauma, conflicts of identity, and loss of voice, and the resulting concerns of belonging.
Couillard employs oral history and self-reflection to inform her work and engage participants in questioning systemic power within their own lives.
Couillard works in printmaking, sculpture and paint, using abstraction in a continuing dialogue between conceptualization and the formal aspects of materials, considering their gendered associations.
She has received many awards and scholarships including a Recent Alberta Foundation for the Arts scholarship, and an Alberta Graduate Excellence Scholarship for her ongoing research. Her work has been featured as part of the Hear/d Mental Health Residency, The AUArts summer residency “Placemaking”, and the Marion Nicoll Gallery, among others.
Kristen Gallerneaux, MFA/PhD is an artist, curator, and sonic researcher. She has published on topics as diverse as mathematics in midcentury design, the visual history of telepathy research, the world’s first mouse pad, and car audio bass battles in Miami. Her recently published monograph, High Static, Dead Lines: Sonic Spectres & the Object Hereafter is available via Strange Attractor and MIT Press. Gallerneaux has most recently appeared as a speaker at Unsound Krakow, Moogfest, and Pop Kultur festivals and has written for the Barbican Center, ARTnews, and the Quietus. She is also Curator of Communications and Information Technology at the Henry Ford Museum in Detroit, Michigan, where she continues to build upon one of the largest historic technology collections in North America. She is the recipient of a prestigious Kresge Artist Fellowship (2019) from the Kresge Foundation in Michigan.
Brenda Francis Pelkey is newly retired from the University of Windsor where she was Professor at the School of Creative Arts.
Brenda Francis Pelkey has exhibited throughout Canada as well as Scotland, France, Germany, Czechoslovakia, Finland and England. Her works appear in numerous collections such as the MacKenzie Art Gallery, the Mendel Art Gallery, the Art Bank, the Winnipeg Art Gallery, the Dunlop Art Gallery, the Art Gallery of Windsor, Confederation Centre for the Arts, and The National Gallery of Canada.
Since completing “…the great effect of the imagination on the world,” in 1989 she has had a number of solo exhibitions: “dreams of life and death” (1994), Momento Mori (1996), Oblivion (1999) , As if there were grace (2000), Haunts (2001), Hierophony (2003) and Spaces of Transformation (2004) and Threshold (2005) , From the Outside In (2013), and a exhibition toured by the AGW Brenda Francis Pelkey: A Retrospective (2016 – 2018).
Lindsey A. Freeman is a writer and sociologist interested in atomic culture, atmosphere, memory, and poetics. She is author of This Atom Bomb in Me (Redwood/Stanford Press) and Longing for the Bomb: Oak Ridge and Atomic Nostalgia (UNC Press). Freeman is also co-editor of The Bohemian South: Creating Counter-Cultures from Poe to Punk (UNC Press). She is a member of the Centre for Imaginative Ethnography, the Institute of Incoherent Geography, and an affiliated-researcher with the Espaces et Sociétés (Space and Society Center) at University of Caen-Normandy. She is currently at work on a series of essays about art, miniature, and disaster called The Tiny Uncanny and an ethnography of rain.
Faegheh ‘Vicki’ Kalantari is an international artist born in Tehran, Iran. She completed her Bachelor of Photography at Azad University in Tehran. Vicki completed her Master of Fine Arts degree at the University of Windsor. As an Iranian native who was born and raised in an entirely different region from that of North America, she is still dependent on parts of her culture, arts, language, etc. Her work deals with her personal reflections on themes of memory, absence, nostalgia, adaptation, displacement.
As an Iranian immigrant, Vicki moved to Windsor, Ontario and faced challenges reconciling her sense of identity in her new home. Using photography, text, video and audio, Vicki explores displacement and adaption, sometimes inviting viewers to identify with her experiences, and at other times challenging viewers to experience the feelings of not understanding, of not belonging.
Randy Lewis is Professor of American Studies at the University of Texas at Austin, where he teaches courses about contemporary culture and creativity. Most recently he is the author of Under Surveillance: Being Watched in Modern America (2017) as well as three books on documentary film and indigenous media. Among his creative projects are art installations, music videos, a full-length play, and three documentary films. Under the name Part Time Genius, he released an alt/electronic album with Monti Sigg with whom he co-produced several projects. He is also the founder and editor of The End of Austin, a digital humanities project about urban transformation.
