Recent Publications

Classical Studies | English and Writing Studies | French Studies & Linguistics | Modern Languages and Literatures | Philosophy | Visual Arts | Women's Studies and Feminist Research



  • Architectural Rhetoric and the Iconography of Authority in Colonial Yucatán: The Casa de Montejo (New York and Milton Park, Abingdon: Routledge, Visual Culture in Early Modernity, 2019),
  • “Maya Heraldic Arms: The Merging of Spanish and Maya Visual Cultures in the Memorial Shield to the Massacre at Otzmal.” Konsthistorisk tidskrift: Journal of Art History (2017), 1-10.
  •  “Representing Tihó-Mérida in Colonial Yucatán: Maya and Spanish Considerations of a Colonial Capital.” South Central Review 32, no. 2 (Summer 2015): 21-47
  •  “The Títulos de Ebtún, Yucatan, Mexico: Mapping Maya Communal Identity in a Colonial Spanish Notarial Context.” Imago Mundi: The International Journal for the History of Cartography 67, no. 2 (2015): 179-199
  • “Contested Ideologies of Space in Hispanic American Cartographic Practices: From the Abstract to the Real in Spanish and Indigenous Maps of Yucatán.” RACAR: Revue d’art canadienne/Canadian Art Review, Special Issue, Latin American Visual Culture, guest editors, Luis de Moura Sobral and Alena Robin, 38, no. 2 (Fall 2013): 22-39
  • “The Rhetoric of Authority: The Casa de Montejo in Mérida, Yucatán.” RACAR: Revue d’art canadienne/Canadian Art Review 35, no. 2 (2010): 5-20


  • Visual Tropes of Migration tell Predictable but Misleading Stories,” The Conversation, November 5, 2018, 
  • Member of curatorial team, Deepali Dewan (Senior Curator), Jennifer Orpana, Thy Phu, Julie Crooks, and Sarah Bassnett, with the assistance of Sarah Parsons and Silvia Forni, Royal Ontario Museum exhibition, The Family Camera, Scotiabank CONTACT Photography Festival, 6 May – 29 October 2017. 
  • Turn the Cameras on the Architecture of Exclusion in Calais,” Witness, World Press Photo magazine, July 2017.
  • Picturing Toronto Photography and the Making of a Modern City Sarah Bassnett, McGill-Queens University Press, April 2016.
  • Essay: “Between Truth and Fiction,” Of Time and Building. 18-27. Exhibition catalogue, Dawn Owen and Alison Nordstrom. (Guelph: Art Gallery of Guelph, 2015). 



  • John G. Hatch, Paterson Ewen: Life and Work. Toronto: Art Canada Institute, 2018.
  • "Cosmic Stutters: Anselm Kiefer's Search for Redemption In the Stars," in Nicholas Campion (ed.), Heavenly Discourses: Proceedings of the “Heavenly Discourses” Conference, Bristol, 2011 (Ceredigion, Wales: University of Wales, Sophie Centre Press, 2016), pp. 263-270.
  • "The Story Behind Asteroid 14060 Patersonewen," in Brian Patrick Abbott (ed.), Inspiration of Astronomical Phenomena VIII: City of Stars. Astronomical Society of the Pacific Conference Series, Vol. 501 San Francisco: Astronomical Society of the Pacific, 2015), pp. 67-73



  • 2019-20 Speculative Energy Futures: Prototypes for Possible Worlds – Beer, Baier, Caulfield, Esfahani, Fisher, Igharas, Mahon, Makokis, Moore, Simpson, etc. Co- curated by Natalie Loveless & Sheena Wilson, FAB Gallery, U of AB, Department of Art & Design, (Brochure)
  • 2019 The Living River Project: Art, Water and Possible Worlds – Mahon + Bou, Miner, Garoo, Rodney, Smallboy, Ouellette, Bariteau, Esfahani, Chitty, Willet, Coates, Gardner. Co-Curated with Stuart Reid, Art Gallery of Windsor (Online Catalogue)
  • 2018-19 Line & Verse – A Taiwan/Canada Project involving Artists & Poets, Organized and curated by Carlina Chen,Cheng Yu Tung East Asian Library, University of Toronto, Toronto, ON; Chiayi Culture Meeting Place, Chiayi County, Taiwan.
  • 2018 The Living River Project: Art, Water and Possible Worlds – Mahon + Bou, Miner, Garoo, Rodney, Smallboy,Ouellette, Bariteau, Esfahani, Chitty, Willet, Coates, Gardiner. Co-Curated with Stuart Reid, Art Gallery of Windsor (Online Catalogue forthcoming)
  • Group (Canada) 2018 Through the Memory Atlas: 40 Years of Collecting, Curated by J. Budney, S. Edelstein et al, Kamloops Art Gallery, Kamloops, B.C.

Collaborative Sited Projects (Sculpture):

  • 2019 C3+ Engineering Building: Wind Tunnel Garden Sculpture – Kelly Jazvac, Patrick Mahon, Tegan Moore. Permanent Outdoor Installation (Installed Spring 2019)

Collaborative Projects Initiated in Public:

  • 2019-21 GardenShip and State: Art, Environment, and the Future of the Global Commons. Patrick Mahon, PI, with Jeff Thomas (Curator), Jamelie Hassan, Mary Mattingly, Sean Caulfield, and other artists and scholars. A multi-year research project that will result in an exhibition at Museum London in Jan. 2021, and a publication. The project began with a Launch Workshop in November 2019 at Museum London.


