All The Details



613-748-9530  cell: 613-762-8058


Gallery, museum and heritage management

Public outreach and interaction

History of photography and portraiture in Canada

Innovation and change management


MFA (2021 pending) Visual Art, University of Ottawa, Canada
BFA summa cum laude (2014) Visual Art, University of Ottawa, Canada
PhD (1997) Art History, University of St. Andrews, Scotland
MA (1974) Art History, Courtauld Institute of Art, University of London, England
Honours BA (1973) Major in Art History, University of Toronto, Canada
(Third year at the Albert-Ludwigs-Universität in Freiburg-im-Breisgau, West Germany)

Academic Awards: Faculty Plaque in Visual Arts, for student with the highest standing in the Visual Arts Department, University of Ottawa, 2014; SAW Video Award, University of Ottawa, 2014; Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada  (1993-95); Deutsche Demokratische Republik Austauschdienst for graduate study in West Berlin (1975-76, unused); British Commonwealth Scholarship (1974-75); Canada Council Scholarship (1974-75, unused); Ontario Scholarship (1969); Gertrude Lawlor Scholarship (1969-1973).

Major Awards: Commemorative Medal of the Queen’s Jubilee, 2002; Curatorial Writing Award (short essay), Ontario Association of Art Galleries, 2011

Training: Advanced executive training, Canadian Centre for Management Development, Touraine, Quebec (1987 and 1996)

Languages: English, French, German (reading, partial conversation)


2013 — ongoing
ARTIST and CONSULTANT, independent

  • for up-to-date information, see:

April 30, 2001 – January 30, 2010 (retr.)
DIRECTOR GENERAL, Portrait Gallery of Canada, Ottawa

  • Responsibilities: leadership of the Portrait Gallery of Canada, a program of Library and Archives Canada, launched by the federal government on January 23, 2001; merged with Programs Branch, Library and Archives Canada, 2009.
  • Goals:
    • vision and strategic priorities
    • building project
    • national and international public profile and programs

September 1, 1998 – Aug. 5, 2001
DIRECTOR GENERAL, Preservation Branch, National Archives of Canada, and
September 1, 1998 – June 3, 2001 concurrently:
DIRECTOR GENERAL, Project Archives Place of the Future, National Archives of Canada

  • Responsibilities:  as Director General, Preservation Branch: the preservation, conservation treatment, circulation, loan, reproduction and digitization of the  holdings of the National Archives: approx. 138 kilometres of paper records, 16,000 gigabytes of electronic records, 21 million photographs, 2 million maps and plans, 300,000 works of art, including oil and watercolour paintings, prints, drawings, and caricatures, 170,000 hours of film and video productions and 160,000 hours of sound recordings, as well as specialized national collections of globes, philately, seals and medals.  Also, conservation treatment of all collections in the National Library, including the Jacob M. Lowy Collection of Hebraica and Judaica, and the music, literary, children’s and livres d’artistes collections.
  • Achievements:
    • renewal following major re-organization
    • new preservation policy
    • integrated methods for global preservation and reproduction
    • move to digital technologies
  • Responsibilities and Achievements: as Director General, Project Archives Place of the Future: see below; these responsibilities continued after dual role begun, Sept. 1, 1998.

October 1, 1996 – June 3, 2001
DIRECTOR GENERAL, Project Archives Place of the Future (previously Archives Headquarters Accommodation Project), National Archives of Canada.

  • Responsibilities: leadership of major headquarters construction and other projects for the National Archives of Canada (with Public Works and Government Services Canada); e.g. Gatineau Preservation Centre ($108.2 million), West Memorial Building ($106 million), nitrate film storage facility ($10 million), etc.
  • Achievements:
    • Gatineau Preservation Centre completed, with move in of staff and holdings, on schedule and on budget (awarded Governor-General’s Medal for Architecture 1999)
    • base budget increase obtained from Treasury Board during Program Review downsizing
    • long-term headquarters for National Archives in West Memorial Building and joint accommodation strategy with National Library planned
    • Nitrate vault funding and Preliminary Project Approval obtained from Treasury Board

May 1, 1995 – September 30, 1996
DIRECTOR GENERAL, Policy Branch and Archives Headquarters Accommodation Project, National Archives of Canada.

  • Responsibilities:  executive advisory support, corporate policy and strategic planning, internal departmental audit and evaluation, grants and contributions program; leadership of Archives Headquarters Accommodation Project, subsequently named Project Archives Place of the Future (see above).
  • Achievements:
    • assisted foundation of AV Preservation, a private-sector, non-profit, national corporation supervised by a Board of Directors
    • re-oriented executive Strategic Planning Session to challenging “open forum” concept, leading to internal management review
    • furthered a Continuous Learning initiative following Program Review
    • obtained Preliminary Project Approval from Treasury Board for West Memorial Building Project ($106 million) with Public Works and Government Services Canada

January 1993 – April, 1995
Leave granted from the National Archives of Canada to pursue PhD studies.

December 1, 1986 – August 2, 1993
DIRECTOR, Documentary Art  and Photography Division, and Canadian Museum of Caricature, National Archives of Canada (called Public Archives Canada prior to June 11, 1987).

  • Responsibilities: acquisition, research, custody and public access for 200,000 works of art, 800,000 philatelic items and 15,000,000 photographs, including the national portrait collection and the national medal and heraldic collections; leadership of Canadian Museum of Caricature; Canadian Postal Archives
  • Achievements:
    • re-organized two divisions into one
    • negotiated Karsh photography acquisition ($3.5 million)
    • established and directed Canadian Museum of Caricature, a sub-museum of the National Archives of Canada
    • negotiated transfer of historic philatelic collections from Canada Post ($50 million)
    • founded and managed Canadian Postal Archives
    • negotiated repatriation of Canadian philately from U.S. Banknote Co., in imminent danger of auction through Christies’, N.Y. ($1.1 million)

October 1, 1986 – November 30, 1986
A/DIRECTOR, National Photography Collection, Public Archives Canada. (Division amalgamated December 1, 1986, see above)

September. 1985 – April 1986
VISITING ASSISTANT PROFESSOR, Master of Archival Studies Programme, School of Library, Archival and Information Studies, University of British Columbia, Vancouver.

January 4, 1982 – September 30, 1986
CHIEF, Acquisition and Research Section, National Photography Collection, Public Archives Canada.

