Through the generous support of TD Bank Group, the Canadian Art Foundation (Canadian Art) is pleased to announce a new part-time position of Indigenous editor-at-large, dedicated to overseeing and expanding the publication’s Indigenous editorial strategy.
The Indigenous editor-at-large will be in charge of commissioning and editing pieces for print and online, focusing on Indigenous perspectives and art, contemporary and historical. They will also work at cultivating and mentoring emerging critical voices from Indigenous communities.
The successful candidate for the position will be selected by an advisory committee consisting of Richard Hill, Candice Hopkins, Heather Igloliorte and Ryan Rice, in consultation with Canadian Art’s editor-in-chief and co-publisher. Says Hill on behalf of the committee: “We are encouraged by Canadian Art’s commitment to regularly cover Indigenous art and ideas and are especially pleased to see that commitment institutionalized through the creation of this position. Members of the committee will be happy to support the editor-at-large going forward by sharing advice and networks of contacts as requested.”
To read the full job description, or to find more information about the position’s terms and the application process, please visit our job posting.
More on our advisory committee:
Richard Hill
Richard William Hill is Canada Research Chair in Indigenous Studies at Emily Carr University of Art and Design. Hill taught full-time in the art history program at York University, beginning in 2007 and leaving as associate professor in 2015. As a curator at the Art Gallery of Ontario, he oversaw the museum’s first substantial effort to include Indigenous North American art and ideas in permanent collection galleries. Hill’s essays on art have appeared internationally in numerous books, exhibition catalogues and periodicals. His regular column Close Readings, featuring extended reviews of contemporary Indigenous art, began in FUSE Magazine in 2013 and now continues in C Magazine. He also has a regular column at canadianart.ca. He is currently on the editorial board of the journal Third Text.
Candice Hopkins
Candice Hopkins is originally from Whitehorse, Yukon, and is a citizen of the Carcross/Tagish First Nation. She is based in Albuquerque, New Mexico, and is a curator for the forthcoming Documenta 14, which will be held in Athens, Greece, and Kassel, Germany, in 2017. She is formerly chief curator at the IAIA Museum of Contemporary Native Arts and has held curatorial positions at the National Gallery of Canada, the Western Front, and the Walter Phillips Gallery and received her MA from the Center for Curatorial Studies, Bard College. Hopkins’s writings on history, art and vernacular architecture have been published by MIT Press, BlackDog Publishing, New York University and the National Museum of the American Indian, among others, and she has lectured widely, including at the Witte de With, Tate Modern and the Dakart Biennale. In 2012 Hopkins was invited to present a keynote lecture on the “sovereign imagination” for Documenta 13. Her recent projects include “Close Encounters: The Next 500 Years,” a multi-site exhibition in Winnipeg co-curated with Lee-Ann Martin, Steve Loft and Jenny Western, and “Sakahàn: International Indigenous Art,” the National Gallery of Canada’s largest survey of contemporary Indigenous art, co-curated with Greg Hill and Christine Lalonde. In 2014 Hopkins was co-curator with Irene Hofmann, Lucía Sanromán and Janet Dees of “Unsettled Landscapes,” the first of SITE Santa Fe’s new series of biennial exhibitions, SITElines, focused on new art from the Americas, and managing curator of “SITElines.2016, much wider than a line.”
Heather Igloliorte
Heather Igloliorte is an Inuk from Nunatsiavut. She is an assistant professor and Concordia University Research Chair in Indigenous Art History and Community Engagement in Montreal, and an independent curator of Inuit and other Indigenous arts. Igloliorte’s research centres on Native North American visual and material culture, circumpolar art studies, performance and media art, the global exhibition of Indigenous arts and culture, and issues of colonization, sovereignty, resistance and resilience. Some of her recent publications related to this work include the catalogue Inuit Art. The Brousseau Collection (2016) and essays in Negotiations in a Vacant Lot: Studying the Visual in Canada (2014); Manifestations: New Native Art Criticism (2012);Changing Hands: Art Without Reservation 3 (2012); Curating Difficult Knowledge (2011); and Inuit Modern (2010).
Igloliorte’s recent curatorial projects include the nationally touring exhibition “SakKijâjuk: Art and Craft from Nunatsiavut,” which opened at the Rooms Provincial Art Gallery in October; the co-curated night festival iNuit blanche; the permanent exhibition “Ilippunga: The Brousseau Inuit Art Collection” at the Musée National des Beaux-Arts du Québec (2016); and “Decolonize Me” (Ottawa Art Gallery, 2011 – 2015). Igloliorte served as an executive member of the board of directors for the Aboriginal Curatorial Collective (2005–2011); as the president of Gallery 101 (Ottawa, 2009–11); and on the Indigenous Advisory Council of the Canadian Museum for Human Rights (2013–16). She serves on the editorial advisory committee for Inuit Art Quarterly; on the board of directors for North America’s largest Indigenous art historical association, the Native North American Art Studies Association; and was recently appointed to the faculty council of the Otsego Institute for Native American Art History at the Fenimore Art Museum in Cooperstown, New York.
Ryan Rice
Ryan Rice, a Mohawk of Kahnawake, Quebec, is the Delaney Chair in Indigenous Visual Culture at the Ontario College of Art and Design University in Toronto. His curatorial career spans 20 years in museums and galleries. Rice served as the chief curator at the IAIA Museum of Contemporary Native Arts in Santa Fe, New Mexico, and also held curatorial positions at the Aboriginal Art Centre in Ottawa, named curatorial fellowships with the Art Gallery of Greater Victoria and the Walter Phillips Gallery in Banff, and curator-in-residence at the Carleton University Art Gallery. He received a master of arts degree in curatorial studies from the Center for Curatorial Studies, Bard College, New York; graduated from Concordia University with a bachelor of fine arts and received an associate of fine arts from the Institute of American Indian Arts, Santa Fe, New Mexico. Rice’s writing on contemporary Onkwehonwe art has been published in numerous periodicals and exhibition catalogues, and he has lectured widely. Some of his exhibitions include “ANTHEM: Perspectives on Home and Native Land,” “FLYING STILL: CARL BEAM 1943–2005,” “Oh So Iroquois,” “Scout’s Honour,” “LORE,” “Hochelaga Revisited,” “ALTERNATION,” “Soul Sister: Re-imagining Kateri Tekakwitha,” “Counting Coup,” “Stands With A Fist: Contemporary Native Women Artists” and “ARTiculations in Print.” In summer 2017, he will present the inaugural exhibition of the ONSITE Gallery in Toronto with his exhibition “raise a flag: work from the Aboriginal Art Collection 2000–2015.” Rice was also a co-founder and former director of the Aboriginal Curatorial Collective and currently sits on the Art Gallery of Ontario’s Education Council and the Native American Arts Studies Association board.
