The Canadian Art Database
 

   
Clive Robertson


EDUCATION

2004        Ph. D. (Joint Ph.D. Program in Communication Studies) Concordia University, Montréal
1971        M.F.A. (Performance Art Studies) University of Reading, England
1969        Dip.A.D. (Sculpture)
              Diploma in Art & Design, Cardiff College of Art, Wales (1967-9)
              Liverpool College of Art, England (1966-7)

ARTS AND CULTURAL ADMINISTRATION

2001        Co-coordinator, Tone Deaf – An Adventurous Sound Festival, Kingston
1997        Symposium Advisor (Canada) 3e Symposium en arts visuels de
              l’Abitibi Témiscamingue à Amos - Québec- Canada -Scandanavia, Amos, Québec.
1996        Indigena Publication Reader, Canadian Museum of Civilization, Hull.
1994-95    Media Centres Peer Assessment Committee National Tour, Media Arts Section, The Canada Council for the Arts.
1995        Regional Editor, FUSE magazine.
1989-91    National Spokesperson, ANNPAC/RACA, Toronto, Ottawa.
1991        Contract to research and write background paper and prepare policy meeting
              of National Artist Service Organizations: Visual and Media Arts Sections, The Canada Council.
1990        Co-National Director, ANNPAC/RACA (Association of National Non-Profit Artist-run Centres), Ottawa.
1987        89 Artistic Director, Galerie SAW Video, Ottawa.
1985-6     Video Production Co-ordinator, Trinity Square Video, Toronto.
1983-5     Executive Producer, Voicespondence Records, Toronto.
1976-83    Managing Editor, Centerfold-FUSE magazine, Calgary, Toronto.
1975-78    Artistic Director, Parachute Center for Cultural Affairs, Calgary.
1974-76    Executive Director, Voicespondence Audio Arts
1973-75    Community Program Producer, Calgary Cable TV and CATV, Calgary.
1972-75    Co-Director, W.O.R.K.S. (“We ourselves roughly know something”
              intermedia/publishing collective), Calgary.
1973        Performance Instructor, Drug Counselling Centre, Calgary.
1973-75    Director, Immediate Gallery, Calgary.
1973        Performance Instructor, Youth Theatre, Theatre Calgary, Calgary.
1972        Media Director, Project Re-cycling, Local Initiatives Project (L.I.P.) Calgary.

SERVICE CONTRIBUTION / BOARD MEMBERSHIP

2005        International Editorial Board member, Inter/Le Lieu, Québec City
              Board Member, ARCCO (Artist-run centres and collectives Ontario)
2003        Member of Senate, Queens’ University
              Member, Senate Educational Equity Committee, Queen’s University
2002        Council Member, QUFA (Queen’s University Faculty Association) Queen’s University
2002        Advisory Board Member, Agnes Etherington Art Centre, Kingston.
              FUSE Vision Meeting, Oakville Galleries, Oakville.
2001-03    Advisory Committee Member, Laidlaw Policy Internship, The Canadian Conference for the Arts, Ottawa.
2001-06    Vice-President, FADO (International Performance and Publishing
2000-01    Board Member, Modern Fuel Gallery, Kingston.
              Advisory Committee Member, Artist-run center funding, The OntarioArts Council.
1984-95    Board Member, Arton’s Cultural Affairs Society and Publishing Inc., Toronto.
1989        Member, Advisory Organizing Committee: 50th Anniversary Kingston
              Artists Conference, Agnes Etherington Centre, Kingston.
1986-7     Chairperson, Trinity Square Video, Toronto.
1984-86    Member, Policy Committee, Independent Artists Union, Ontario.
1983        Board Member, A Space, Toronto.
1979        Board Member, Canadian Periodical Publishers Association (CPPA), Toronto.
1976-83    President, Arton’s Publishing Inc., Calgary-Toronto.

ARTS COUNCIL / MINISTRY OF CULTURE AWARDS

2006        Ontario Arts Council Touring Grant for retrospective Then + Then Again
2002        Nominated for Governor General’s Award (Philanthropy) in the Visual and Media Arts,
              Canada Council for the Arts (by Jennifer Fisher, AA Bronson and Tom Sherman)
1997        Short Term, Critics and Curators, CCA
1993-4     ‘B’ Grant, Critics and Curators, CC
1993        Media arts project, Ministère de la Culture, Québec
1992        Artwriting, Ontario Arts Council
1992        Artwriting, Regional Municipality Ottawa-Carleton
1990        Video production, Ontario Arts Council
1989        Media arts project, (RMOC)
1988        Critics project, Canada Council
1987        Critics project, Ontario Arts Council
1986-7     ‘A’ Grant, Performance, Canada Council
1985        Video production project, OAC 1984
              Media Arts project, Canada Council
1983-4     ‘A’ Grant, Intermedia, Canada Council
1982        Project, Intermedia, Canada Council
1981-2     ‘B’ Grant, Performance, Canada Council
1979-80    ‘B’ Grant,Video, Canada Council
1978        Video production project, (OAC)
1974        Explorations, Canada Council
1973        Curatorial Project, Alberta Culture
1973        Travel, Canada Council