  • Achievements: headed team project on amateur photography in Canada c. 1839-1940, resulting in c. 30,000 items acquired, touring exhibition, publication (Private Realms of Light/Le coeur au métier) now a standard reference for history of photography at colleges and universities

January 4, 1976 – December 31, 1981:  PHOTO-ARCHIVIST,  Public Archives Canada; May 15, 1973 – August 31, 1973 and July, 1974 – December 15, 1975: ARTIFACT RESEARCHER, National Museum of Man (now Canadian Museum of Civilization), Ottawa


Frequent contacts with local and national media, including radio, newspapers and television, have been required over the past thirty years.  This has occurred as part of the outreach for acquisitions, exhibitions and publications, including the Canadian Museum of Caricature, for the National Archives’ construction projects, and for the Portrait Gallery of Canada.  In addition, consultations and interviews have occurred for radio, film and television productions of photographers’ and artists’ work, as well as the hosting of a television series called Ottawa’s Art Seen for RogersTV, first broadcast in the fall of 2011, renewed for 2012.


Collaborative development, stakeholder consultations and fundraising, particularly for the Portrait Gallery of Canada, the AV Preservation Trust and for Library and Archives Canada’s art and photography collections and headquarters construction needs, have occasioned extensive senior-level connections at ministerial levels within the departments of Canadian Heritage, Public Works and Government Services Canada, Treasury Board, the Privy Council Office, and at other federal and provincial levels (National Capital Commission, CBC, NFB, Cinémathèque Québecoise, etc.).  The Portrait Gallery of Canada entered into collaborative partnerships with the Canadian Museum of Nature to install a retrospective of the portraiture of  F.H. Varley, with the Art Gallery of Ontario to adapt an educational programme called In Your Face for Ottawa, with the Art Gallery of Nova Scotia to create an interactive experience called Family Portraits: Immigration and Identity and with the Canada Science and Technology Museum to fund and produce the major Festival Karsh in 2009.  International partnerships for public exhibitions and events have involved the National Portrait Gallery and Canada House in London, the Centre culturel canadien in Paris, and the Théatre de la photographie et de l’image, in Nice, France.

Representation has also been required at operational interdepartmental committees of the federal government to pursue funding and partnerships for construction strategies and for advice in arts and archives policy issues, copyright, commemorative events, etc. Similar contacts as well as fundraising have occurred in the corporate private sector (Beny Foundation, Hoechst-Celanese, Power Corporation, etc.), with major private individual donors, with supporters of art educational programming, and at other political and state levels (senators and parliamentarians, ambassadors, Governors General of Canada, Lieutenant Governors, municipal and other politicians, etc.).
Wide international professional, institutional and academic contacts have been developed and maintained further to expertise areas, and in order to represent the Portrait Gallery of Canada, the Canadian Museum of Caricature and Library and Archives Canada at national and international conferences.  These include meetings of the National Portrait Gallery Directors’ International Group, the Universities Art Association, the ORACLE Conference of international photography directors and curators, the Canadian Council of Archives, the National, Provincial and Territorial Archivists’ Council, the International Congress on Archives, the Canadian Museums Association, the Canadian Historical Association, the Association of Canadian Archivists, l’Association des archivistes du Québec, and so forth. Further, an active speaking schedule with grass-roots organizations such as local service clubs, and connections with international visiting scholars and administrators, has been maintained.


Appendix A: Consultancies (in Canada and internationally)

Appendix B: Publications (5 books and catalogues; 3 brochures; 11 chapters and introductions; 21 articles; 9 reviews)

Appendix C: Exhibitions (As curator, 2 major; 4 minor; also, extensive management supervision of exhibitions of the Portrait Gallery of Canada, the Canadian Museum of Caricature, and National Archives art and photography. As artist, 1 group exhibition)

Appendix D: Teaching and Academic Activity (Carleton University and University of British Columbia: undergraduate and graduate teaching and thesis supervision in art history, archives, Visiting Assistant Professor, Adjunct Research Professor)

Appendix E: Lectures (103 in Canada and internationally)


available upon request




  • Adjunct Research Professor, School for Studies in Art and Culture: Art History, Carleton University, 1987 — ongoing

Past (international):

  • Member, Editorial Board for Studies in Photography annual of the Scottish Society for the History of Photography, Edinburgh, 1996 – 2010
  • Judge, Adam Portraiture Award, New Zealand Portrait Gallery, 2008
  • Member, International Council on Archives’ Committee on Archival Buildings and Equipment, 1995-1996
  • Member, International Advisory Board, representing Canada, for the History of Photography, an international quarterly, 1985-1993
  • Consultant to the Fundaçion Antorchas, Buenos Aires, Argentina, on the establishment of a photographic archives for the country, 1989

Past (Canadian):

