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).
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.
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.
Dr Sandra Alfoldy received her PhD in craft history from Concordia University in 2001 and completed her post-doctoral fellowship at the University of Rochester in 2002. Her current research focuses on the relationship between craft and architecture in post-war Canada, and the historical tensions between Canadian studio craft and industrial design. She is the author of “Crafting Identity: the development of professional fine craft in Canada” (McGill Queen’s University Press, 2005), editor of “Neocraft: Modernity and the Crafts” (NSCAD Press, 2007), and co-editor of “Craft, Space and Interior Design: 1855-2005” (Ashgate Press, 2008).
Gloria Hickey is an independent curator and writer living in St. John’s, Newfoundland. She holds a Masters degree in Philosophy of Art from the University of Toronto, has curated major exhibitions across the country and has had more than 250 craft related articles published. She has also edited prominent Canadian written works about craft, including “Common Ground: Contemporary Craft, Architecture and the Decorative Arts” and “Making and Metaphor: A Discussion of Meaning in Contemporary Craft”. She is a two-time winner of the Betty Park Award for Critical Writing, winner of the 2010 Atlantic Craft Trade Award for Cultural Leadership in the Atlantic Region, and in 2011, she was the first winner of the Newfoundland and Labrador’s Critical Eye Award.
Dr Rachel Gotlieb is an award-winning craft and design writer who has curated over twenty exhibitions and published extensively on the subject. She is the 2017 Theodore Randall International Chair in Art and Design at Alfred University. She served as the founding curator of the Design Exchange in Toronto, where she co-wrote the landmark Design in Canada (Knopf Canada, 2001). Gotlieb is also Adjunct Curator of the Gardiner Museum of Ceramic Art and co-curated “True Nordic: How Scandinavian Influenced Canadian Design” (2016). She was the Gardiner’s Chief Curator and Interim Executive Director where she curated “Clare Twomey: Piece by Piece,” “Ante Liu: Mono No Ma” Transformation by Fire: Women Overcoming Violence Through Clay”, “Go East: Canadians Create in Clay” and ” Connections: Canadian and British Studio Ceramics.” She is a sessional instructor at Sheridan College School of Craft and Design and Ontario College of Art and Design University teaching design history and curatorial practice.
Michele studied textiles and craft at institutions across Canada before turning to cultural anthropology and researching textile crafts in India (PhD. UBC’03). Recent curated exhibitions include Laura Vickerson: The Between and John Chalke: Surface Tension both at Nickle Galleries. Her recent publications include ‘Lloyd Erikson: Collecting for the Future’ (2014), and ‘Embroidered Relations in Kutch: Women, Stitching and the Third Space’ (2013).
Amy Gogarty taught visual arts history, ceramics history and contemporary theory at the Alberta College of Art & Design in Calgary before relocating to Vancouver in 2006 to devote time to her studio and writing practice. She has contributed over 100 critical essays relating to visual art and craft to catalogues, journals and symposia in Canada and abroad, and she co-edited two anthologies relating to craft and ceramics published by Ronsdale Press in Vancouver.
A former cultural development agent for the MRC de l’Érable, Amélie Marois became Materia’s executive director in 2012. Since then, her creative management approach has proven helpful in redefining the organization and reviewing its operations. Interested in curating, she designed the exhibition Lou Lynn – Out of the Ordinary / Hors de l’ordinaire in 2014. Amélie is also an entrepreneur and a stained-glass artist. In 2011, she received a creation grant from the Conseil des arts et des lettres du Québec, and in 2012, she presented the exhibition Sacoches featuring her work.