SELECTED PERFORMANCE ART AND PERFORMED INSTALLATIONS

Turning the Page 2, RIAP, Le Lieu, Québec, 2006
Within Shouting Distance, Tone Deaf 4, Modern Fuel, 2005
The Gong Show revisited (with Frances Leeming) Art’s Birthday,Modern Fuel, 2005
The Butler and The Secretary (with Germaine Koh) Gladstone Hotel, Toronto, 2003
Find + Remove (with Craig Leonard and Alison Gowan) Tone Deaf Fest 2 Kingston ,2003
Group Therapy (with Julie Fiala, Frances Leeming, Craig Leonard, York
Lethbridge, Deborah Washington, Kathryn Wherle) Modern Fuel, Kingston, 2002
Turning the Page, 7a*11d 4th International Festival of Performance Art, Toronto, 2002
Object Treatments, Tone Deaf Festival, Kingston, 2002
The Less Said The Better (with Frances Leeming) Merchant McLiam, Kingston, 2002
Speaking Tours, Empathology, (Guest collaborators: Jan Winton, Lynda
Jessup, Vojtech Jirat-Wasiutinski, Susan Lord, Jean Bruce, Frances
Leeming, Paul Kelley, Jessica Wyman, Laurel Aziz, Jefrey Brison)
10 museum sites. Curated by Jim Drobnick and Jennifer Fisher),
Agnes Etherington Art Centre, Kingston, 2001.
Warfare versus Welfare: What Can A Man Say? ” (1983-2001)
(Co-ordinated by Susan Lord for OPIRG and Jocelyn Purdie for the
Union Gallery)Union Gallery, Kingston, 2001
The Confessional: Art at Queen’s, Bachelor of Fine Arts Faculty Exhibit,
Agnes Etherington Art Centre, Kingston, 2000.
CBS Fluxus, Master Class Five, 7A*11D International Performance Festival,Toronto, 2000.
The Confessional- Archives (12 hour performance) Time, Time,Time at Art Metropole, 1999.
Don’t Start Me Talking... Time, Time, Time, Toronto, 1999.
What Can A Man Say?(1983) Studio XX, Montréal, 1996.
What Can A Man Say?(1983) A Space 25th Anniversary Performance Series, Toronto, 1996.
L’adhésive memoire (with Robert Prenovault), Le Lieu, Québec City, 1994.
Le petit train du Nord, La Gare, L’Annonciation, Québec, 1993.
Taschibosen - The Bridge, Scorpio Performance Festival, Tajima, Japan, 1991.
In a Drunken Stupor (Polish Version) Interscop Festival,
Cracow and Warsaw, 1990.
Sinking of the Gigantic (with Frances Leeming), Galerie SAW Video, 1989.
Sinking of the Gigantic (with Frances Leeming), Obscure, Québec City, 1989.
Sinking of the Gigantic (with Frances Leeming), YYZ, Toronto, 1989.
The Ganser Syndrome (with Alan Robertson, Frances Leeming, Johanna
Householder, Luther Hansraj, Ric Amis), A Space, Toronto, 1987.
Qu’est ce qu’un homme peut faire?, Espéces Nomades, Québec City, 1986.
Brian and the Beanstalk, A Space, Toronto, 1985.
Brian and the Beanstalk, Centre for Art Tapes, Halifax, 1985.
Brian and the Beanstalk, Plug-In, Winnipeg, 1985.
In A Drunken Stupor, London Regional Art Gallery, 1985.
In A Drunken Stupor, SAW Gallery, Ottawa,1983.
In A Drunken Stupor, KAAI, Kingston, 1983.
In A Drunken Stupor, Plug-In, Winnipeg, 1983
In A Drunken Stupor, Neutral Ground, Regina, 1983.
In A Drunken Stupor, Western Front, Vancouver, 1983.
In A Drunken Stupor, Trent University, 1983.
In A Drunken Stupor, Audio Arts Festival, Centre for Art Tapes Halifax, 1983.
In A Drunken Stupor, Struts Gallery, Sackville, N.B., 1983.
In A Drunken Stupor, The Funnel, Toronto, 1983.
The Intervenors 2 (with Janet Martin), ARC, Toronto, 1983.
The Intervenors/Einschreiten (with Janet Martin) O Kanada, Kunst Academie, Berlin, 1982.
Democracy in action (with Lisa Steele), University of Guelph, 1981.
Eight Hours (with John Greyson and Michael Banger), industrial space,Toronto, 1980.
Democracy is Endless, GAP, Toronto, Western Front, Vancouver, 1980.
Free The Body Politic, Body Politic Benefit Performance Series,
Convention Hall, University of Toronto, 1979.
Narrative Headache, (with Tom Sherman) Music Gallery, Toronto, 1978.
Explaining Pictures to Dead Air, Fifth Network, Toronto, 1978.
Death of Television as Entertainment, Arton’s, Calgary, 1977.
In Video Traction (with Marcella Bienvenue), Vehicule Art, Montréal, 1976.
In Video Traction (with Marcella Bienvenue), A Space, Toronto, 1976.
In Video Traction (with Marcella Bienvenue), Western Front,Vancouver, 1976.
In Video Traction (with Marcella Bienvenue), Parachute Center, Calgary, 1976.
The Sculptured Politics of Joseph Beuys, Parachute Center, Calgary, 1975.
W.O.R.K.S. Plays Cricket, Body Art, Agnes Etherington Art Centre, Kingston,1975
Isolation Event (with Rick Holyoke), University of Calgary Gallery, Calgary,1973.
Identity Transfer Events (with Sue Clancy), Fluxshoe, Hastings, England, 1973.
Identity Transfer Events (with Sue Clancy), In/Out Gallery, Amsterdam, 1973.
W.O.R.K.S. in Concert, Vehicule, Montréal, 1973.
Weather Music, CATV, Calgary, 1972.
The Bat Becomes a Real Flyer, 1st World Festival of W.O.R.K.S., Calgary, 1972.
Conversation Piece, Corrugated Products Ltd., Bracknell, England, 1971.
Air to Earth, Compton Abbes, Dorset, England, 1971.
Light and Sound Increase, University of Reading, England, 1971.
12,13,8,11, Cardiff College of Art (Wales), 1970.
12,13,8,11, Portsmouth College of Art, Newport College of Art,Wales, 1970.
12,13,8,11, University of Reading, England, 1970.

VIDEOTAPES

A Grandmother and a Godfather: Kit Fahey and Joseph Beuys 15 min, 2004
Turning The Page, 15 min, 2003
Trade Winds Canada (Ltd), 14 min. 1994.
Sinking of the Gigantic, 45 min. 1989.
The Ganser Syndrome, 46 min. 1987.
Qu’est ce qu’un homme peut faire? 27 min. 1986.
Speaking of Our Culture? 20 min, 1982.
Teachings of the Conservatives, 15 min. 1979.
Joseph Beuys, Sprechen Sie Beuys? (with Lisa Steele), AVP 003, 30 min, 1979.
Explaining Pictures to Dead Air, 20 min. 1978.
A Subtle Shade of Violets, 23 min. 1976.
In Video Traction, 20 min. 1976.
Marshall McLuhan Memorial Music, 60 min. 1975.
(W.O.R.K.S.) We Apologise for the Delay, 57 min. 1974.
(W.O.R.K.S.) Live Lice, 60 min. 1974.
(W.O.R.K.S.) A Conceptographic Reading, 1973.
Partial Composition, 20 min. 1972.

(Clive Robertson’s videotapes can be found in the collections of the Ontario College of Art, National Gallery of Canada, Video In, Vancouver, Trinity Square Video Purchase Collection, Toronto, and TV Ontario.)