  • Member, Board of Directors, Ottawa Art Gallery, 2010 — 2019, including Chair, Firestone Collection
  • Judge, Our Roots art exhibition, St. Brigid’s Centre for the Arts, Ottawa, June 2012
  • Member, Jury for Luna and Sphinx Awards, School of Photographic Arts: Ottawa, 2012
  • Chair, Arts and Heritage Plan Renewal Steering Committee, City of Ottawa, 2010-2012
  • Member, Canada Post Stamp Advisory Committee, 2006-12
  • Reviewer, photographic portfolios, Festival X, Ottawa, September 30, 2012
  • Host, Ottawa’s Art Seen, 8-part series of interviews with Ottawa-area artists; producer: Clive Branson, for RogersTV, first broadcast Fall 2011
  • Expert assessor (photography), Treasures in Your Attic antiques clinic, Bytown Museum, September 11, 2011
  • Consultant and participant in Karsh is History, a one hour biography on Yousuf Karsh; producer: Ian MacLaren; director: Joseph Hillel; winner of Best Canadian Work at International Festival of Films on Art 2009; broadcast on ARTV August 2009, Bravo TV January 2010; international broadcasts continuing
  • Judge, Kingston Portrait Prize, Kingston, October 2009
  • Consultant for 13-episode series Star Portraits; producer: Andrea Nemtin; broadcast on Bravo TV weekly from September 11, 2009; re-broadcasts continuing
  • Consultant and participant in one hour documentary on contemporary and historical photography with focus on Quebec; part of series Un Monde de passions; producer: Les productions Rivard; broadcast 2009
  • Consultant and participant in one hour documentary Battle of the Wills on alleged portrait of William Shakespeare; broadcast on Bravo TV February 2009
  • Facilitator at three discussion groups, Visual Arts Summit, Canadian Museums Association, Ottawa, November 25-27, 2007
  • Consultant and participant in one hour documentary on photographer Ted Grant; producer: Anne Henderson; broadcast on Bravo TV March 4, 2008
  • Chair, Committee of Peers, Library and Archives Canada (recommending Historical Research Group promotions), 2006
  • Consultant and participant in one hour documentary on photographer William Notman; producer: Andrea Nemtin; broadcast on TVO Masterworks, January 21, 2004; re-broadcasts continuing
  • Consultant for television biography of photographer Arnaud Maggs; producer: A. Mangaard; photography: Zoe Dirse; broadcast on TVO Masterworks, January 16, 2003
  • Assessor, manuscripts for publication in Archivaria, 2002
  • Assessor, manuscript for publication by University of Toronto Press, 2002
  • Consultant and participant in one hour documentary on Portrait Gallery of Canada, CPAC, multiple broadcasts, 2001
  • Consultant and participant in Life & Times television biography of Yousuf Karsh; producer: David Langer, for CBC/Radio-Canada, broadcast 2001 and 2002
  • Delegate of the National Archivist of Canada on the Board of Directors and the Executive Committee, AV Preservation, 1996-2001; Chair of the Governance and Nominations Committee of the Trust, 1999-2001
  • Member, Canadian Council of Archives, Preservation Committee, 1986-1987 and 1999-2000
  • Assessor, Canada’s Digital Collections Program, Industry Canada, 1999
  • Invited by Concordia University to be Consulting Editor on Canadian photography in the proposed revision of the Art and Architecture Bibliography, project not funded
  • Member, Advisory Committee of the Media Arts Option at Ryerson Polytechnic University, Dec. 1992-1996
  • Assessor in art and photography for the Social Sciences and Humanities Research Council of Canada, 1990-1993
  • Assessor for the National Archival Appraisal Board, 1982-1993
  • Member, Committee of Peers (recommending Historical Research Group promotions) for the National Archives of Canada, 1991-1992
  • Member, Exhibition Committee of the Canadian Centre of Photography and Film in Toronto, 1982-1984




Justin Wonnacott: I Remember and I Forget.  Sandra Dyck, curator, with an essay by Lilly Koltun.  Ottawa, Carleton University Art Gallery, 2010: 48 pp., 24 colour illustrations.

Yousuf Karsh, Portraits, Nice, France: Théatre de la photographie et de l’image, Nice Musées, 2006:  152 pp, 111 illustrations.

Private Realms of Light:  Amateur Photography in Canada, c. 1839-1940,  editor. (Toronto:  Fitzhenry & Whiteside) 1984:  352 pp and over 300 illustrations. (Also available in French under the title Le coeur au métier: la photographie amateur au Canada de 1839 à 1940.)

City Blocks, City Spaces/Espaces urbains, historical photographs of Canada’s urban growth, c. 1850- 1900/Photographies historiques de la croissance urbaine au Canada, vers 1850-1900.  (Ottawa:  Public Archives Canada) 1980: 102 pp, 28 illustrations.

The Cabinetmaker’s Art in Ontario, c. 1850-1900.  National Museum of Man Mercury Series, History Division Paper No. 26, (Ottawa: National Museums of Canada) 1979:  193 pp, 110 illustrations.


– Surgery Without Anaesthesia: Chantal Gervais’s Corpus/Chirurgie sans anesthésie : le corpus de Chantal Gervais, for exhibition for The Karsh Award 2014, Karsh-Masson Art Gallery, Ottawa, Sept. 12 – October 19, 2014.

Empowered Bodies: Jerry Grey’s Rare Spirits/Des corps agissants: les «grands esprits» de Jerry Grey, for exhibition “Jerry Grey: Rare Spirits/De grands esprits”, Ottawa Art Gallery, December – January 2000.

The Magic Word/Le mot magique, John Reeves photographs Jean Vanier’s Community at l’Arche/Photographies de John Reeves — L’Arche de Jean Vanier for exhibition of same title, Public Archives Canada, Ottawa, February – June 1981.


Hidden Treasures from the Bytown Museum, intro. by Charlotte Gray, texts by Janet Carlile, Lilly Koltun, Steven C. McNeil, Judith Parker, Mike Steinhauer, Rosemarie Tovell, René Villeneuve.  Ottawa: Bytown Museum, 2011.  100 pages, 51 colour plates.

– “Whistler as Model: The Enacted Biographies of Pictorialist Photographers,” James McNeill Whistler in Context: Essays from the Whistler Centenary Symposium, University of Glasgow, 2003.  Lee Glazer, Margaret F. MacDonald, Linda Merrill, and Nigel Thorp, eds. Freer Gallery of Art Occasional Papers. New Series. Vol. 2, (Washington: Freer Gallery of Art, Smithsonian Institution) 2008, p. 65-80.

– “Foreword/Avant-propos” in: F.H. Varley, Portraits into the Light/Mise en Lumière des portraits by Katerina Atanassova.  (Toronto: Dundurn Press) 2007, pp. 15-16; 69.

– “Die Konstruktion des neuen Lichts” in: Yousuf Karsh, Helden aus Licht und Schatten, edited by Dieter Vorsteher, Janet Yates.  (Berlin: Deutsches Historisches Museum, G-und-H-Verlag) 2000: pp. 123-36.  English translation: “Framing a New Light: Karsh Addresses the Audience of the Theater and the Press” in: Yousuf Karsh, Heroes of Light and Shadow, edited by Dieter Vorsteher, Janet Yates. (Niagara Falls, N.Y.: Stoddart Publishing Co.) 2001: pp. 123-36.

– “Two Porcupines Dancing: Issues that Arise When the Donor Gives and the Institution Receives”, in: The Private Collector and The Public Institution, edited by Sheila D. Campbell. (Toronto: University of Toronto Art Centre) 1998: pp. 124-37.

– “Focus on Canadians: the National Portrait Collection/Plein feux sur les Canadiens: La collection nationale de portraits”, in: 125 Companions of the Order of Canada/Compagnons de l’ordre du Canada: portraits by/par Harry Palmer.  (Ottawa: Canada Communication Group) 1992: pp. 18-23 (pp. 24-30 in French).

