Christine Ross is Professor and James McGill Chair in Contemporary Art History in the Department of Art History and Communication Studies at McGill University. Her areas of research include contemporary media arts; vision and visuality; transformations of spectatorship in contemporary art; participatory media and art; artistic redefinitions of the public sphere; and reconfigurations of time and temporality in recent media art practices. Her books include: The Past is the Present; It’s the Future too: The Temporal Turn in Contemporary Art (Continuum, 2012); The Aesthetics of Disengagement: Contemporary Art and Depression (University of Minnesota Press, 2006); and Images de surface: l’art vidéo reconsidéré (Artextes, 1996). She has coedited The Participatory Condition in the Digital Age (University of Minnesota Press, 2016) with Darin Barney, Gabriella Coleman, Jonathan Sterne and Tamar Tembeck; Conflict[ed] Reporting: War and Photojournalism in the Digital Age [special issue of Photography & Culture, 8 (2), November 2015] with Tamar Tembeck and Theodora Tsentas; and Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture (McGill-Queen’s University Press, 2008) with Olivier Asselin and Johanne Lamoureux.
Since 2005, she has been the principal investigator responsible for the FQRSC-funded MediaTopia team research projects, including: Aesthetics, New Media and the (Re)Configuration of the Public Sphere (2013-2017), Art and New Media: Towards a Hybrid Redefinition of Site (2009-2013) and Augmented Reality in Contemporary Art: Interdisciplinary Practices (2005-2009). Fellow of the Royal Society of Canada (2010-), first laureate of the Artexte Canadian Award for Research in Contemporary Art (2012), recipient of the David Thomson Award for Graduate Supervision and Teaching (2011), recipient of the Prix Recherche de l’Observatoire du cinéma au Québec (2016), Distinguished Visiting Fellow at the Jackman Humanities Institute, University of Toronto (2017), she is the cofounder of the Department of Art History and Communication Studies at McGill University and was the Director of Media@McGill—a hub of interdisciplinary research, scholarship, and public outreach on issues in media, technology and culture], from 2012 to 2017.
Other publications include: “Temporalizing the Aesthetics of Coexistence: The Present as Ongoing,” Ästhetische Eigenzeiten 10 (forthcoming 2019 ); “The Filmic Aesthetics of Stillness: When Old and New Media Meet,” in The Aesthetics of Standstill, ed. Reinhold Görling, Barbara Gronau and Ludger Schwarte (Berlin: Sternberg Press, forthcoming 2018); “Sarah Sze’s The Last Garden and the Temporality of Wonder:” in Time in the History of Art: Temporality, Chronology, and Anachrony, ed. Dan Karlholm and Keith Fleming Moxey (New York: Routledge, 2018); “‘Not Directed Toward Anyone’: The Indifference of a Situation or, Perception under Influence” in Perception and Agency in Shared Spaces of Contemporary Art, ed. Cristina Albu and Dawna Schuld (New York: Routledge, 2017); “The Performance-Management Model of Performative Subjectivity,” in Boredom, ed. Tom McDonough (London and Cambridge, MA: Whitechapel Gallery and MIT Press, Documents of Contemporary Art series, 2017); “La suspension de la historia en el media art contemporaneo,” and “The Suspension of History in Contemporary Media Arts,” Contranarrativas (0), 2017; “An Aesthetics of Inhabitability,” in Mark Lewis Filmworks, eds. Hamid Taieb and François Bovier (Geneva: MetisPresses, 2016); “The Spreadability of Video,” in Abstraction in Video, ed. Gabrielle Jennings (University of California Press, 2015); “Toucher l’autre: une histoire de surfaces corpo-électroniques,” in Mona Hatoum, ed. Christine Van Assche (Paris: Centre Pompidou, 2015); “The Cloud in Video: Notes on Isabelle Hayeur’s Aftermaths,” Espace, 2015; “Depression,” in Encyclopedia of Aesthetics (Oxford University Press), 2014; “The Movement of the Image. Vitality in Olivia Boudreau’s Media Production” in L’oscillation du visible. Olivia Boudreau, ed. Michèle Thériault (Montreal: Leonard & Bina Ellen Art Gallery, 2014); “Movement That Matters Historically: Janet Cardiff and George Bures Miller’s 2012 Alter Bahnhof Video Walk,” Discourse: Journal for Theoretical Studies in Media and Culture [special journal issue: Moving (with) Images: Gender, Affect, and the Senses, eds. Martha Zarzycka and Bettina Papenburg] Spring 2013/Spring 2014; “Historical Time Ecologized,” Esse, 2014; “Après la vidéo,” Revue 24 Images, 2014; “The Affective Historicization of Public Spaces,” Ciel Variable, 2013; “La réalité augmentée en art: une question de (non)destination,” in Le Réel à l’épreuve des technologies: les arts de la scène et les arts médiatiques, eds. Josette Féral and Edwige Perrot (Presses Universitaires de Rennes, 2013); “Historical Narrative in the Work of Stan Douglas,” in L’Art de la syntaxe, ed. J. Game, (Paris: Éditions de Vincennes, 2011); “New Screens Beyond the Screen: The Spatial Distribution of the Image in Augmented Reality Art,” in Screen/Space: The Projected Image in Contemporary Art, ed. T. Trodd (Manchester: Manchester University Press, 2011); “Spatial Poetics: The (Non)Destinations of Augmented Reality Art, Part I” and “Spatial Poetics: The (Non)Destinations of Augmented Reality Art, Part II” (Afterimage, 2010); “Video Art in Canada,” in Canadian Art: The Twentieth Century , eds. B. Foss, S. Pakowsky, and A. Whitelaw (Oxford University Press, 2010); “The Suspension of History in Contemporary Media Arts,” (Intermédialités, 2009); “New Media’s Presentness and the Questioning of History: Craigie Horsfield’s Broadway Installation,” (Cinémas, 2007); “The temporalities of video: extendedness revisited” (Art Journal, 2006); “New media art hybridity and augmented reality: a process for the interaction of art, (neuro)science and AR technology” (Convergence, 2005); “The Paradoxical Bodies of Contemporary Art,” in Contemporary Art, ed. A. Jones (Blackwell, 2006); “The Disappearing Screen: An Incomplete Matter” (Parachute, 2004); “Redefinitions of abjection in contemporary performances of the female body,” in Grotesque Histories of Modern Art, ed. F. Connelly (Cambridge University Press, 2003); “To Touch the Other: A Story of Corpo-Electronic Surfaces,” in The Feminism and Visual Cultural Reader, ed. A. Jones (Routledge, 2003); “Pipilotti Rist: Images as Quasi Objects” (n. paradoxa 7, 2001); “The Insufficiency of the Performative: Video art at the turn of the millennium” (Art Journal, 2001); and “Vision and insufficiency…: Rosemarie Trockel’s Distracted Eye” (October, 2001).