AUDIO RECORDINGSudio
composed, performed and produced by Clive Robertson independently and on the Voicespondence label

Space Perception and Construction (1969)CD, 2007
Popular Songs, CD, 2007
Warfare versus Welfare, CD, 2007
Blue Machine (VSP16) audio cassette. 1985.
Warfare vs. Welfare (VSP 11) vinyl L.P. 1984.
O Kanada (with Janet Martin) (VSP 8) vinyl Single. 1982.
Popular Songs (VSP 6) vinyl L.P. 1981.
The Wreckin Roll History of Art, audio cassette, 1974
Family Music 1973-73 (with Susan Clancy) (VSP 0) audio cassette. 1974.
Visual Perception and Construction, 12” vinyl allbum, 1969

(Music recordings circulated through alternative and campus radio in Canada, U.S. Australia and UK and on US archive ubu.com )

FILM SOUNDTRACKS
composed and produced by Clive Robertson

Music co-ordinator,Frances Leeming, Genetic Admiration, 16 mm film 2005
Composed and produced soundtrack for Frances Leeming’s Pavillions in a
Theme Park (co-authored screenplay), 2002.
Composed and produced soundtrack for Frances Leeming and Cathy Quinn’s
The Untilled Story, NFB Five Feminist Minutes, 16 mm film, 1990.
Composed and produced soundtrack for Frances Leeming’s Orientation Express, 16 mm film, 1987.
Composed and produced soundtrack for Craig Berggold’s Up To Scratch, 16 mm film, 1986.
Composed and produced soundtrack for Craig Berggold’s Who’s going to pay
you to stay home?, 8mm film, 1982.

SELECTED SOLO AND GROUP EXHBITIONS:

Then and Then Again – Practices within an artist-run culture. Touring
Retrospective. Modern Fuel, Kingston Le Lieu, Québec City, NAC,
St.Catherines Artspace, Peterborough VTape, Toronto, Artcite, Windsor Galerie SAW, Ottawa 2007
A Grandmother and a Godfather Faculty Show, Agnes Etherington ArtCentre, Kingston, 2004
Beau Geste Press Archive exhibit, Tate Modern London, 2003
Art at Queen’s: From Agnes to Alfred: Puzzles of Purpose and Patronage, Talking Archive Toolshed,
Agnes Etherington Art Center, Kingston, 2000.
Strange Attractors (curated by Sylvie Fortin and Sue Ditta), Ottawa Art Gallery,Ottawa, 1998.
Hors Limites Off, Espace vidéo, Musée national d’art moderne, Centre Georges Pompidou, Paris, 1994.
Images: Festival of Independent Film and Video, Toronto, 1993.
May Works 6, Vancouver, 1993.
Why Video? - Video 1970-80, A Space,Toronto, 1992.
Watching Television, Winter 1988-89 (with Frances Leeming), in Studios:
Work in Progress, Artscourt, Ottawa, 1989.
MayWorks 1, Vancouver, 1987.
Retrospect, Le Lieu, Québec City, 1987.
Working Artist, A Space, Toronto, 1987.
Mayworks, Toronto, 1987.
New Work Show (video) Toronto, 1986.
Habits (with Colin Campbell, John Greyson, Richard Fung, Gary Kibbins) YYZ, Toronto, 1986.
Habits (with Colin Campbell, John Greyson, Richard Fung, Gary Kibbins)
Optica, Montréal, 1986.
A Tale of Two Cities (Alberta video survey), Ring House Gallery, Edmonton, 1986.
The First Decade, Off Centre Centre Calgary, 1985.
Altered Strategies, A Space, Toronto, 1984.
Audio Arts Festival, Eye Level, Halifax, 1984.
Audio by Artists, Banff Centre, 1983.
Vision in Disbelief, Sydney Biennal, Australia, 1982.
O Kanada, Kunst Akademie, Berlin, 1982.
Live to Air, The Tate Gallery, London, England, 1982.
222 Warehouse, Toronto, 1980.
Steele/Robertson, Canada House, London, England, 1979.
Biographies, Vancouver Art Gallery, 1978.
In Video Traction, St. Lawrence College, Kingston, 1978.
In Video Traction, (solo exhibition), The Alberta College of Art Gallery, Edmonton, 1977.
Image Bank Postcard Show 2, Western Front, Vancouver, 1977.
In Video, The Art Gallery of Ontario, Toronto, 1977.
Document on Joseph Beuys, New Reform Gallery, Brussels, 1976.
Body Art, Agnes Etherington Arts Centre, Kingston, 1976.
Video Show, Serpentine Gallery, London, England, 1975.
In the Singular, Vehicule, Montréal, 1975.
Up Art, Goethe Institute, Tokyo, 1974.
We. Ourselves. Roughly. Know. Something., University of Calgary Gallery, Calgary, 1973.
Conceptographic Reading and First World Festival of W.O.R.K.S., ACA Gallery, Calgary, 1973.
Conceptographic Reading, Virginia Commonwealth University, 1973.
Visual as Sound, Sound as Visual, Vehicule, Montréal, 1973.
Fluxshoe, Hastings, England, 1973.
Inobjectal 3, Montevidéo, Uruquay, 1972.
Canadian Ideas, The Edmonton Art Gallery, Edmonton, 1972.
Activities: Performances and Installations (solo exhibit) The Workshop, Calgary, 1972.
Prospect ‘71, Museum of Modern Art, Oxford, England, 1971.
Performances and Installations, Graduate Exhibition, University of Reading, England, 1971.
Wales Tomorrow, Welsh Arts Council, Cardiff, England, 1969.
New Art, Department Store, Cardiff, England, 1969.
Cardiff Graduates, Bluecoat Gallery, Liverpool, England, 1968.

CURATORIAL:
Exhibitions, Performances, Events, Festivals and Artists’ Residencies organized by Clive Robertson