– “Reading the Unwritten Record: how to dissect photographs as primary research sources for history”, in: Social History and Photography: the Atlantic Region from 1870-1920.  (Halifax: Art Gallery, Mount Saint Vincent University) 1990: pp. 11-36.

– “Conservation Policies: 3 Tests for Their Usefulness/Les politiques de restauration: trois tests pour vérifier leur utilité”, in: Shared Responsibility/Responsabilité partagée: Proceedings of a seminar for Curators and Conservators/Les Actes d’un colloque à l’intention des conservateurs et des restaurateurs, edited by Barbara A. Ramsay-Jolicoeur and Ian N.M. Wainwright.  (Ottawa: National Gallery of Canada) 1990: pp. 128-135 (pp. 130-138 in French).

– “The Karsh Collection”, in: Karsh: the Art of the Portrait. (Ottawa: National Gallery of Canada) 1989: pp. 141-152. (also published as “La collection Karsh” in Karsh: l’art du portrait).

– “Art Ascendant, 1900-1914”, in: Private Realms of Light:  Amateur Photography in Canada, c. 1839-1940, edited by Lilly Koltun. (Toronto: Fitzhenry & Whiteside) 1984: pp. 32-71 (also published as “La montée de la photographie 1900-1914” in Le coeur au métier: la photographie amateur au Canada de 1839 à 1940, pp. 32-71.)

– Introduction to catalogue Slowly I turned… of exhibition of contemporary photographs by Brian Condron. (Toronto: Art Gallery of York University), 1981: (no page numbers; 2+ pp.)


–  “Photography and the Nation”, Studies in Photography, annual of the Scottish Society for the History of Photography, 2006, pp. 30-34.

–  “Geneviève Cadieux”, biographical entry in the Encyclopedia of Twentieth-Century Photography, U.S.A/U.K..: Routledge/Taylor and Francis, 2005.

–  “A New Portrait Gallery for Canada: Stacking or Unpacking a National Narrative?” RACAR (Revue d’art canadien/Canadian Art Review), XXX, 1-2/2005, pp. 13-24.

– “Canadian Identities, National Identity in the Canadian Context,” Portrait.14 (Canberra: National Portrait Gallery of Australia), 2004, pp. 17-21.

– “The Portrait Galley of Canada – A New Focus on People,” MUSEUM Design + Function, Vol. 1, no. 1, November/December 2004, pp 67-72.

– “A Portrait Gallery for Canada: Five Centuries of Subjects in a 21st Century Frame,” Studies in Photography, annual of the Scottish Society of the History of Photography, 2003.

– “The Architecture of Archives: Whose Form, What Functions?” in Archival Science: International Journal on Recorded Information, 2, pp. 239-61, 2002 (in a two-issue compilation entitled “Archives, Records and Power”, J.M. Schwartz and T. Cook, eds.).

– “Karsh’s New Light,” Photolife Magazine Vol. 27, No. 4, July 2002, pp. 19-24 and pp. 44-6.

– “The Four Indian Kings: The Many Modes of Remembrance”, Queen’s Quarterly Vol. 109, no. 1, Spring 2002, pp. 102-8.

– “The Promise and Threat of Digital Options in an Archival Age”, Archivaria No. 47, Spring 1999: pp. 114-35.

– “Regalia of Conversion: The Hill and Adamson Portraits of The Reverend Peter Jones, or Kahkewaquonaby,” Studies in Photography annual.  (Edinburgh: The Scottish Society for the History of Photography) 1998, pp. 9-11.

– “Inside Out: the Portrait Presumption/Intériorité et extériorité, l’illusion du portrait”, preface in Facing History/Face à face avec l’histoire, Portraits from the National Archives of Canada/Portraits des Archives nationales du Canada.  Lydia Foy, intro.; catalogue entries by L. Foy and P. Robertson.  (Ottawa: National Archives of Canada) 1993, pp. vii – ix.

– “Carter, Sidney Robert” in: The Canadian Encyclopedia, James H. Marsh, Editor-in-chief.  (Edmonton: Hurtig) 1985: p. 292.

– “Building a Record:  Civil Engineering and the National Photography Collection”, Canadian Civil Engineer, Vol. 2, No. 6, Nov./Dec. 1985: pp. 3-4.

– Contributing author to “On View:  The Evolution of Amateur Photography” (with A.J. Birrell, P. Robertson, A. Rodger and J.M. Schwartz), Archivaria, No. 17, Winter 1983-1984:  pp. 115-135.

– “The raison d’être of the National Photography Collection” in: The Archivist, Vol. 11, No. 2, March-April 1984:  pp. 6- 7.  Reprinted in Camera Canada, 1985.

– “A Visual Cliché — an analysis of five views of Yale”, co- authored with Joan M. Schwartz, for special issue of B.C. Studies, Winter, 1982.

– “Treasures of Canada’s Photographic Past”, Canadian Collector, Vol. 15, No. 6, Nov./Dec., 1980:  pp. 23-28, 12 illustrations.

– “Seeing is Believing?  — a Critique of Archival Visual Sources for Material Culture Research” in: Papers from Canada’s Material History: A Forum/Colloque sur l’histoire de la culture matérielle du Canada, edited by Barbara Riley. Material History Bulletin No. 8, Special Issue (Ottawa:  National Museum of Man) 1979: pp. 49-64, 11 illustrations.

– “Pre-Confederation Photography in Toronto”, History of Photography international quarterly, Vol. 2, No. 3, July, 1978: pp. 249-63, 20 illustrations.

– “The Photograph:  an annotated bibliography for archivists”, Archivaria, No. 5, Winter 77-78: pp. 124-140; edited the work of eight contributors and wrote pp. 124-27 dealing with general works on the history of photography.

     E) REVIEWS:

– Review of Toronto’s Visual Legacy, Official City Photography From 1856 to the Present, by Steve Mackinnon, Karen Teeple, Michele Dale.  (Toronto: James Lorimer & Company Ltd.)2009; for Archivaria, the Journal of the Association of Canadian Archivists, No. 69, Spring 2010, pp. 197-199.

– “Nichola Feldman-Kiss”, Canadian Art, Vol. 23, No. 2, Summer 2006.

– “TurnerWhistlerMonet: More Than a Show of Hands,” exhibition and catalogue review, Urban History Review, March 22, 2005.

