My PhD dissertation, Chemical Intimacies and Toxic Publics, draws from an assortment of resources—government reports, tourist guides, newspaper clippings, postcards, and children drawings—to delineate some of the politics of ambient toxins. More specifically, it focuses on t two ethnographic sites and two polluting industries: Half of the dissertation examines the politics of lead in Toronto (tracing its lingering effects in two working class neighbourhoods), while the other half focuses on a massive petrochemical corridor that is located in and around the small city of Sarnia (in southwestern Ontario) and immediately adjacent to the First Nation of Aamjiwnaang.
Chemical Intimacies and Toxic Publics traces the messy politics of ambient toxins, showing how people are always already entangled in a toxic status quo and the harm visited on specific fleshly communities and peoples.
The text is a mixture of methods, concerns, and voices, and is meant to be read as part manifesto, part ethnography, part autobiography, and part art object.
Chemical Intimacies and Toxic Publics was nominated for a York University Dissertation Prize.
Chemical Intimacies and Toxic Publics traces the messy politics of ambient toxins, showing how people are always already entangled in a toxic status quo and the harm visited on specific fleshly communities and peoples.
The text is a mixture of methods, concerns, and voices, and is meant to be read as part manifesto, part ethnography, part autobiography, and part art object.
Chemical Intimacies and Toxic Publics was nominated for a York University Dissertation Prize.
The Tale of the Sarnia Nose (an excerpt from my dissertation) was published by the Art Gallery of York University as a 100-page artist book.
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A List of Selected Publications:
2019. To the Post Office and Back. Included in Rising Tides: Reflections for Climate Changing Times. Edited by Cate Sandilands. Caitlin Press. https://caitlin-press.com/our-books/rising-tides/ 2017. The Tale of the Sarnia Nose. Toronto: AGYU. http://theagyuisoutthere.org/everywhere/?p=5218 2016. Canine Cartographies: On the Queer and Curious Pleasures of Being a Dog. Included in Animal Subjects 2.0. Edited by Jodey Castricano and Lauren Corman. Wilfred Laurier University Press. https://www.wlupress.wlu.ca/Books/A/Animal-Subjects-2.0 2016. Epistemology of the Bunkhouse: Lusty Lumberjacks and the Sexual Pedagogy of the Woods. Included in Queering the Countryside: New Directions in Rural Queer Studies. Edited by Mary L. Gray, Colin R. Johnson, and Brian Gilley. New York University Press. http://nyupress.org/books/9781479880584/ 2013. Queen’s Park and Other Stories: Toronto’s Queer Ecologies. Coauthored with Cate Sandilands. Included in Urban Explorations: Environmental Histories of the Toronto Region. Edited by L. Anders Sandberg, Stephen Bocking, Ken Cruikshank. L. R. Wilson Institute for Canadian History. http://environmental-history-science.blogspot.ca/2013/03/environmental-history-of-toronto-see.html 2011. Queer Spirits. Coauthored with AA Bronson. Joint North American and European publication: Creative Time, Plug In, JPR Publications: http://www.artbook.com/9781928570141.html 2005. Co-editor of Invisible Culture: An Electronic Journal of Visual Culture, Issue 8: Nature Loving: http://ivc.lib.rochester.edu/category/issues/archives/issue-9/ 2004. The Image Before: The Lacanian Mirror Machine. Invisible Culture: An Electronic Journal of Visual Culture, Issue 7: Casting Doubt: http://ivc.lib.rochester.edu/the-image-before-me/ 2001. Der Poncho und die nomadische Wunsch-Maschine / The Poncho and the Nomadic Desire Machine. Included in Szuper Gallery: Gallery Talks (bilingual catalogue). München, Germany: Galerie der Künstler. 2001. The Sewing Desire Machine. Included in Textile Transitions: Gender, Body, Identity. Edited by Janis Jefferies. London: Telos Press. 1999. Say Nothing, Be Silent: The Work of Jo-Anne Balcaen, Nathalie de Briey, Naomi Potter, & Ana Rewakowicz (exhibition catalogue). Glasgow: Book Lab. 1994. Arnaud Maggs at the Susan Hobbs Galley. (review) C Magazine. Fall 1994. 1994. Roland Brenner at the Olga Korper Gallery (review) Parachute. 74, 1994. 1994. Kim Adams (review) Parachute. 73, 1994. 1991. Brian Scott at the Toronto Sculpture Garden. (review) C Magazine. Fall 1991. |