Student Video Event, Split Screening 2, Modern Fuel, 2005
Student Performance Events, ARTHappens 5, Modern Fuel, 2005
Student Video Event, Split Screening 1, Modern Fuel Kingston, 2004
Student Performance Event ARTHappens 4, Modern Fuel, Kingston, 2004
Student Performance Event, ARTHappens 3 Modern Fuel, Kingston, 2003
Student Performance Event, ARTHappens 2 , Modern Fuel, Kingston, 2002
Student Performance/Event, ARTHappens 1, Kingston, 2001.
Exhibition, Speaking Volumes: documents and documentaries on
contemporary art practice, Agnes Etherington Centre, Kingston,1999.
Canadian Curator, 3e Symposium en arts visuels de l’Abitibi-Témiscamingue à
Amos-Québec-Canada -Scandanavia, Amos, Québec, 1998.
Exhibition, Speaking Volumes: documents and documentaries on
contemporary art practice, Galerie Oboro, Montréal, 1997.
Festival, Live Art in Progress, Performance Festival, Galerie SAW Video,Ottawa, 1992.
Exhibition, Canadian Video to Poland (for Interscop, Québec City), Warsaw, Poland, 1990.
Exhibition, Telling Pictures, Justin Wonnacott photo exhibit, Galerie SAW Video, Ottawa, 1989.
Exhibition, Investigative Art, Installations, Galerie SAW Video, Ottawa, 1989.
Event, What’s My Line? ‘Talk show‚’ series on contemporary art and cultural
politics featuring guests Colin Campbell, Sara Diamond, Karl
Beveridge & Carole Condé, Andy Fabo, Ita Sadu, Clifton Joseph
and Susan Crean, Galerie SAW Video, Ottawa, 1988-9.
Events, Art From Feminist Perspectives, video and performance series, Galerie SAW Video, Ottawa, 1988.
Exhibition/Events, De Québec: La Logique des reseaux, Galerie SAW Video, Ottawa, 1988.
Exhibition, Mike Constable: Political Cartoons, Galerie SAW Video, Ottawa,1988.
Festival, Less Medium, More Message (with Lisa Steele, John Greyson, Tony
Whitfield), video documentary survey from Britain, U.S., and
Canada, FUSE magazine and Trinity Square Video, Toronto, 1981.
Festival, Second Canadian Video Open (with Lisa Steele), Cineplex, Eaton Centre, Toronto, 1981.
Festival, Second Canadian Video Open (with Lisa Steele), KAAI, Kingston and Kingston Cablecast TV, 1981.
Festival, Tele-Performance Festival, General Idea, David Buchan, Tom
Sherman, The Clichettes, Dennis Tourbin, Marshalore, The Hummer
Sisters, The Government,Clive Robertson, Randy and Berennece for
Fifth Network Independent Video Conference, A Space, Toronto and Rogers Cable TV, Toronto, 1978.
Exhibition, Canadian Video Open, first artist-juried survey of Canadian independent video, Calgary, 1978.
Exhibition, Flux-Science, Flux-Games, Flux Films, Arton’s, Calgary, 1978.
Exhibition/Artist-residency/Events, Robert Filliou and Fluxus, Arton’s, Calgary, 1977.
Artist-residency/Events, Steve MacCaffery, Arton’s, Calgary, 1977.
Exhibition, Artists Books Show (from Other Books and So, Amsterdam), Arton’s, Calgary, 1977.
Exhibition, Eric Metcalfe: Howard Hughes Inc., Arton’s, Calgary, 1977
Exhibition, Robert Cumming, photo exhibit, Arton’s, Calgary, 1977.
Exhibition, Brian Dyson: Ready-mades, Arton’s, Calgary, 1977.
Artist-residency/Event, HP Radio Theatre, Arton’s, Calgary, 1977.
Event, The Home Delivery: 1977 Image Bank Postcard Show, Arton’s, Calgary, 1977.
Exhibition, Catastrophe Art From Japan, Parachute Center for Cultural Affairs, Calgary, 1976.
Exhibition, Nancy Nicol, photo, audio installation. Parachute Center for Cultural Affairs, Calgary, 1976.
Exhibition, General Idea: Miss General Idea Pageant, Parachute Center, Calgary, 1971.
Artist-Residency, General Idea, Festival Calgary & Parachute Center,1976.
Video Installation, Paul Wong: Subway Loops, Parachute Center, Calgary, 1976.
Event, David Buchan Performance Lecture, Parachute Center, Calgary, 1976.
Event, Elizabeth Chitty Performance, Parachute Center, Calgary, 1976.
Event, Willoughby Sharp Performance, Parachute Center, Calgary, 1976.
Cable TV Series, Calgary Contemporary Cultural Transmissions, cablecast
video art series including tapes by General Idea, Richard
Kostelanetz, Mr. Peanut, Parachute Center, Calgary, 1976.
Cable TV series, Live Lice (with Rick Holyoke, Paul Woodrow), media
arts magazine and satire show, Calgary Cable TV, Calgary.
Festival, A Conceptographic Reading Artist Television Series. 56 artists from 12 countries, CATV, Calgary, 1974.
Events/Concert, A Conceptographic Reading, Calgary Planetarium, 1973.
Exhibition, Artist Bookworks from Hungary and Czechoslovakia, Immediate Gallery, Calgary, 1973.
Exhibition, Mail Art: Chuck Stake Enterprizes, Immediate Gallery, 1973.
Festival, First World Festival of W.O.R.K.S. (with Paul Woodrow), Calgary
international performance festival and workshop, Calgary Cable TV,1972.
Festival, Two-Day Opportunity Performance Festival, Portsmouth Sinfonia, Scratch Orchestra,
FineArt Department, University of Reading, England, 1971.
Festival, Synaesethetics, Performance and Events festival, University ofReading, England, 1970.

CURATORIAL SYMPOSIA organized by Clive Robertso

Symposium, Re-thinking local alternative media practices?, Em Media & The
Glenbow Museum,Calgary, 1996.
Symposium, Histories of Canadian and Québec Performance (including Tanya
Mars, Hank Bull, Alain-Martin Richard, Sylvie Tourangeau, Johanna
Householder, Rebecca Belmore, Marcella Bienvenue, Richard
Martel), Galerie SAW Video, Ottawa, 1990.

PUBLISHING:
Print Media published by Clive Robertson

Co-founded FUSE cultural news magazine (with Lisa Steele and Tom
Sherman), Toronto, 1980, serving as Managing Editor from 1980-83.
Co-founded Centerfold, artist interdisciplinary magazine (with Marcella
Bienvenue), Calgary, 1976, serving as editor from 1976-80.
Catalogue, The Second Independent Video Open (with Lisa Steele),
distributed a special supplement of FUSE, January 1980. 26 pages.
Catalogue, Canadian Video Open, Arton’s Publishing, Calgary, 1978. 44 pages, 22 colour plates.
Catalogue, Teleperformance Festival, distributed as special supplement of
Centerfold, Toronto, 1978.46 pages.
Artist’s Project, Marcella Bienvenue, Biografilm, 4 postcards and text, W.O.R.K.S., Calgary, 1977.
Artist’s Project, W.O.R.K.S. Plays Cricket, 11 postcards and text, W.O.R.K.S. & Egg Press, Calgary, 1975.
Artist’s Project, David Mayor, Clues, playscript, W.O.R.K.S., Calgary, 1973. 20 pages.
Catalogue, A Conceptographic Reading, W.O.R.K.S., Calgary, 1973. 72 pages.