– “Not the World of William Notman,” reviewing The World of William Notman, by Roger Hall, Gordon Dodds, and Stanley Triggs.  (Toronto: McClelland and Stewart Inc.) 1993; for Journal of Canadian Studies, Vol. 30, No. 1, Spring 1995, pp. 125-133.

– Review of Envisioning Information by E. Tufte, for Archivaria, the Journal of the Association of Canadian Archivists, No. 33, Winter 1991-92, pp. 219-221.

– Review of EW100: Centennial Essays in Honor of Edward Weston, edited by Peter C. Bunnell and David Featherstone, for History of Photography international quarterly, Vol 11, No. 1, 1987.

– Reviews of Spadina Avenue by Rosemary Donegan and of Vancouver’s First Century, A City Album by Anne Kloppenberg et al in Urban History Review, Vol. XV, No. 1, June 1986: pp. 111-113.

– Review of Photography and Architecture:  1839-1939 by R. Pare, in The University of Toronto Quarterly, August, 1984:  pp. 520-522.

– “The City and the Camera — a commentary” in: Urban History Review, Vol. VIII, No. 2, October 1979:  pp. 87-89.  This is a review of a symposium which took place at York University, Toronto, March 9, 1979.





Exhibiting artist (solo exhibition)The Life Within, Sculpture by Lilly Koltun, Gallery 115, University of Ottawa, Oct. 31 – Nov., 2013.

Exhibiting artist (video, sculpture), Nuit Blanche Ottawa-GatineauOttawa (ON) and Gatineau (QC), September 22, 2013.

Exhibiting artist (video, sculpture), Nuit Blanche OttawaOttawaSeptember 21, 2012.

Co-curator (photography), Hidden Treasures of the Bytown Museum, Ottawa, June 23 – Oct. 2, 2011.

Management supervision of exhibitions programming for the Portrait Gallery of Canada, completed by staff and contracted curators, 2001 – 2009.  The Portrait Gallery’s permanent and temporary exhibitions were in preparation. (Note the Canadian government halted construction of the originally identified permanent site in Ottawa, and following two processes to locate a new site, suspended the building project indefinitely in November 2008.  In September 2009, the Portrait Gallery of Canada was merged into the Programs Branch of Library and Archives Canada.)  During this period, a number of temporary exhibitions were launched.  Among the events of a major Festival Karsh in 2009 to commemorate the 100th anniversary of Yousuf Karsh, a large exhibition in Ottawa was unveiled with the Canada Science and Technology Museum.  This exhibition travelled to Edmonton in 2010 where it was a featured exhibition for the re-opening of the Art Gallery of Alberta.  Festival Karsh also created the innovative Karsh Trail in Ottawa with 11 partners, including the National Gallery of Canada and a number of small museums (Bytown Museum, Currency Museum, Laurier House Historic Site, etc.).

Exhibitions for 2008 included a retrospective of the portraiture of Frederick Varley, curated by the Varley Art Gallery of Markham, and installed at the Canadian Museum of Nature in Ottawa. In 2008 as well, the innovative canal and street exhibitions were installed, called Portraits on the Ice and In the Street in Ottawa, and Portraits dans les rues in Quebec City, where they celebrated the 400th anniversary there.  In 2007-08, the educational In Your Face exhibition was brought to Ottawa, in partnership with the Art Gallery of Ontario.

In 2007, the Portrait Gallery loaned four major works (the “Four Indian Kings” by John Verelst, 1710) to the National Portrait Gallery in London, England, and curated a complementary exhibition, Contemporary Voices, of 20 contemporary aboriginal works by Jeff Thomas and Shelley Niro at Canada House, London, England.  This exhibition, combined with the “Four Indian Kings”, was planned to circulate within Canada in 2010-11.

In 2006, the Portrait Gallery circulated an exhibition of 107 works entitled Yousuf Karsh, Portraits, to Nice and Paris, France, curated by a partner, the Théatre de la photographie et de l’image, Nice.

For 2002-2004, exhibitions included Ground Breakers (36 images); Karsh Masterworks — a Tribute (53 images with website project to mark his death); Recognizing Donors and Lenders (c. 20 works with a 1-day symposium; “Portraiture Between Narrative and Abstraction”, University of Ottawa)

Management supervision of exhibitions programming for the Canadian Museum of Caricature, completed by staff and contracted curators, 1987 – 1992.  The Museum, situated at 136 St. Patrick Street, Ottawa, completed 3 – 4 exhibitions annually, of c. 50-70 items, with related publications and outreach.  (The museum was discontinued in 1994, occasioned by government-wide budget reductions.)

Private Realms of Light/Le Coeur au métier, Canadian Amateur Photography, c. 1839 – 1940/la photographie amateur au Canada de 1839 à 1940.
Public Archives Canada, Ottawa, July 14, 1983 – October 16, 1983.  197 images, several medals and manuscript and library materials.  A major catalogue/book was published by Fitzhenry & Whiteside of Toronto in 1984.  The exhibition travelled to the Art Gallery of Ontario (Toronto), to the Confederation Centre (Charlottetown) and to the Glenbow Alberta Foundation (Calgary) in 1985-1986.  Coordinated the exhibition and edited and contributed to the publication, which had five contributing authors.

The Magic Word/Le mot magique, John Reeves photographs Jean Vanier’s Community at l’Arche/Photographies de John Reeves — L’Arche de Jean Vanier.
Aperçu series, Public Archives Canada, Ottawa, February – June 1981.  22 frames with 6-page brochure.

City Blocks, City Spaces/Espaces urbains, historical photographs of Canada’s urban growth, c.1850-1900/Photographies historiques de la croissance urbaine au Canada vers 1850-1900.
Public Archives Canada, Ottawa, April 22, 1980 – July 8, 1980.  The exhibition of c.200 views was accompanied by a 102-page catalogue and was hung in Ottawa, Toronto, Montreal, Quebec City, Halifax and Victoria.

Professional Photographers of Canada Conference Print Show, 1977 and 1978.
Provided aid to the association in creating and travelling these two annual exhibitions.



  • September, 1987 – present:

Adjunct Research Professor (inc. possible graduate supervision), in Art History, School for Studies in Art and Culture, Carleton University, Ottawa.  Previously, from September, 1983-87: Research Associate in Art History, Carleton University, Ottawa.

