Christine Ross is Professor and James McGill Chair in Contemporary Art History in the Department of Art History and Communication Studies at McGill University. She has just taken up the Directorship of Media@McGill, a hub of interdisciplinary research, scholarship and outreach in issues related to media, technology and culture, for a five-year mandate (2012-2017). Her main field of research is contemporary media arts, in particular: the relationship between media, aesthetics and subjectivity; visuality; spectatorship and interactivity studies; augmented reality; and reconfigurations of time and temporality in recent media arts. She is currently working on the conjunction of contextual, phenomenological and cognitive/neuroscientific studies of perception in the study of contemporary spatial arts. She is the author of 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 recently co-edited (with Olivier Asselin and Johanne Lamoureux) Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture (McGill-Queen's University Press, 2008).
Fellow of the Royal Society of Canada (2010-) and first laureate of the Artexte Award for Research in Contemporary Art (2012), she is the co-founder of the Department of Art History and Communication Studies at McGill University and was recently named the recipient of the David Thomson Award for Graduate Supervision and Teaching (2011). She is the Principal Investigator of two FQRSC research teams on the “Exploration of Augmented Reality in Contemporary Art and Visual Culture,” and “Hybrid Spaces in New Media” (2005-2013).
Other publications include: “Historical Narrative in the Work of Stan Douglas,” in L’Art de la syntaxe, ed. J. Game, (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 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 , ed., B. Foss, S. Pakowsky, and A. Whitelaw (Oxford University Press, 2010); "The Suspension of History in Contemporary Media Arts," (Intermédialités, Spring 2008); "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 Amelia Jones, ed., A Companion to Contemporary Art (Blackwell, 2006); "The Disappearing Screen: An Incomplete Matter" (Parachute, 2004); "Redefinitions of abjection in contemporary performances of the female body," in F. Connelly, ed. Modern Art and the Grotesque (Cambridge University Press, 2003); "To Touch the Other: A Story of Corpo- Electronic Surfaces," in Amelia Jones, ed., The feminism and visual cultural reader (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 at the Turn of the Millennium: Rosemarie Trockel's Distracted Eye" (October, 2001).
Department of Art History & Communication Studies
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