ARTIST'S VIDEO PROJECTS produced by Clive Robertson through Arton’s Video Publishing

Steve MacCaffery, Permanent Performance, AVP 002, 25 min., Arton’s Video Publishing, Calgary, 1978.
Robert Filliou, Porta Filliou, AVP 001, 45 min., Arton’s Video Publishing,
Calgary, re-published as the videodisc compilation The Filliou Tapes:
From Political to Poetical Economy, The Belkin Art Gallery & Western Front, Vancouver, 1995.

ARTISTS’ AUDIO RECORDINGS produced by Clive Robertson on the Voicespondence label

Nerve Theory, H5N1 – There Is No Privacy At the Speed of Light, CD, 2007
Voicespondence Compilation, 379 Adelaide West, CD, 2007
Plasterscene Replicas, Plasterscene Replicas, 12 inch vinyl EP VSP012
Voicespondence Records, Toronto, 1985.
Lillian Allen, Clifton Joseph & Devon Haughton, De Dub Poets, 12 inch vinyl
EP, VSP 010, Voicespondence, 1983.
Fifth Column, Fifth Column, 7 inch vinyl EP, VSP 009, Voicespondence Records, Toronto, 1983.
Gayap Rhythm Drummers, The Challenge, 12 inch vinyl LP, VSP 007, Voicespondence Records, 1982.
The Government, Electric Eye, 12 inch, vinyl LP, VSP 005 Voicespondence Records, 1978.
Robert Filliou, Gong Show and John Oswald, Mrs. Schultz Overdubbing, audio
cassette, 90 min., VSP 004,Voicespondence audio magazine, Calgary, 1978.
Emmett Williams and Dick Higgins, Plug-An Acid Novel (1968), audio cassette
60 min., VSP 003, Voicespondence audio magazine, Calgary, 1977.
General Idea, Image Bank, Genesis P. Orridge, Vic D’Or, Robert Filliou, The
Telephone Issue, audio cassette, 90 min, VSP 002, Voicespondence audio magazine, Calgary, 1976.
Suzi Lake, Dick Higgins, Fluxshoe, Graham Challifour, Albert Mayr, David Det
Hompsson, Paul Woodrow, Clive Robertson, 90 min VSP 001, 1975

WRITING

Doctoral Thesis:
Movement + Apparatus: A Cultural Policy Study of Artist-Run Culture in Canada (1976 – 1994), 2004

BOOKS

Policy Matters: Administrations of Art and Culture, Toronto:
YYZ Press, 2006 306 pp. Bibliography, Name index
(In Press) Journalism and cultural politics: Letters to The Globe and
Mail, 1992-1999, 100 pp. elevenfifty press, Toronto, 2005
Performance au/in Canada 1970-1990, (with Alain-Martin Richard),
Québec Éditions Interventions & Coach House
Press, 1991. A comprehensive survey of performance practices in
Canada and Québec. 1 Authors’ historical and genre surveys of
Canadian and Québec practices. II Artists’ essays and statements. III
Encyclopedic chronology of 2000 works and 35 major
events/festivals. IV 600 photos. V Canadian bibliography. VI Author
and photo indexes. 395 pages. (In French and English)
W.O.R.K.S.C.O.R.E.P.O.R.T. (with Paul Woodrow), Cullumpton,
Devon, UK: Beau Geste Press,1975.
Canadian edition of international series (England, France,
Iceland, Hungary, Czechoslovakia, Latin America, Japan) of BGP
books on collaborative artists projects. One of the
earliest books on performance art in Canada. Essays, scores and
documentation of W.O.R.K.S. curatorial and performance projects
1971-73. Photos. Index. 140 pages.

Chapters in Anthologies:
“Carole Conde and Karl Beveridge: Paths of art and social sctivism.” In Bruce
Barber (ed) Conde and Beveridge Class Work , NSCAD University Press, 2008
“The Performed Poetry and Pedagogy of Lillian Allen,” in Johanna Housholder
and Tanya Mars, eds Caught in the Act : Women and Performance in Canada, Toronto: YYZ Books, 2004
“Take Me To The River,” in Like Mangoes in July: The Work of Richard Fung, Helen Lee and Kerri Sakamoto,
Festival & Insomniac Press, 2002. pp. 58-59.
“[Aboriginal] [ Representation] [ In the Museum] - Articulations of the creative,
the organic, and the bureaucratic,” in Lynda Jessup, ed., On , Hull, Québec.:
Canadian Museum of Civilization, 2000.
“Rhetoric on the Run,” in J-P Gilbert, S. Gilbert, L. Johnstone, eds.,
So To Speak, Montréal: Artextes Editions, 1999.
“Performance: An Artists Dozen 1970-78,” in Performance by Artists,
AA Bronson and Peggy Gale, eds.
Toronto: Art Metropole, 1979. pp. 127-137.
“W.O.R.K.S. Video Productions,” in Video By Artists, Peggy Gale,
ed., Toronto: Art Metropole, 1976.
“Keeping Your Urban Rent Down Where It Belongs,” in Spaces by Artists:Parallelogramme ,
Tanya Rosenberg (Mars), ed., Toronto: ANNPAC, 1979. pp. 90-101.
“Canadian Performance Art: A Surveillance,” in Parallelograme Retrospective 1,
Barbara Shapiro, ed., Vancouver: Pulp Press, 1977. pp. 236-239

Essays in Exhibition Catalogues:
“Carole Conde and Karl Beveridges’ Political Landscapes: Making Art About
the Struggles for Social Justice and the Limits of Political Order,” in
Carole Conde and Karl Beveridge: Political Landscapes, Toronto Photographers Workshop, 1998.
“The mediation of art practices through artist projects, journalism and
documentaries,” inClive Speaking Volumes, Montréal: Galerie Oboro, 1997.
“Meeting a mentor in the making of Porta Filliou “ in Robert Filliou:,” From Political to Poetical Economy,
eds., Vancouver: Morris and Helen Belkin Art Gallery, 1995.
“Time and Distance/Tijd en Afstan,”(with Justin Wonnacott), Ottawa: Galerie SAW Video /den Haag:Kijhuis, 1987.
“A FUSE interview with Harriet M. Sonne,” in Altered Situations, Changing Strategies:
The Canadian Worker in the Art of the 80s
, Harriet M.
Sonne. ed., Toronto: A Space, 1984.
“Agit-Prop and Performance Art: A Familial Reunion?” in Agit-Prop: Performance in Banff, 1982.
“Introduction to The Second Independent Video Open 1979,” catalogue published as a supplement in FUSE 4, No. 2, 1980.
“TV Art in the Home,” in Transcript from The International Video Symposium
1979, Peggy Gale, ed., Kingston : Agnes Etherington Art Centre, 1979.
(Editor) The 1978 Canadian Video Open, Calgary: Arton’s, 1978.
“Introduction, General Idea’s Reconstructing Futures. “ Toronto: Art Official Carmen Lamanna Gallery, 1978.
Clive Robertson: Television - Adjusting the Hold. Calgary: Alberta College of Art, 1977.
A Conceptographic Reading... (with Paul Woodrow), Calgary: W.O.R.K.S., 1973.

