Join us on Thursday Sept. 5th, from 6pm to 9pm for the vernissage of this exciting exhibition!

As the first year MFA cohort becomes the second year MFA cohort, they take a minute to look at their works together in the school gallery. In this moment of transition thoughtful reflection and celebration is in order!

Julie Caissie’s work/studio

Julie Caissie’s work/studio

uOttawa MFA studio sale!

Work by first and second year MFAs for sale + art supplies, plants, trinkets and treasures! Or just come by to say hello and check out our work.
Visual Arts Building (100 Laurier St E or 600 Cumberland)
MFA wing (room 205)
Tuesday April 23rd, 2019, 3-8 pm

Installation view of In Search of Expo 67, David K. Ross, As Sovereign as Love (2017) and Cheryl Sim, Un Jour, One Day (2017). Photo courtesy of Guy L’Heureux

Installation view of In Search of Expo 67, David K. Ross, As Sovereign as Love (2017) and Cheryl Sim, Un Jour, One Day (2017). Photo courtesy of Guy L’Heureux


Wednesday March 27th, 2019, from 12pm to 1pm
Department of Visual Arts,
100 Laurier Ave. East, room 114

The Making of In Search of Expo 67

In Search of Expo 67 was a group exhibition created at the Musée d’art contemporain de Montréal in the summer of 2017, which marked the 50 th anniversary of Expo 67. Co-curated by Monika Kin Gagnon and Lesley Johnstone, this major exhibition featured new and existing works by nineteen contemporary Québec and Canadian artists, inspired by the Montreal world exhibition, Expo 67. This talk will present some of the artworks in the exhibition, and discuss the myriad strategies through which archival artifacts about Expo 67 were activated.

Monika Kin Gagnon is Professor of Communication Studies and Concordia University Research Fellow (2017–2018). She has published widely on cultural politics and the visual / media arts since the 1980s. Her book publications include Other Conundrums: Race, Culture and Canadian Art (2000), 13 Conversations about Art and Cultural Race Politics (2002) with Richard Fung; and with Janine Marchessault, Reimagining Cinema: Film at Expo 67 (2014). She is co-curator of the 2017 group exhibition In Search of Expo 67 at the Musée d’art contemporain de Montreal with Lesley Johnstone, which extended her ongoing research into the original Expo 67 large format and multi-screen films with the research group Current projects include Expo 67 Brouillements numériques, an experiment exploring the potentials of augmented reality for the Expo 67 islands and its scattered archives.



Wednesday February 6th, 2019, from 12pm to 1pm
Department of Visual Arts,
100 Laurier Ave. East, room 114


 Leslie Reid’s work has long explored the perceptual and psychological sensations evoked by the experience of a particular place. Her paintings, photographs, and videos bring together the sensory effects of light and space with the lived history of that place, often through references to family, and touch on those feelings of fragility and resilience that reside there. Her recent work from the Arctic furthers her exploration of the multi layered relationship between nature and culture, through its focus on lived histories of places and peoples, on issues of displacement, refuge, survival and endurance, and on the changes that occur over time:  geopolitical, social and environmental.

Leslie Reid studied at Queen’s University and at art college in England. She taught Visual Arts at the University of Ottawa, where she is now Professor Emeritus. Early exhibitions include Some Canadian Women Artists, National Gallery of Canada, and the Paris Biennale. A retrospective exhibition was curated by Diana Nemiroff at the Carleton University Art Gallery in 2011. Her recent work results from travel in the Arctic with both the Canadian Forces and the Canada C3 Expedition, and explores climate change and sovereignty issues, and their effects on indigenous communities.  Mapping a Cold War, a multi media exhibition focussed on her Arctic travels, was recently held at the Military Museums, Calgary.

Talk in English with bilingual questions and answers.



Wednesday January 23rd, 2019, from 12pm to 1pm
Department of Visual Arts,
100 Laurier Ave. East, room 114

Realizing Kazimir Malevich’s Unfinished Film Script: An Adventure in Research-Creation.

Irina Lyubchenko is an artist and a scholar, who investigates intersections between the theories of the historical avant-garde and digital culture. In 2010, she graduated with a Master of Fine Arts from the University of Ottawa, and was the recipient of the Michel Goulet Award for the best thesis presentation. It is during her studies at the University of Ottawa that she developed a lasting fascination with the work and legacy of Kazimir Malevich, whose art and philosophy continue to inform her artistic and academic practice. Currently, Lyubchenko is a PhD candidate at Ryerson Joint with York Communication and Culture Program, where she continues to explore Malevich’s work and its impact on contemporary art. Her articles “Faktura as Noise in Markov and Malevich” and “Resisting Clarity / Highlighting Form: Comparing Vanguard Approaches in Poetry and Programming,” are published by the Stedelijk Museum Amsterdam and Leonardo Journal, respectively.