  • September 17, 2004:

External examiner for MA thesis of Andrew Kear, “Governing Likenesses: The Production History of the Official Portraits of Canadian Prime Ministers, 1889-2002″, School for Studies in Art and Culture, Carleton University, Ottawa.

  • January – April 1997:

Lecturer for MA half-course “New Perspectives in the History of Canadian Photography, 1839-1939” in the School for Studies in Art and Culture, Carleton University, Ottawa.

  • May, 1992 – 1993:

Member of supervisory committee (with Profs. John O’Brian and Rose Marie San Juan) for a PhD student (topic:  William Notman, a 19th-century Canadian photographer); to be awarded by the Department of Fine Arts, University of British Columbia.  Resigned in 1993, after beginning personal PhD studies.

  • 1990:

Invited to become a member of the External Faculty in the MA in Canadian Art History initiated by the School for Studies in Art and Culture at Carleton University, Ottawa.  The programme began in January 1993, at which time my designation became Graduate Supervisor.   Subsequent appointments, to the present, as Adjunct Research Professor included possible graduate supervision at master’s and doctoral levels.

  • 1986:

Invited to teach an advanced course on the History of Canadian Photography at Concordia University, Montreal.  Due to press of work in new position at the National Archives, was obliged to withdraw prior to start of course.

  • September 1985 – April 1986:

Visiting Assistant Professor, Master of Archival Studies Program, School of Library, Archival and Information Studies, University of British Columbia, Vancouver.  Included committee work for MA theses and lectures on issues in photographic archives.   Also consulted for local area archives on photographic collections management.

  • September 1983:

Co-organizer with a colleague of a combined internship/credit course program with the Art History Department, Carleton University, focusing on the art and photography collections of the National Archives of Canada.  Practicum students were accepted for a number of years.

  • September 1979 – April 1980:

Lecturer for 11.250, Romanticism and Early Modern Art and for 11.260, Modern Art, Carleton University, Ottawa

  • September 1978 – April 1979:

Lecturer for 11.250 Rococo to Early Modern Art, and for 11.260, Modern Art, Carleton University, Ottawa

  • September 1977 – April 1978:

Lecturer for 11.100B General Survey of Art, Carleton University, Ottawa

  • September 1976 – April 1977:

Lecturer for 11.100B General Survey of Art, Carleton University, Ottawa.




December 10, 2014: “Art or Selfie? Canadian portraiture seen differently”, Heritage Ottawa, Ottawa

October 9, 2014: Panel, “Is Ottawa leading, following or on the sidelines of artistic innovation?” Ottawa Society for the Arts and Sciences, Ottawa Public Library


November 1, 2012: Roundtable, “The Histories of Photojournalism in Canada,” Photojournalism: Then and Now Symposium, McGill University (Media@McGill, the McGill Institute for the Study of Canada), McCord Museum, Montreal


September 29, 2011: Curators’ Roundtable, Hidden Treasures of the Bytown Museum, Ottawa

April 22, 2011: Moderator and Chair, closing plenary, The Journey to Healing and Awareness Through Cultural Expression, National Victims of Crime Awareness Week symposium, Policy Centre for Victim Issues, Department of Justice, Ottawa


June 23, 2010: speaker and panel member, “Out of Site/Out of Mind” exhibition and panel discussion, St. Brigid’s Cultural Centre, sponsored by University of Ottawa


November 9, 2009: speaker for panel discussion: “Celebrity Portraiture,” jointly sponsored by Royal Ontario Museum (Institute of Contemporary Culture) and Art Gallery of Ontario, Toronto

October 23, 2009: “The Four Indian Kings inside a Legacy of Imagery,” Aboriginal Curatorial Collective/Collectif des Conservateurs Autochtone, Camp Kabeshinan, National Gallery of Canada, Ottawa

September 16, 2009: Moderator for panel discussion “State of Photographic Portraiture in Canada,” School of Photographic Arts: Ottawa

May 7, 2009: “What is Fame? A behind-the-scenes look at Yousuf Karsh creating his pantheon,” Célébridée series public lecture, Tulip Festival, Ottawa

February 11, 2009: “Pantheons and Place: Portraiture in Redpath Hall,” McGill University, Montreal


June 21, 2008: “Les portraits de F.H. Varley,” Portrait Gallery of Canada at Canadian Museum of Nature, Ottawa

May 9, 2008: Respondent for panel “Portrayals,” in The Cultural Work of Photography in Canada workshop, Carleton University, Ottawa

April 11, 2008: “L’avenir des archives audiovisuelles,” Groupe des archivistes de la région de Montréal, Concordia University, Montréal

March 4, 2008: “Issues in Canadian portraiture,” Department of Art History, Queen’s University, Kingston

February 22, 2008: “Canadian Portraiture,” New Zealand Portrait Gallery Friends and Patrons and National Library of New Zealand Friends, Wellington, New Zealand

January 14, 2008: Opening speech for exhibitions: “Pascal Grandmaison, Le grand jour,” “Constructed Visions, Drawings by Ronald Bloore,” and “Not a Trivial Pursuit, Hunting in Inuit Art”, Carleton University Art Gallery, Ottawa


April 5, 2007: “Breaking the Silence: Three conversations on emerging ethical issues among museums”, Museum Studies, University of Toronto

January 9, 2007: “Small World, Large Universe: the image as microcosm for ideas of order and disorder”, Faculty of Information Studies, University of Toronto


November 9, 2006: “Small World, Large Universe: the image as microcosm for ideas of order and disorder”, W. Kaye Lamb Memorial Lecture, University of British Columbia, Vancouver

April 27, 2006: “Photography in the Portrait Gallery of Canada,” Photography Collectors’ Group, National Gallery of Canada, Ottawa

April 3, 2006: “Photography in the Portrait Gallery of Canada,” Queens’ University, Kingston


November 28, 2005: “Photography and the Nation,” Scottish National Photography Centre, Edinburgh

May 25, 2005: “Portraiture in the Age of Electrical McLuhan,” The McLuhan Lectures, University of Toronto, Toronto

February 16, 2005: “Le Musée du portrait du Canada – bâtir une nouvelle institution nationale,” Groupe des mercredis culturels, National Gallery of Canada, Ottawa


November 2, 2004: “What is a Portrait? — Seismic Shifts in Form and Meaning,” Varley Art Gallery, Markham, Ontario

October 23, 2004: “National Portrait Galleries Open Forum,” panel discussion, Scottish National Portrait Gallery, Edinburgh, Scotland