Articles in Contemporary Art and Culture Periodicals:

“Personal pastimes, disappointed laughter and culture on a Conservative majority.” FUSE, 30, No.1 2006
“Launching a new ArtsWorld: Trusted? Connected? Canadian? FUSE 28, No 1 2005
“Looking Back While Moving For ward: A Response to Infest: Artist Ru Culture,” FUSE 27, No.2 (2004) 26-36
“Simple Pasts and Future Perfects? 25th Anniversary Issue, FUSE, Vol 25 No 4 (2002)
“Culture, High and Low,” Christine Davis, Ken Allan & Lang Baker, eds., Public 19: Lexicon
20th Century A.D., Toronto, Vol 1: 44 (2000).
“Custody Battles: Changing the Rules at The Canada Council,” FUSE 22 No. 3(1999) and (in French) in RCAAQ, Montréal, 2000.
“The Amos Effect: Mixing Institutional Genres,” Parachute 89 (Winter 1997).
“Business and Culture: The Applebaum-Hébert meetings,” FUSE Retrospective
20th Anniversary Issue Susan FUSE20, No. 2 ([1981] 1997) 40-46.
“Theme-park Management at The Canada Council: The New Strategic Plan,”FUSE 18, No. 4 (1995) 8-11.
“Re-mandating the Local? Museum Acquisitions and the Contexualization of
Canadian Contemporary Art,” Parachute 76 (October 1994) 68-71.
“A Tale of Seven Cities, Two Townships and Two Villages,” C Magazine 40,
Special 10th Anniversary Issue (Winter,1994) 24-27.
“Artists and Working Life: BCTV Opposes Labour Arts Initiatives,” Our Times 12, No. 4 (1993) 38-39.
“Invested Interests: Competitive and Dysfunctional Autonomies in the Canadian Art System,” FUSE 15, No. 3 (1993) 12-22.
“Indigena: The Native Perspective,” Remote Control (Guest Editor: Alfred Young Man) No. 2 (1993) 19- 24.
“Federal Funding Watch: Multiculturalism’s film and video monies,” FUSE 16,No. 2 (1992) 8-9.
“Interzone: Audience as self-critical community, Inter 55/56 (1992) 42-43.
“Public Funding and Negative Stereotyping,” Parallelogramme 16, No. 1 (1991) 9-11.
“Making Waves: Radio Art,” FUSE 14, No. 3 (1990) 10-12.
“Bad Press, Bad Government Bad Strategies?,” Arts Bulletin (CCA) (1990).
“Nominal Art Critic: Art Writings of John Bentley Mays,” Parallelogramme 16,No. 2 (1990).
“Artist Communities: If you lived here you’d be home now,” Artviews 15, No. 2 (1989) 10-13.
“Curatorial Cholesterol: The Canadian Biennial at the National Gallery,” FUSE 13, No. 1 & 2 (1989) 32-36.
“Art and Issues of Native Identity,” FUSE 12, No. 6 (1989) 3-5.
“Artists and the Whips of Art Criticism,” FUSE 12, No. 4 (1989) 38-40.
“Homage à Tanya Mars,” Parallelogramme 15, No. 1 (1989) 10-11.
“In Memoriam: Robert Filliou - Couvre chef(s) d’oeuvres,” FUSE 11, No. 5 (1988) 42-45.
“Hot Line: Funding and the de-privileging of producer gossip,” FUSE 11, Nos.1 & 2 (1987) 11-15.
“Cultural Struggle and Magazine Survival,” FUSE 10, No. 5 (1987) 2-4.
“Three’s Company: CBC - Telefilm - CFDC,” FUSE 10, No. 4 (1987) 27-29.
“Politics and Art: An uneasy partnership or a true aesthetic?,“ Artviews 12, No.3 (1986) 11-14.
“John Greyson: Colliding Atoms of a Gay Culture,” High Performance 36 (L.A.)(1986) 55-59.
“Telling: Like it isn’t: This Magazine marginal and mainstream media forum,” FUSE 10, No. 4 (1987) 4-5.
“Behind the Lines: Cineplex-Odeon and Advertising Lizzie Borden and the
Censor Board Moses Znaimer and Much Music Broadcast Access
and Community Media,” FUSE 10, No. 3 (1986) 36-39.
“The Compleat Clichettes,” FUSE 9, No. 4 (1985) 9-15.
“Survey of Current Conditions of Toronto artist-run centers,” (with Kim
Tomczak), Parallelogramme 10, No. 2 (1985) 18-21.
“Bill C-24 and The Canada Council Who will be in control?,” Parallelogramme 9,
No. 4 (1984) 19-21 and FUSE 8, Nos. 1 & 2 (1984) 6-7.
“V/tape Service: Constructing the comprehensive model,” FUSE 7, No. 4 (1983) 140 -143.
“Oh Kanada! Exposition in Berlin,” Parallelogramme 8, No. 3 (1983) 10-11.
“Letter from Toronto: Cultural Politics and the Intolerant Left‚” (editorial) FUSE 6, No. 4 (1982) 154-156.
“The Christie Affair: Municipal Attacks on Artist Groups,” (with Ric Amis) FUSE 6, No. 4 (1982) 159-161.
“Musical Chairs: When Benefits Become Detriments,” (editorial) FUSE 6, No. 3 (1982) 82-83.
“’Dumb‚’ and ‘Retrochic’ Art: Two Sides of the Same Coin,” (editorial) FUSE (1982) 290.
“Canadian Agit-prop and Workers Theatre in the Thirties,” FUSE 6, Nos. 1 & 2 (1982) 25-34.
“Agit-Prop and Street Theatre for the Eighties,” FUSE 6, Nos. 1 & 2 (1982) 35-49.
“Independent Audio: Means of Mixed Production,” FUSE 5, No. 10 (1982) 338-347.
“Dans les coulisses de l’art organisé,” Cairn (Paris), No. 8 (1981) 2-5.
“Business and Culture: Appearing before the Applebaum-Hébert Committee,” FUSE 5, Nos. 6 & 7 (1981) 196-201.
“Trial By Television? CBC’s Fifth Estate Report on Immigration Consultants,” FUSE 5, Nos. 4 & 5 (1981) 129-31.
“News and Analysis: Events at the CBC, Canada Council and NFB,” FUSE 5, Nos. 2 & 3 (1981) 51-55.
“The Story Behind Organized Art ,” FUSE 4, No. 6 (1980) 318-325.
“The Premature Martyrdom of Joseph Beuys, FUSE 4, No. 4 (1980) 211-214.
“The Passion of TBA,” FUSE 4, No. 3 (1980) 282-285.
“Arts Funding Policy, Immigrants, and Nationalism in the Visual Arts,” Centerfold 4, No. 1 (1979).
“The Unwritten Laws that Killed Albert Johnson, Centerfold 4, No. 1 (1979) 10-13.
“Media and Court Analysis: The Body Politic Trial,” (with Robin Collyer and Lisa Steele), Centerfold 3, No. 3 (1979) 92-114.
“Magazine Design and Copyright Infringement: Time Inc.,” Centerfold 3, No. 3 (1979) 82-84.
“A Space AGM: And in the Blue Corner from Toronto, Canada,” Centerfold 2, No. 6 (1978) 110-111.
“New Artspeak Conference, L.A.,” Centerfold 2, No. 5 (1978) 46.
“Adjusting the Hold,” Only Paper Today 4 , No. 4 (May 1977).
“Projects of Identity Transfer,” La Mamelle (San Francisco 1976).
“W.O.R.K.S.in Progress,” Art & Artists 9, No. 8 (London, England) (1974) 30-35.
“We.Ourselves.Roughly.Know.Something.,” (with Paul Woodrow), artscanada (Autumn, 1972).