Jinny Yu, Professor of Painting, Exhibition, at Korean Cultural Centre

Jinny Yu "I Like My Countries And My Countries Like Me"
Exhibition Dates: January 24 - April 30, 2019
Venue Address: KCC Gallery 150 Elgin Street, Unit 101 Ottawa, ON, K2P 1L4


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MFA Open House 2018 Highlights: Emma Carney

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MFA Open house 2018 Highlights: Martin Godin

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The University of Ottawa Visual Arts Department, MFA Program and Candidates would like to thank all who attended the 2018 Open House. It means a lot to our Faculty and students to be a part of such a rich community of artists, curators, educators and art-lovers!

Thank you for taking the time to spend an evening getting to know our current Graduate students. If you are interested in applying for the MFA program, the application deadline is January 15, 2019.

We will see you all again after the winter break, in the meantime, posts highlighting the event will be posted every few days, so watch this space!

Artwork: Emma Carney -  say more right now , oil on canvas

Artwork: Emma Carney - say more right now, oil on canvas

Join us to learn about our MFA program, meet our professors and MFA students, and view graduate student work.

Artwork: Emma Carney -  say more right now , oil on canvas

Artwork: Emma Carney - say more right now, oil on canvas

Joignez-vous à nous pour en apprendre davantage sur notre programme de MAV, et rencontrer nos professeurs et nos étudiants de Maîtrise. Vous aurez également l’occasion de voir le travail de nos étudiants.

Psychotically Nice, Ben Woodeson

Psychotically Nice, Ben Woodeson

ARTIST TALK: BEN Woodeson, uOttawa 2018 Artist-in-Residence (AIR)

Thursday, November 29th, 2018, 7:00pm
Ottawa Art Gallery Studio

50 Mackenzie King Bridge, Ottawa

This uOttawa/OAG pilot AIR Program will see Ben Woodeson take up residence within the Department of Visual Arts for 2 weeks beginning November 20th, 2018.  He will be exploring 3-dimensional and technological creative art-making resources the department offers and lead students in various workshops and interactions.

Ben Woodeson is, at heart, concerned with traditionally modernist sculptural ideas, exploring and highlighting the physical properties of the materials that he works with. But Woodeson takes modernism’s ‘truth to materials’ maxim to a logical extreme by making the viewer aware not only of the materiality of the sculptural objects but also of the viewer’s very own physical properties: the softness of our flesh is never more apparent than when threatened by the edge of a tensioned sheet of unframed glass; the openness of our nervous system when in proximity to an electric charge; the skull beneath the skin when confronted by a rapidly swinging cobblestone. If a trend in recent art has been to view the artwork as an interaction not between viewer and object but rather between multiple participants – relational aesthetics’ intersubjective understanding of art – Woodeson’s work might instead be described as intrasubjective; making the viewer acutely aware of their own corporeality as the work forces them to rely on their own sense of proprioception. To achieve this, Woodson utilises a – sometimes literal – high-wire act, walking that narrow line that defines the limit of his materials, stressing them with potential energy until the weakest link in a molecular chain gives up and the sculpture’s sense of self is ruptured.

Recent projects include Between One Thing and Another a solo exhibition at William Bennington Gallery in London. CuratingSolid Gone, an exhibition for The Sordoni Gallery, Wilkes-Barre, PA of precarious work by forty-three international artists whose work uses or involves cast iron. He has also recently presented work in the following group shows: New Relics, Thameside Gallery, London and In the Belly of the Beast at Stephen Smith Fine Art in Fairfield, Alabama.
This talk is free and open to all.

Baroness Elsa von Freytag-Loringhoven,  God , ca. 1917, Philadelphia Museum of Art.

Baroness Elsa von Freytag-Loringhoven, God, ca. 1917, Philadelphia Museum of Art.


Wednesday November 20th from 12pm to 1pm
Department of Visual Arts,
100 Laurier Ave. East, room 114

Support: An Art Historical Fan Fiction 

This talk will rethink some of the classic texts of art history to write a speculative fiction of The Fountain, usually credited to Marcel Duchamp but sometimes to the Baroness Elsa von Freytag-Loringhoven.  In analyzing The Fountain against the grain, as a medium-specific modernist sculpture as opposed to as a readymade or a work of proto-conceptual art, this talk will expound on the multiple meanings of the term “support” and what they mean for contemporary artistic practice—support in the formal sense of a sculpture’s base, pedestal, mount, or exhibition space; in the practical sense of funding and other forms of sustenance to an artist’s ability to live and create, house, and sell work; and in the feminist sense of historically uncompensated domestic labour, usually performed by women in “support” of a household.  Art historical texts discussed include “Why Have There Been No Great Women Artists?” by Linda Nochlin, “Modernity and the Spaces of Femininity” by Griselda Pollock, and “Sculpture in the Expanded Field” by Rosalind Krauss.  Also discussed will be the practice of several young Canadian woman artists who create non-monument-scale and non-site-specific indoor sculpture under the conditions of a high-density art world. 

