Emma has twenty-five years experience working with cultural, charitable not-for-profit organizations with responsibilities that have included strategic planning, membership programs, product and service deliverables, public and private sector fundraising, patron relations, communications and outreach, publishing, exhibition development, retail profitability and financial health.
Working with a dynamic team of staff and volunteers she currently provides visionary leadership to the Textile Museum of Canada with a focus on achieving and advancing its strategic goals in alignment with both is mission and mandate.
Emma believes that change and innovation are the keys to growth and success; she avidly works to build strong partnership and collaboration to support her in her goals.
Denis Longchamps he received his PhD in art history in 2009 from Concordia University where he was the administrator of the Jarislowsky Institute for Studies in Canadian Art from 2006 to 2011. Longchamps also taught art and craft history at Concordia University, York University and at Dawson College. He has contributed essays, articles and reviews to magazines and journals such as Espace-Sculpture, Ceramics Monthly, and Ceramics Art and Perception. Recent curatorial projects include Lyndal Osborne’s Of Water and Tides (2014), and the touring Naked Craft (2015-2017). He was the publisher and managing editor of Cahiers métiers d’art: Craft Journal (2006-2016).
Dorie Millerson is a Toronto-based artist and educator. Her award-winning artwork is exhibited internationally. Working in a variety of constructed textile techniques, she investigates themes such as memory, distance and attachment. She holds an MFA in textiles from NSCAD University and is an honours graduate in Fibre from OCAD.
Christine Saly is a graduate of the Master of Museum Studies program at the University of Toronto; she has worked with private and public collections ranging from art to archaeological materials. Her current research explores the role of cultural heritage in identity management from both micro and macro perspectives with an emphasis on post-conflict nation states.
Susan Surette is currently researching Canadian ceramic murals of the twentieth century. As well as teaching craft histories, she has co-edited Sloppy Craft: Postdisciplinarity and the Crafts and published articles on Canadian ceramics. A practicing craftsperson since 1976, she presently specializes in ceramic murals and tiles, working as part of Studio Surette.
Her current research concerns women’s cultural philanthropy in early 20C British, Irish and Canadian craft guilds and for tracing a lineage from this historical material to the current resurgence in craftivist practices.
Her teaching focuses on the relationships between material culture and feminist theory, with an emphasis on craft history. Another stream of research, emerging from her teaching, is centred around questions of skill, hybridity, and pedagogy within an interdisciplinary contemporary craft milieu. This led to her co-edited Sloppy Craft: Postdisciplinarity and the Crafts (2015).
Lou Lynn began exploring the sculptural potential of glass in the mid-1980’s at the Pilchuck School of Glass. Her sculpture has been widely exhibited nationally and internationally and is in public collections that include the: Corning Museum of Glass; Canadian Museum of Civilization; and the Montreal Museum of Fine Arts. In 2010, she was inducted into the Royal Canadian Academy of Arts (RCA).
Leopold Kowolik is the editor of Studio magazine and has written for The Journal of Modern Craft, Craft Research, The Journal of William Morris Studies, THIS Magazine and Adbusters; most recently he contributed a chapter for the forthcoming book Craft on Demand. Leopold is also an instructor of writing and the histories of art and craft at Sheridan College in Ontario. He has degrees in history and art history from the University of Chicago and the University of Edinburgh.
Janna has been with Craft Ontario since 2007, and in 2009 graduated with a degree in Criticism and Curatorial Practice from OCAD University. She has held the position of Curator and Director of Programming since 2014. With a background in philosophy and cultural theory, as well as two years of working as a ceramic studio assistant, she works to guide Craft Ontario’s four core areas of focus to address member needs, educate the public regarding contemporary craft practice, and advocate for the craft community on local, provincial and national levels. Balancing member professional development with public engagement, she currently has the lead role in directing the organization’s growth and programming. Janna taught craft history courses for Sheridan College’s Craft & Design Program 2011 – 2013, and currently serves on the Executive Committee of the Canadian Society of Decorative Arts.
Mireille Perron is a visual artist, writer and educator. She is the founder of the Laboratory of Feminist Pataphysics. LFP promotes social experiments that masquerade as artworks/events. Her installations have appeared in solo and group exhibitions in Canada, Europe and the United States. Perron has presented and published numerous essays related to visual arts and craft practices in Canada and abroad. A recent example is The Question of Material and Labour, guest edited with Grace Nickel, a thematic issue for Cahiers métiers d’art: Craft Journal (2015). She credits her knowledge of Studio Craft to the excellence of Craft programs, their remarkable faculty and students at the Alberta College of Art + Design, AB, Canada where she teaches, among others, Craft Theory.