PUBLISHED INTERVIEWS

“Interview with Roch Carrier” in “Theme-park Management at The Canada
Council: The New Strategic Plan,” FUSE 18, No. 4 (1995) 8-11.
“Interview with Diana Nemiroff” in “Curatorial Cholesterol: The Canadian
Biennial at the NationalGallery,” FUSE 13, No. 1 & 2 (1989) 32-36.
“Someone may pull the plug...Interview with Edythe Goodriche,” FUSE 11, No.6 (1988) 12-15.
“Rhythm & Resistance: De Dub Poets,” (interview) FUSE 7, Nos. 1 & 2 (1983) 32-38.
“Mama Quilla 2,”(co-interview with John Greyson), FUSE 5, Nos. 4 & 5 (1981) 148-152.
“Interview with Louis Applebaum,”in “Business and Culture: Appearing before
the Applebaum-Héber tCommittee,” FUSE 5, No. 6 & 7 (1981) 196 201.
“Gayap Rhythm Drummers,” (co-interview with John Greyson), FUSE 5, Nos. 4 & 5 (1981) 124-127.
“Sprechen sie Beuys? (co-interview with Lisa Steele), Centerfold 3, No. 6 (1979) 306-314.
“Interview with Linda Covit, Powerhouse, Montréal), Centerfold 2, No. 5 (1978) 52-54.
“Western Front Interview with Kate Craig,” Centerfold 2, Nos. 2 & 3 (1978).
“Margaret Dragu: Performance Retrospective,” (interview) Centerfold 2 No. 1 (1977) 8-9.
“A Space: Future Curatorial and Publishing Projects,” (interview) Centerfold 2, No. 1 (1977) 4-6.
“Backstage at The Pavillion with General Idea,” (interview) Centerfold 1, Nos. 7 & 8 (1977) 2-3.
“Paul Woodrow’s Bureau of Imaginary Exchange,” (interview) Centerfold 1,Nos. 7 & 8 (1977) 6-7.

SYMPOSIA AND CONFERENCE PRESENTATIONS

Chair, Opening Session, Visual Arts Summit, CMA, Ottawa, 2007
Paper, “The Resilient Connoisseur: Negotiating art historical narratives of
innovation and achievement in post-1945 American and British survey textbooks” UAAC Conference, Waterloo, 2007
Symposium Presenter, “Curators in Context,” OAAG and ARCCO, York University, Toronto, 2006
Session Chair, Issues in Contemporary Art – “Context and Meaning IV,”
Papers in Art History and Conservation, Graduate Visual Culture
Association, Queen’s University, 2005
Symposium presenter: "Beyond What the Eye Can See," a panel discussion
on technologies of vision and visions of technology with Alessandra
Lischi (University of Pisa) Viva Paci (Université de
Montreal) and Annette Burfoot, Gary Kibbins and Susan Lord
(Queen’s University), Queen’s 2004
Facilitator, “Networking” session, IN/FEST, International Conference on Artist-Run Culture, Vancouver, 2004

PAPER, “Naming and reviewing transdisciplinary places of dialogue,”
UAAC,
Kingston, 2003