Godfre Leung is curator at Centre A: The Vancouver International Centre for Contemporary Asian Art.  He is also a visiting scholar in the Department of Art History, Visual Art + Theory at the University of British Columbia and has previously held teaching positions at the Eastman School of Music, Ontario College of Art and Design, and St. Cloud State University, where he was an associate professor of art history.  His programming work includes Pausa: Barbara Held and Benton C Bainbridge at Kiehle Gallery and International Pop at the Walker Art Center, which traveled to the Dallas Art Museum and Philadelphia Museum of Art.  His criticism has recently appeared in Art in America, Canadian Art, and Yishu: Journal of Contemporary Chinese Art, among other magazines. He has also written for publications by institutions such as the Museum of Modern Art, Walker Art Center, and most recently the exhibition catalogue Tuan Andrew Nguyen: Empty Forest, published by The Factory Contemporary Arts Centre in Ho Chi Minh City.  In 2017, he was awarded a Minnesota Emerging Writers Award from the Jerome Foundation and a Visual Arts Fund Grant from the Andy Warhol Foundation for his art writing practice. 



Jinny Yu, Professor of Painting, Artist Talk & Exhibition, at Agnes Etherington Art Centre, Queen’s University

Artist Talk: November 29th 2018, 6:30-8:30pm
Exhibition Dates: August 25 - December 2, 2018
Venue Address: Queen's University, 36 University Avenue, Kingston, Ontario

Jinny Yu will discuss her painting and sound installation Don’t They Ever Stop Migrating? currently on view in The hold, drawing upon her personal responses to recent refugee crises and contextualizing these within her work as a painter with an international exhibition practice. Presented in collaboration with the Queen’s University BFA (Visual Art) Program.


Image: Liz Magor, Pearl Pet, 2015, polymerized gypsum and plastic, 27 × 29 × 26 cm. Photo: Toni Hafkenscheid

ARTIST TALK: LIZ MAGOR, Stonecroft Foundation Visiting Artist Lecture Series

Thursday, November 8, 2018, 6:00 pm to 8:00 pm
Auditorium, National Gallery of Canada

The Department of Visual Arts of the University of Ottawa, in collaboration with the National Gallery of Canada, is proud to present artist Liz Magor for the fourth annual Stonecroft Foundation Visiting Artist Lecture Series.

Liz Magor will present an artist-talk, followed by one-on-one conversation with the Senior Curator of Contemporary Art, Josée Drouin-Brisebois, and a question period for the public.

In English. Simultaneous French interpretation is available, if a request is made to before November 1, 2018. 

Free admission. Seats in the Auditorium will be allocated on a first-come, first-served basis. Venue is wheelchair accessible.

Liz Magor is a Vancouver-based artist who studied at the University of British Columbia, Vancouver; Parsons School of Design, New York; and the Vancouver School of Art.  Since the early 1970s, Magor has produced sculptural and photographic works concerned with the latent, affective range of familiar materials, images and objects. Her work has been exhibited in major international exhibitions such as Documenta VIII, Kassel; the 41st Venice Biennale; and the 4th Biennale of Sydney. Liz Magor received the Governor General’s Award in 2001, the Audain Prize in 2009, and the Gershon Iskowitz Prize in 2014.  In 2017/18 she was a guest of the DAAD Kunstler in Berlin Program. More recently she has had solo exhibitions at Le Credac, Ivry-sur Seine, France; Peephole, Milan, Italy; the Art Gallery of Ontario, Toronto; The Henry Art Gallery, Seattle; and the Vancouver Art Gallery. In 2016 the Musee d’Art Contemporain de Montreal mounted a 40 year retrospective which travelled through 2017; first to the Migros fur Gegenwartskunst , Zurich; then on to the Kunstverein in Hamburg; and the MAMAC in Nice. The exhibition was accompanied by a publication from JRP/ Ringier, Zurich. In 2019, Magor will open an exhibition of new work at Carpenter Center for Visual Art, Cambridge, Mass. The exhibition will travel to the Renaissance Society in Chicago accompanied by a publication. 


Jennifer Macklem, Professor of Sculpture, They were still there the last time, Exhibition at Galerie Eric Devlin, Montréal

October 13 octobre – 10 Nov, 2018     
Vernissage – 13 Oct, 14h – 17h
550 Rue Beaumont,
(coin de Querbes)

They were still there last time

Is vulnerability resistance or weakness?

Creatures in their shrinking, drying moistness - they are signaling their calling, vocalizing utterances for human ears to receive.

Absence - potential, inferred, actual - can be a hollowing out. Not only are they absent from the green or white or wet spaces of their surrounds, they are gone from inside of us, in that hole inside the chest. Those spaces – shot through with glimmering light, reflections doubling over into darkness – what remains?  They were, not long ago, thriving and alert. It's not just memory and the way it fades, it is the sore and raw hollowing out of loss.

Back in the urban world, too much alcohol, materialism and tech-addled attention deficits fray the spirit, layering it with resentment. It treads a weary stomp-circle of blame. We think we are smart and know what is going on. The silver snout of that furry mammal sending electrical impulses to her brain, while her eyes flash and the body vanishes. Translucent wings at the threshold of disappearance, from a multitude to a few to none.

Viewers, the mechanisms of display, reception, discursive dissemination, the production of knowledge, the striations of networking, exclusion: the art world. My human eyes glaze over at the total colonization of wildness via these knowledge systems; a maze of human intrigue, mirrors on all sides.