About the Authors


Overlapping orange and grey circles with the text Open Art Histories below.

Open Art Histories (OAH) is a platform for art, art history, visual art, communication, and museum studies teachers and instructors in Canada. Open to anyone who uses visual and material culture in their pedagogical practices, OAH offers a dynamic and collaborative space for Open Education Resources (OERs), and serves as a virtual community and repository for art and art history instructors at all stages of their academic and professional careers.

Johanna Amos is an Academic Skills & Writing Specialist at Student Academic Success Services at Queen’s University, where she is also an adjunct assistant professor in the Department of Art History & Art Conservation. Her research focuses on the material and visual culture of nineteenth-century imperial Britain, with a particular emphasis on women producers, textile labour, and acts of self-fashioning. She is co-editor (with Lisa Binkley) of Stitching the Self: Identity and the Needle Arts (2020).

Alena Buis is Associate Dean, Faculty of Arts at Kwantlen Polytechnic University in British Columbia. In addition to art historical research, her recent projects focus on the scholarship of teaching and learning for art history (So-TLA). Her recent publications on pedagogy include a chapter on open educational practices in An Educator’s Handbook for Teaching the Ancient World, a post for Art History Teaching Resources Weekly, and a special issue of the Sixteenth Century Journal, “Teaching the Early Modern in the Era of COVID-19.”

Elizabeth Anne Cavaliere is an adjunct lecturer at the Ontario College of Art and Design and Queen’s University. From 2019 to 2021 she held a SSHRC Postdoctoral Fellowship and from 2017 to 2018 she was the Foundation Postdoctoral Fellow at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. In addition to interdisciplinary and collaborative research in pedagogical practices, she specializes in Canadian art histories with a focus on photographic and institutional histories. She has writing in Environmental History, the Journal of Canadian Studies, Histoire Sociale/Social History, Imaginations: Journal of Cross-Cultural Image Studies, RACAR: Revue d’art Canadienne/Canadian Art Review, and the Journal of Canadian Art History.

Jen Kennedy is an assistant professor in the Department of Art History & Art Conservation at Queen’s University, where she teaches courses in feminist art, contemporary art, and new and digital media. She is co-editor (with Angelique Szymanek and Trista Mallory) of Locating/Dislocating: Translocal and Transnational Perspectives on Feminism & Art (forthcoming). Her current research project examines cyberfeminist artistic practices since the 1990s.

Sarah E.K. Smith is a scholar and curator whose research explores contemporary art and museums, with an interest in how artworks and institutions provide a lens to address the topics of cultural diplomacy, cultural labour, and cultural policies. Sarah works as Assistant Professor in the Faculty of Information & Media Studies at Western University, and is also Affiliated Faculty at Queen’s University, where she works with graduate students in the Cultural Studies program.

Devon Smither is currently Associate Professor of Art History/Museum Studies at the University of Lethbridge. Her research and teaching interests include the intersections of visual culture and curatorial and art historical theories and practices, as well as feminist, queer, postcolonial and decolonizing theories. Smither holds a BA with Distinction from the University of Alberta in Sociology and Women’s and Gender Studies, an M.A. in Art History from the University of British Columbia, and a PhD from the University of Toronto.


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CanadARThistories Copyright © by Alena Buis; Devon Smither; ecavaliere; Jen Kennedy; Johanna Amos; and Sarah E.K. Smith is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.

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