My research interests are varied, but I keep coming back to landscape art and aesthetics. (Both my MA and PhD theses focused on landscape.) In my understanding, the term "landscape" has both interdisciplinary and art-historical meanings. Geographers such as Denis Cosgrove insist that "landscape" is a cultural form, and refers to the many ways humans have inhabited and transformed the natural environments that surround them. From the field of ecology/environmental studies we get the perception of landscapes as mutable, fragile, but interconnected ecosystems. In art historical terms (in Euro-american and other cultural traditions), I would argue that landscape is an exceedingly complex genre, that inevitably intersects with such interdisciplinary models. And then, if landscape aestheticizes the natural world, this has at various moments involved ideas and ideologies, acts of memory, inscriptions of collective desire, and traces of bodily sensation. Landscape must therefore be regarded as a site of encounter – between natural processes and cultural systems, between the cycles of nature and human history, between different forms of consciousness and being. Most of my research concerns contemporary articulations of landscape, but I still think we have much to learn from the 17th-century landscapes of Poussin and Rubens.
Mark Dion, Library for the Birds of Massachusetts, 2005 (Installation.)
Nicholas Poussin, Landscape with a Man Killed by a Snake, 1648 (oil on canvas.)
Peter Doig, Country Rock, (wing-mirror), 1999 (Oil on canvas.)
Roni Horn, Another Water, 2000 (Detail from bookwork.)
Jeff Wall, The Crooked Path, 1991 (Transparency in lightbox.)
"The Storm Room." OTP, No. 1 (September 2013).
"Impressions fugitives: pleinairismes d'heir et d'aujoud'hui / Something Fleeting: Old and New Pleiniairisms." À ciel ouvert: le nouveau pleinairisme, exhibition catalogue. Québec: Musée du Québec, 2012. 27-33 + 103-06. PDF
"Long Term Forecast." In Climats (Climates) Jocelyne Alloucherie, exhibition catalogue. Ottawa: Carleton University Art Gallery, 2012. 31-60. PDF
"For the Birds: Mark Dion’s Anti-landscape Artwork." Paper given before Critical Landscape Studies panel, Congress of the Humanities and Social Sciences, Concordia University, June 2010.
"Joyce Wieland and Michael Snow: Conceptual Landscape Art." In Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art. Edited by John O’Brian and Peter White. Montreal and Kingston: McGill-Queen’s University Press, 2007. 73-84. PDF
"Landscape Immersions: Lynne Marsh’s Performative Spaces." Art Papers, Vol. 30, No. 2 (March/April 2006): 34-39. PDF
"The Great Escape." In Bill Burns: Safety Gear for Small Animals, exhibition catalogue. Montreal: Lian and Danny Taran Gallery, 2005. 32-51. PDF
"Hallucinating Landscape, Canadian-style." In Peter Doig, exhibition catalogue. Vancouver: Belkin Art Gallery, 2001. 10-14. PDF
"Outside Matters." In Elusive Paradise: The Millennium Prize, exhibition catalogue. Ottawa: National Gallery of Canada, 2001. 37-54. PDF
"Eleanor Bond's Social Centres: Natural Sights and Millennial Landscapes." In Social Centres: Eleanor Bond. Winnipeg: Winnipeg Art Gallery, 1993. 41-48. PDF
"Fake Animals, Anthropomorphism, and other Travesties of Nature." Parachute, No. 72 (October 1993): 18-21. PDF
"Fastwurms and the Art of Recycling Canadian Landscape." Parachute, No. 63 (July 1991): 60-61. PDF