May 29, 2004: “Identities” exhibition, panel discussion, McMichael Collection of Canadian Art, Kleinburg, Ontario

April 22, 2004: “What is a Portrait? — Seismic Shifts in Form and Meaning,” Art Centre, University College, University of Toronto

Jan. 22, 2004: “Exhibiting Issues in the Portrait Gallery of Canada,” Art History, Queens’ University, Kingston

Jan. 7, 2004: “The Portrait Gallery of Canada,” Volunteers’ Circle, National Gallery of Canada, Ottawa


Nov. 20, 2003: “The Portrait Gallery of Canada – a Place for Today,” National Portrait Gallery, London, England

Sept. 26, 2003: “A Portrait Gallery for Canada: Stacking or Unpacking National Narrative?” Shannon Lecture Series, History Department, Carleton University, Ottawa

Sept. 3-6, 2003: “Whistler and the Photographers”, Whistler Centenary Conference, Centre for Whistler Studies, University of Glasgow, Scotland

June 14, 2003: commentator for session “Archives in Art,” Association of Canadian Archivists conference, Toronto

Mar. 4, 2003: “Le centre de préservation de Gatineau: un défi surmonté,” Séminaire international: “Concevoir et construire des bâtiments d’archives pour le XXIè siècle – Nouveautés et perspectives d’évolution”, Institut national du patrimoine, Paris

Mar. 1, 2003: master of ceremonies, panel chair and closing remarks for symposium “Portraiture Between Narrative and Abstraction,” Portrait Gallery of Canada, Ottawa

Jan. 30, 2003:  “The Future Portrait Gallery of Canada,” Members’ lecture, National Gallery of Canada, Ottawa


Nov. 19, 2002: “Canada’s Hidden Portrait Treasures,” Ontario Genealogical Society, Ottawa Branch, Ottawa

Nov. 1, 2002: “From Art Text to National Narrative: the Transformation of Notman’s Photographic Selections between 1863 and 1865″, Universities Art Association of Canada conference, Calgary, Alberta

Sept. 19, 2002: Eulogy for Yousuf Karsh, delivered at his Memorial Service, Ottawa

May 20, 2002: “The Artful Use of Light: the Bicentenary of the Birth of David Octavius Hill” Conference, session chair, Royal Society of Edinburgh, Scotland.

Feb. 16, 2002: “When a Tangible Science Meets an Intangible Goal: framing identities through cameras, chemistry and computers” for “The ‘Eye/I’ in Canadian Research and Canadian Art”, 5th Annual Interdisciplinary Conference, University of Ottawa, Ottawa, Ontario


Nov. 4, 2001: “Production Processes and Digital Media”, panelist, Digital Media Management invited summit, Banff New Media Institute, The Banff Centre for the Arts, Banff, Alberta.


Dec. 7, 2000: “Karsh und Katharsis: Eine Neue Sicht der Theatralischen Wirkung Seiner Grossen Porträts”, Deutsches Historisches Museum, Berlin.


Nov. 4, 1999: “Freeze Frame: William James and Robert Flaherty take still photography to the movies”, Association of Moving Image Archivists Conference, Montreal; repeated Jan. 20, 2000 at the National Archives of Canada, Ottawa

Nov. 3, 1999: “The Canadian Way: National Programs and Regional Interests in Protecting the Audio-Visual Heritage”, panelist, Association of Moving Image Archivists Conference, Montreal


Oct. 26, 1998: “Old Wine or New Elixir? The promise and threat of digital options in an archival world”, panelist, Coach House Festival for the 30th anniversary of the McLuhan Program in Culture and Technology, University of Toronto, Toronto.

Sept. 1, 1998: Chair, “Les productions des années 2000″, Panel on film preservation, Montreal International Film Festival, Montreal.

July 4, 1998:  “What Makes a Photograph Great?”, panelist, National Gallery of Canada, Ottawa.

June 24, 1998: “Portrait Photography and Precursors of the Paparazzi, Visual and Sound Archives lecture series, National Archives of Canada, Ottawa.

June 11, 1998: Chair of session: “Focus on Fundraising: Necessity and Outreach”, Archivists’ Association of Ontario Conference, Toronto.

April 14, 1998: “Portrait Photography and Precursors of the Paparazzi”, Open Society Archives, Central European University, Budapest, Hungary.

March 7, 1998: “Educating Taste: Pictorialism’s Address to a Canadian Elite”, symposium “Pictorialism into Modernism: The Clarence H. White School of Photography”, Carleton University Art Gallery, Ottawa.


December 2, 1997: “Construit pour durer? Placer le Centre de préservation de Gatineau dans la foulée de l’ambition archivistique”, Association des archivistes du Québec, région ouest, Gatineau, Québec.

November 8, 1997: “Not Mimesis, but Catharsis: Portraiture as Theatrical Response,” for “Portraiture in the Age of Photography, 1850-1910″, joint symposium of the National Portrait Gallery and Victorian Society in America, Washington, D.C.

June 5, 1997: “Built to Last? Siting the Gatineau Preservation Centre in the Places of Archival Ambition”, Plenary Lecture, Association of Canadian Archivists Conference, Ottawa.


September 7, 1996: “Archives and Mass Culture”,  on popular feature film, XIII Congress of the International Council of Archives, Beijing, China.

January 12, 1996: “Theatre of Expression: Portrait Photography in Canada, 1955-1995”, 20th Anniversary Kodak Lecture Series, Ryerson Polytechnic University, Toronto.


June 15, 1995:  Commentator of session, “Documentary Art: Art, Artifact or Record?” Association of Canadian Archivists Conference, Regina, Saskatchewan, June 13-18, 1995.


Sept. 26, 1992:  Chair of session on Pictorial Photography at the conference “Photography 1900: the Edinburgh Symposium” of the European Society for the History of Photography in association with the Scottish Society for the History of Photography, at Edinburgh, Scotland.

Sept. 14, 1992:  “New Life to Old Archives: Museum Methods in Programming”, Society of American Archivists Conference, Montreal.

May 24, 1992:  “The Unexpected Karsh”, McMichael Gallery, Kleinburg, Ontario.

April 22, 1992: “Two Porcupines Dancing: issues that arise when the donor gives and the institution receives” for conference “Private Collectors and Public Institutions”, at University of Toronto, Royal Ontario Museum and Art Gallery of Ontario, Toronto, April 22-26, 1992.