Conference discussant, Cultural Policy Panel, College Art Association, NewYork, 2003
Symposium discussant, Better Worlds, Agnes Etherington Art Centre, Kingston, 2002
Symposium presenter, Yoko Ono exhibition, The Art Gallery of Ontario, Toronto, 2002
Symposium presenter, “Images v. Iconoclasms, “ 4th International
Performance Art Festival Symposium,7a*11d, Toronto, 2002
Paper, Pedagogy and Publicity: Discursive communities and policy attempts to
consolidate (and dislocate) specific forms of speech, UAAC, Montréal, 2001.
Panel Speaker, “ Reading A Media Month,” for the OPIRG Series, “What in the
World Is Going On?” (Susan Lord, Co-ordinator) Union Gallery, Queen’s University, 2001
Plenary speaker, In Public: Shifting Curatorial Practice, organized by Joan Borsa, SAT, Montréal, 2001.
Paper, “Experiencing Performance in Documentation,” Rebecca Belmore: 33
Pieces, Blackwood Gallery,University of Toronto, 2001.
Invited participant, A Working Discussion on Aboriginal Representation in the Art Gallery, Art Gallery of Toronto, Toronto, 2000.
Invited participant, A Working Discussion on Aboriginal Representation in the Art Gallery, Vancouver Art Gallery, Vancouver, 2000.
Symposium panelist, Process + Experience = Spectacle?, 3rd International Performance Festival, YYZ Toronto, 2000.
Paper, Regulatory and judicial discourse of arts policy governance at The Canada Council, at Canadian Contemporary Art History conference lecture series, organized by Christine Ross, Department of Art History, McGill University, Montréal, 1999.
Panelist, Speaking Volumes, with Will Straw and Barbara Fischer (moderator Jan Allen), Modern FuelGallery, Kingston, 1999.
Panel Chair, Re-visiting artist space and contemporary art museum practices, College Art Association, Toronto, 1998.
Panelist, presentation of Vera Frenkel’s work for Annual Artists Interviews: Vera Frenkel and Michael Snow
(
with Dot Tuer and Vera Frenkel), College Art Association, Toronto, 1998.
Panelist, Shifting Localities: The (Re)construction of Place in Writing Canadian
Video Art History, Ottawa Art Gallery at National Gallery of Canada,1998.
Panelist, Nomadicity (and Performance), Cinecyle, Toronto, 1998.
Panelist, Pleasures of the Flesh: The Body in Time (with Johanna
Householder, Rebecca Belmore, Doug Back,
Elizabeth Chitty), 7A*11D Performance Art Festival, Toronto, 1997.
Chair, Speaking Volumes (symposium with Martin Allor, Janine Marchessault,
Sylvie Gilbert), Oboro, Montréal, 1997.
Paper, Heaven: Artistic self-determination in the 90s (with Diana Nemiroff, Peggy Gale, Marcus Miller), Articule, Montréal, 1996.
Chair, Re-thinking alternative media practices?, Glenbow Museum, Calgary,1996.
Paper, Go Figure, Communication Studies Graduate Symposium, Concordia University, Montréal, 1996.
Paper, Robert Filliou’s influences on local art practices and formations (with
Sharla Sava, Kate Craig, Hank Bull), Belkin Art Gallery, UBC, Vancouver, 1996.
Paper, National Institutions, Universities Art Association of Canada Conference, Guelph, 1995.
Paper, Research Fellows Forum, National Gallery of Canada (with Lynda Jessup, William Stapp, Laurie Dahlberg), Ottawa, 1995.
Paper, Display Culture (with Anne Whitelaw, Jennifer Fisher, Jim Drobnick)
Canadian Communication Association, Montréal, 1995.
Panelist, Recontre internationale d’ art performance de Québec, Le Lieu, Québec, 1994.
Paper, Picturing Knowing. 1. Therapy. 2. Science. 3.Work. 4. Sex (with Kim
Sawchuk, Cathy Busby), University Art Association Conference,Halifax, 1994.
Panel Moderator, PERF ‘84 International Performance Art Symposium (with
Milan Knizak, Rejhane Cintrai, Richard Fowler), St. Norbert Arts and
Cultural Centre, St. Norbert, Manitoba, 1994.
Invited Participant (ANNPAC delegate), Funding Crisis in the Arts and Cultural
Industries, Canadian Conference of the Arts, Ottawa, 1993.
Panelist, Interzone (with Claire Gravel, Guy Sioui Durand), Le Lieu, Québec City, 1992.
Paper, Points de force: les centres d’artistes (with Gaetan Gosselin, Alain
Fleischer, Tanya Mars), R.C.A.A.Q./La Centrale, Montréal, 1992.
Invited Participant, From the ground up, Cultural Policy Symposium, Minister
of Culture, Province of Ontario, 1992.
Panelist, The Nation’s Capital: Politics, Money, and Value (with Christine
Conley, Sue Ditta, Keith Kelly, Francine Perinét), in Art as Theory,
Theory and Art Conference, University of Ottawa, 1991.
Paper, A Critical Perspective (with Dot Tuer, Bill Lee, Richard Fung, b.h.Yael),
20th Anniversary Series,Trinity Square Video, Toronto,
Guest Speaker, Artist-run Centres, Scorpio Performance Festival and Conference, Tajima, Japan, 1991.
Chair, Final Session, Fragmented Power: Art Voices for 2000, (with Buseje Bailey, Domingo Cisneros, Dot
Tuer, Richard Martel), Agnes Etherington Art Centre, Kingston, 1991.
Panelist, Histories of Canadian and Québec Performance, Galerie SAW,Ottawa, 1990.
Panelist, Electronic Image: Feudalism in the Global Village, University Art Association Conference, Winnipeg, 1989.
Panelist, Male Sexuality, Galerie Optica, Montréal, 1987.
Panelist, Ethics of being an artist, CARO/Axe Néo Sept, Hull, 1987.
Panelist, Independent Music and Free Trade, International Association for the
Study of Popular Musics, Carleton University, Ottawa, 1987.
Panelist, Artists & Television, Trinity Square Video, Toronto, 1986.
Panelist, Songs and Sanctions Against Apartheid (with Afua Cooper, Norman
Otis Richmond, Kirk Lapointe, Lorraine Segato), Black Music Association, A Space, Toronto, 1986.
Paper, Strategies for Survival: Status of the Artist, Vancouver Artists League and ANNPAC, Vancouver, 1986.
Panelist, Art Criticism and Responsibility, The Ontario College of Art, Toronto,1986.
Independent Paper, Art and Technology Conference, ANNPAC, Halifax, 1985.
Lecture, Talking - A Habit, A Space Public Lecture Series, Spadina Hotel, Toronto, 1983.
Paper, Art and Ideology, (with Donald Kuspit, Carole Condé and Karl Beveridge, Greg Curnoe), University of Ottawa, 1980.
Paper, International Video Symposium, Agnes Etherington Art Centre, Kingston, 1979.
Panelist, Les Publications d’art (with Lisa Steele, Pat Fleisher), Powerhouse, Montréal, 1979.
Panel Chair, Fifth Network Video Conference (with Chantal Pontbriand, Marien Lewis), A Space, Toronto, 1978.
Invited participant, Cultural Policy Conference, Alberta Culture, Banff Centre, 1974.

GUEST LECTURES ON CULTURAL CRITICISM, ART HISTORY AND PUBLISHING

The Canadian Art History Lecture Series, McGill University (1999), The Department of Communication Studies, Concordia University (1996), The Department of Art History, Ontario College of Art (1996), The Department of Art History, Concordia University (1996), The Department of Communication Studies, McGill University (1994), The Department of Fine Art, University of Ottawa (1991), The Department of Fine Art, University of Ottawa (1991), The Ontario College of Art (1991), The Nova Scotia College of Art & Design (1985), The Department of Fine Art, Concordia University (1978), Artists Books, Los Angeles (1978), The Ontario College of Art (1978).

GEST LECTURES ON MEDIA ARTS

The Department of Fine Arts, Concordia University (1997), The Department of Communication Studies,
Concordia University (1996), The Ontario College of Art (1991), The Centre for Contemporary Art, Warsaw, Poland (1990), The Ontario College of Art (1990), The Ottawa School of Art (1989), The University of Ottawa (1989), KAAI, Kingston (1988), NAC, St. Catherine’s (1987), The Ontario College of Art (1987), The Nova Scotia College of Art & Design (1985), The Banff Centre (1979), York University