Faculty

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Assistant Professor, Art History
Johnston Hall, room 111
sdouglas@uoguelph.ca
www.susandouglas.ca
519-824-4120 x53024

Writer, editor and curator Susan Jane Douglas, PhD, teaches contemporary art history and theory at the University of Guelph, where she specializes in the culture and art of contemporary Latin American artists. She has lectured on the subject of Latin American and conceptual art at The Art Gallery of Ontario and The Power Plant (Toronto), and at the Universidad de Buenos Aires, the Universidad de Cordoba, the Universidad de San Juan, and the Universidad de Cuyo (Mendoza, Argentina).

Her curatorial projects include the first exhibition of Gustavo Romano=s work in Canada, and the first on-line international exhibition of blog-based work titled "MOBLOG:ENTER" (http://www.mobilelog.ca). She has published in Canadian Art, The University of Toronto Quarterly, Parachute, C magazine, nparadoxa, Public, and Art Papers. She is joint editor, with Bruce Barber, of an anthology titled, "Blood, Sweat, and Tears: Bodily Fluids in Art and Art History" (forthcoming). She is currently working on a book titled, "Global Raiders: Artists in a World Without Borders," a collection of essays directed to artists, art students and gallery goers on the widespread phenomenon of artists (including bloggers) who "raid" in a new, morally ambiguous territory where cultural material is plundered to serve subversive pleasures.

Susan Douglas was featured in the Argentine daily "La Maana de Cordoba" on June 4, 2005 in relation to her academic research.

Sally Hickson

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Assistant Professor, Art History
Johnston Hall, room 113
shickson@uoguelph.ca
519-824-4120 x58234

Sally Hickson is assistant professor of Renaissance art history at the University of Guelph. Her work emphasizes courtly culture and secular imagery, patronage studies and the history of collections. In addition to working as a researcher in the field of architectural theory and Renaissance treatises from manuscript to printed book at the Canadian Centre for Architecture in Montreal, she has taught courses on Italian art, architecture and cultural history in Venice, Florence and Rome, and has delivered papers on women patrons at conferences in Florence, Faenza, New York and at the University of Cambridge. Her PhD in art history is from Queen's University. She has been the recipient of a Social Sciences and Humanities Research Grant (1997-2001) and a Bader Fellowship in Art History (1998-1999). She is currently working on serialized portrait images of women as a locus for dialogic games that functioned to popularize Renaissance artistic theory, and completing publications that illuminate the activities of women art patrons in the circle of Isabella d'Este in Mantua. She has contributed articles to Arte Lombarda, Civilt Mantovana and to the anthology Isabella d'Este, la Primadonna del Rinascimento.

Dominic Marner

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Associate Professor, Art History
Johnston Hall, room 121
dmarner@uoguelph.ca
519-824-4120 x54382

Dominic Marner is Assistant Professor of Medieval Art and Architecture. His fields of study include Medieval European art and architecture, Museum Studies, Visual literacy and Colonialism and art. After having completed his Ph.D. in the School of World Art Studies at the University of East Anglia, UK he went on to teaching positions at the University of Edinburgh and University College Dublin. He held postdoctoral fellowships at the University of East Anglia, Trinity College Dublin and the University of Cambridge. He has received grants and fellowships from the Social Science and Humanities Research Council, the Getty Trust and the British Academy. Professor Marner published his book on St Cuthbert in 2000 and is presently working on a book on the scriptorium at Durham in the late-12th century. His other publications span medieval art while his most recent (2006) deal with the National Portrait Gallery in Kenya: "Joy Adamson, the Peoples of Kenya and the Desire for Eden" and museum publications from around the world: "Museum Publications: history, bibliography, iconography".

Alla Myzelev

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Assistant Professor, Art History

Alla Myzelev is an Assistant Professor of Art History at the University of Guelph (CLA). She is currently working on the book Canadian Architecture and Design 1910-37: From Vernacular to Deco, From Rustic to Polished. This research addresses the role and representation of craft and interior design in architectural surrounding. Building on Myzelev's doctoral thesis, which looked at the history of creating handicraft revival colonies in England and Russia, this work investigate craft and design in Canada in the 1920s and 1930s. One of the major promises of this book is that the Art Deco style in architecture and conservative modernism of the Group of Seven also found expression in interior design and craft practices. The craft colonies and art deco interiors have been traditionally analyzed as continuations of the nature-conquering landscape themes that characterized much Modernist painting and architectural practice during these decades in Canada. Myzelev develops a more complex approach to craft and design objects by addressing issues of gender and theories of identity formation as well as the social conditions of their production. In addition, she had published on the relationship between Russian and Ukrainian Avant-Garde and craft, on the role of women in the Arts and Crafts Movement, and on representation of material culture in museums and private collections. Myzelev is a co-editor (with Dr. John Potvin) of the forthcoming Collecting Subjects in Britain, 1700-1914: The Visual Meanings and Pleasures of Material Culture (Ashgate) which investigates the practices collecting and display of objects private interiors and how these practices had informed subjectivity of collectors. She has received numerous prestigious fellowships and grants including Social Sciences and Humanities Research Council Doctoral Fellowship (2004-2006), a Bader Fellowship in Art History (2003-04), and most recently two Paul Mellon Post-Doctoral Fellowship (2007) and Social Sciences and Humanities Research Council Post-Doctoral Doctoral Fellowship (2007-08).

John Potvin

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Associate Professor, Art History
Johnston Hall, room 125
potvinj@uoguelph.ca
519-824-4120 x56741

John Potvin is Assistant Professor Eighteenth- and Nineteenth-Century European Art. He teaches criticism and theory, gender and representation, and European art and design history. Dr. Potvin's first book Bodies, Boundaries and Intimacy: Material and Visual Cultures Beyond Male Bonding, 1880-1914 (Ashgate, December 2007) investigates the representation of same-sex male intimacy and the spaces that threaten the codes of distance and proximity that bourgeois men purposefully constructed within the public sphere. He is also the editor of a volume of essays, The Places and Spaces of Fashion, 1800-2006, for Routledge (forthcoming in August 2008), as well as co-editor of the forthcoming Collecting Subjects in Britain, 1700-1914: The Visual Meanings and Pleasures of Material Culture (Ashgate), which explores the nexus of subjectivity and collecting specifically as it relates to the much-neglected areas of craft, design and fashion. He has also published articles in Genders and the Journal of Design History, and his most recent publications include, amongst others, Lost in Translation?: Giorgio Armani, Textiles, and the Haptics of Difference which appeared in Sandra Alfoldi (ed.), NeoCraft: Modernity and the Crafts (Nova Scotia College of Art and Design University Press, 2007) and Warriors, Slave Traders, and Religious Fanatics: "Reporting" the Spectacle of Islamic Male Bodies in the Illustrated London News, 1890-1900, in After Orientalism (Rodopi, 2003). He has received numerous awards for his research including a Social Sciences and Humanities Research Council Doctoral Fellowship (2002-2005), a Bader Fellowship in Art History (2002-03), and most recently two Paul Mellon Research Grants. In 2007 he received a three-year Social Sciences and Humanities Research Council Grant for his research project, Bachelors of a Different Sort: Material Culture and Same-Sex Desires, 1890-1940 which explores queer material culture, the aesthetics of domesticity, collaboration, intimacy, and modern art in Britain. He is also working on a second manuscript, Black Label: Giorgio Armani, Modernity and the Tailored Body, which explored the Italian designer's impact on global aesthetics, the body and tailoring.