Andriko Lozowy is a photographer and ethnographer. He has a Ph.D. in Sociology from the University of Alberta, Canada. He received additional training in Photography and Ethnography at Goldsmiths, London. Currently, Andriko is teaching Sociology at the UofAlberta and Concordia University Edmonton. When the opportunity emerges Andriko operationalizes his extensive experience working with youth and other marginalized communities to create participatory and active research projects with social impacts.
Andriko’s most recent edited collection was in this journal titled North By West, he has also published with Theory Culture and Society, Space & Culture, and the Canadian Journal of Sociology and is involved in ongoing editorial work with Media Theory Journal, and spaceandculture.com.
Kimberly Mair is Associate Professor of Sociology at the University of Lethbridge. Her research is primarily concerned with the aesthetics of communication, social theory, and critique of biopolitics. Her book Guerrilla Aesthetics: Art, Memory, and the West German Urban Guerrilla (McGill-Queen’s University Press, 2016) emphasizes the sensorial aspects of 1970s guerrilla communications and their reverberations in artistic practice. Mair is currently writing about the activities of Mass Observation, an organization that studied mass feelings, beliefs, and behaviours in the 1930s and 40s and did some of this work under contract with Britain’s Ministry of Information during the Second World War. Recreationally, Mair is interested in real and imagined organizations, secret operations, spies and other covert actors, ciphers, and obscure documents and artifacts.
Dominic Pinney is a Calgary-Based, Visual Artist who examines the seductive and ominous qualities of the city space through a variety of mediums including, installation, video, sound, sculpture, and text.
Through working with metals, concrete, plastics, video, and light installation, he creates environments and objects that are grounded in both the present and a proposed Dystopian realm. Blending fiction and reality to create an in-between space, his work encourages viewers to examine their own relationship to city spaces and question their feelings towards the urban environment. He holds a Master of Fine Arts from the University of Windsor (2019), and a Bachelor of Fine Arts from the Alberta College of Art + Design (2017). Recent exhibitions include: Faster, the Light Fades, in collaboration with Conrad Marion in North Bay ON, Above the Belt, Below the Bush, curated by Minor Hockey Curatorial in North Bay ON, I Dream of Electric Streets in Windsor ON, and Once Removed curated by Adrienne Crossman in Windsor ON.
Kate Schneider is a photo-based artist, educator, and kayak instructor living in Toronto, Ontario. Since 2009, she has exhibited shows, presented at conferences, and published writing throughout Canada and the United States on the subjects of environmental sustainability and photographic discourse. In her works, land is more than a photographic subject – it is dynamic, durable, delicate, and marked by contested histories and desires. From the photographic and cartography trace to structures built or left on a landscape, Kate’s works are multimodal and experiential stories of place that question the mythology of a static environment and ask the viewer to consider the transitory and permanent marks we leave on the land, water, and sky surrounding us. Kate’s works have shown Prefix Institute of Contemporary Art (Toronto), Harbourfront Centre (Toronto), SoHo Photo (New York), and the Great Plains Art Museum (Lincoln, Nebraska). In 2014, Senator Barbara Boxer used Kate’s works as a visual testimony against the Keystone XL pipeline on the floor of the United States Senate. Her works have been published in numerous publications, such as Magenta Foundation’s Flash Forward publication and PDN’s Photo Annual.
Monti Sigg is based in Austin, Texas. With her partner Randy Lewis, she has worked as a photographer on two Ex-Situ projects and has co-produced a documentary film on apocalyptic cosplay called Who Killed the World: A Journey into the Wasteland (2020).
Sahar Te is a Toronto-based artist whose practice exists at the intersection of research, text, installation, and performance. Her practice mobilizes methods that open up alternative realities and confront convention. Through exploring the role of narrativization of the past as it shapes the future, Te’s interventions range from language and semiotics, social dynamics and ethics, to media studies and oral histories. Te obtained her BFA from AlbertaUniversity of Arts, and her MFA from the University of Toronto. Te’s work has been exhibited both nationally and internationally at spaces including: The Walters Art Museum in Baltimore, University of Toronto Art Museum, SBC Gallery in Montreal, Illingworth Kerr Gallery in Alberta, and Mohsen Gallery in Tehran.