March 5, 1992: “The Unexpected Karsh”, Art Gallery of Nova Scotia, Halifax.


Aug. 31, 1990 and Sept. 1, 1990: Panelist for “Extending Your Reach: Collection Development Techniques” session and Chairperson of “User Fees in Archives” session, Society of American Archivists Conference, Seattle, Washington.

Jan. 15, 1990: “Is the Picture worth the price-tag? — appraisal of works of art and photography”, Carleton University, Art History Department “Friends of Art History”, Ottawa.


Oct. 27, 1989: “Conservation Policies: 3 Tests of Their Usefulness”, National Gallery of Canada conference: Shared Responsibility: A Seminar for Curators and Conservators, Ottawa.  Also on joint panel. Paper published.

Sept 19, 1989: Panelist at session for “The Nature of Non-textual Media”, Archives Course, National Archives of Canada, Ottawa.

August 13, 1989: “The Unexpected Karsh”, National Gallery of Canada, Ottawa.

June 2, 1989: “Conservation and Public Use: Who Cares If You Lose a Few?”, Association of Canadian Archivists Conference, Fredericton, N.B.

Jan. 17, 1989: “Canadian Art and Photography: the surprising collections”, University of Toronto, Fine Art Department, Toronto.


Dec. 5, 1988: “Archives audio-visuelles et leur interprétation”, Cours en archivistique, Archives nationales du Canada, Ottawa.

Sept. 20, 1988: commentator regarding nature of visual archives, Archives Course, National Archives of Canada, Ottawa.


Sept. 22, 1987: commentator for session on historical interpretation of visual archives for Archives Course, National Archives of Canada, Ottawa.

Sept. 5, 1987: “Government Photographic Records Scheduling”, Society of American Archivists, New York.


Oct. 25, 1986: “Acquisitions of Archival Photographs”, Eastern Ontario Archivists’ Association, in Almonte, Ontario.

April 11, 1986: “Arrangement and Description of Photographic Archives”, for Job Training Workshop (Mission, B.C.), Vancouver.

March 21, 1986: “Government Photo Records Management”, for B.C. Provincial Records Managers group, Victoria.

March 10, 1986: “Amateurs and Adventurers: Early Photography in B.C.”, Vancouver Jewish Historical Society, Vancouver.


July 31, 1985: talk to students from the Rochester Institute of Technology on the nature of the National Photography Collection, at Public Archives, Ottawa.

April 24, 1985: “The National Photography Collection”, for meeting of Special Libraries Association, Picture Division, Eastern Canada Chapter, Ottawa.

Mar. 23, 1985: “Reading the Unwritten Record — How to dissect photographs as primary research sources for history”, for symposium: “Social History and Photography: the Atlantic Region from 1870-1920”, Mount Saint Vincent University Art Gallery, Halifax.

Feb. 4, 1985: “Photographic Interpretation”, History Department Graduate Seminar, Carleton University, Ottawa.


Sept. 11 and 18, 1984: “Photographic Acquisition Techniques” and “Management of Photographs”, two talks for Archives Course, Public Archives Canada, Ottawa.

May 11, 1984: “Sincerest Flattery:  Imitative Photographic Prints in Canada”, North American Print Conference, Ottawa.

April 2, 1984: “Acquisition and Research of Photographic Records and Evaluation of Collections,” for the Ontario Museums Association, Ottawa.


March 26, 1983: two talks on “Acquisition Policy” and “How to acquire photographs with no money” to the Ontario Historical Society Seminar, sponsored by the Eastern Ontario Archivist’s Association, Public Archives Canada, Ottawa.


June 18, 1982: “Acquisition and Research of Photographic Records and Evaluation of Collections,” Ontario Museum Association Seminar, Public Archives Canada, Ottawa.


Dec. 12, 1981: “The National Photography Collection”, Laurier House, Ottawa, as part of the extension programme of the Public Archives Canada, Ottawa.

Nov. 19, 1981: “Surprises and Traditions — Canadian Photography and Canadian Art in Tandem”, Art History Department, Carleton University, Ottawa.

Oct. 26, 1981: guest speaker on the Public Archives and its programmes of diffusion, exhibition and publication;  given as part of a four-member panel to the “Applied History” graduate seminar, Carleton University, Ottawa.

Oct. 1, 1981: “The National Photography Collection”, Carleton University, Ottawa.  An introduction to the internship programme between the Public Archives Canada and Careleton University.

Sept. 17, 1981: “Acquisitions in the Private Sector”, part of a panel discussion at the Archives Training Course, Public Archives Canada, Ottawa, September 8 – October 2, 1981.

Feb. 21-22, 1981: “Travels with an Eye Witness”, a series of three lectures and three seminars given to an invited group of artifact researchers from major east coast museums at the New Brunswick Museum, St. John, N.B.  The lectures dealt with the research possibilities and pitfalls in original visual archives.  The first lecture covered photography, the second painting and drawing and the third engravings and prints.  The seminars were related exercises, except for the second which concerned the interpretation of maps.

February 20, 1981: “Seeing is Believing? — a Critique of Archival Visual Sources for Material Culture Research”, University of St. John, New Brunswick.


March 19, 1980: “Acquisitions from the Private Sector”, part of a panel discussion at the Archives Training Course, Public Archives Canada, Ottawa.


November 2, 1979: Critical commentator for three talks delivered during the “Westward Movements” conference of the Canadian Association for American Studies, Vancouver, B.C.  The talks were grouped as “Through the West with Brush and Camera” and dealt with images in various media — painting, engraving and photography.

May 22, 1979: “Photographic Archives”, lecture for Records Management Branch Training Course, Public Archives Canada, Ottawa.

March 2, 1979: “Seeing is Believing? — a Critique of Archival Visual Sources for Material Culture Research”, at “Canada’s Material History — a Forum” conference, National Museum of Man, History Division, Ottawa.


May 24, 1978: “Competing for Collections”, with Louise Hamel of the Quebec Archives at “Eyes of Time” conference on photography and history, Public Archives Canada, Ottawa.


April 9, 1977: “The History of Photography”, special guest lecture, Fine Art Department, Mount Allison University, Sackville, N.B.


Jan. 30, 1976: “Facts about Artifacts”, for Ontario Museum Association’s week-long Training Session, Royal Ontario Museum, Toronto, Ont.