  • Patrick Mahon & Stuart Reid, “Various Tributaries,” to accompany The Living River Project, (Art Gallery of Windsor, Windsor, ON, 2019)
  • The Source: Rethinking Water Through Contemporary Art. Co-published by Rodman Hall Art Centre/Brock University, St. Catharines, and Art Lab, Western University. 2018. London.
  • Patrick Mahon “Still, the Wind: What are Artists Doing about the Weather?” Feature Article (Border Crossings Magazine, Winter 2016,Issue 137) p. 54-61  

Artist’s Residencies (Juried or Invited):

  • 2019 Speculative Energy Futures – The Banff Centre (June 2-7)



  • (swrv) Christie Contemporary, Toronto, ON. (Sept. 2017) One Person
  • Homestead, Carl Louie Gallery, London ON. July 2017.
  • Group Sounds Assembling, Museum London, Curated by Melanie Townsend and Cassandra Getty, May 2017 (Group)

Catalogue Publications:

  • Out of the Bush Garden, Contemporary Artists from Central-Eastern Canada, Catalogue Essays
    by Lucianno Benneton, Francesca Valente and Peggy Gale, Published by Benneton Foundation, 2017.


Chapters Published:

  • 2017 "Door to Door to Door", essay for Urban Encounters, eds. Martha Radice and Alexandrine Boudreault-Fournier, McGill- Queen's Press; 25 pages.
  • 2017 "Hit, Hit Maker, Hit Parade", artist pages for the Performance Art and the Public Sphere anthology, ed. Ana Pais, Lisbon: Orfeu Negro; 7 pages. 
  • 2016 "Shhhhhhhhhhhhhhhhhhhhe: Silence and Sound in Performance", essay for More Caught in the Act, eds. Johanna Householder and Tanya Mars, YYZ Books; 20 pages.
  • 2015 Gallery Guide: Through and Through - Journal of Curatorial Studies, Volume 4, Number 2.

Editorial Project:

  • 2015 Volumes - Blackwood Gallery, Mississauga.


  • 2017 "4 feet and 33 inches (ellipse and ellipsis)" for Silence Pressure Noise, McIntosh Gallery, London (curator Vicky Moufawad-Paul).
  • 2017 "Record Release 12-inch" for Feedback: Marshall McLuhan and the Arts, West Den Haag, The Hague, Netherlands.2017 "Millefeuille 2" for Extratextual, Contemporary Calgary, Calgary (curators Lisa Baldiserra and Joanne Bristol).
  • 2017 "Stéréophonie" for Interstices, Daïmôn, Gatineau, Québec.2017 "Micro" at Museum London, London, Ontario (curator Cassandra Getty).
  • 2017 "Standing Under Mis", Katzman Contemporary, Toronto (four-person collaborative exhibition project).
  • 2016 "Press Play", Zalucky Contemporary, Toronto (solo).
  • 2016 "Record Release 7-inch" for Sweet Gongs Vibrating, San Diego Art Institute, San Diego (curator Amanda Cachia).

Published Audio Works (solo):

  • 2016 "Greatest Hits" CD, Squint.Press


  • 2017 "Hit Parade" at the Lausanne Film & Music Festival (LUFF), Lausanne, Switzterland.
  • 2017 "Testing, Testing" at Museum London, London, Ontario.
  • 2016 "Talk Artist" for UMBRAL festival, Contemporary Art Museum MACO, Oaxaca City, Mexico.
  • 2016 "Record Release 7-inch" at Tranzac, Toronto.2015 "Record Release 7-inch" for Sweet Gongs Vibrating, San Diego Art Institute, San Diego.
  • 2015 "Mixer" for 21C Festival, Royal Conservatory, co-presented by MOCA, Toronto. My work performed by myself and: Ronnie Clarke, Jessica Karuhanga, Stephen Mueller, Juliana Pivato, Xuan Ye, Andrew Zukerman.



  • 2020. Patricia Corcoran, Johanna de Haan Ward, Ian Arturo, Sara Belontz, Tegan Moore, Carolyn Hill-Svehla, Kirsty Robertson, Kelly Wood, Kelly Jazvac. “A Comprehensive Investigation of Industrial Plastic Pellets on Beaches across the Laurentian Great Lakes and the Factors Governing their Distribution,” Science of the Total Environment, 2020.
  • Kirsty Robertson. “The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation.” Museum and Society 18.2, 2020:
  • Sara Belontz, Patricia Corcoran, Heather Davis, Kathleen Hill, Kelly Jazvac, Kirsty Robertson, Kelly Wood (the Synthetic Collective). “Embracing an Interdisciplinary Approach to Plastics Pollution Awareness and Action.” Ambio (November), 2018:
  • Kirsty Robertson with Helen Gregory. “No Small Matter? Micromuseums as Critical Institutions,” RACAR (special issue: Critical Curating) 43.2, pp. 89-101. (70%)
  • Lianne McTavish with Susan Ashley, Heather Igloliorte, Kirsty Robertson, and Andrea Terry. “Critical Museum Theory/Museum Studies in Canada: A Dialogue,” Acadiensis 46.2, pp. 223-41. (15%)
  • Kirsty Robertson. “Plastiglomerate,” e-flux journal 78 (December), 2016:
  • Kirsty Robertson and Lisa Vinebaum. “Crafting Community.” Textile: The Journal of Cloth and Culture 14.1, 2016, pp. 2-13.
  • Plastiglomerate,” e-flux journal 78 (December 2016)
  • “Shopping Cartographies.” In The Vancouver Carts: Photographs by Kelly Wood. James Patten, ed. London: Black Dog Publishers, 2016.


  • “Quilts for the Twenty-First Century: Activism in the Expanded Field of Quilting” In Handbook of Textiles, eds. Janis Jefferies, Hazel Clark and Diana Wood Conroy. London: Bloomsbury Press, 2016, pp. 197-210.

Edited Journal:

  • With Lisa Vinebaum. Textile: The Journal of Cloth and Culture [special issue: Crafting Community: Textiles, Publics, Performance and Participation]. London: Berg Press, 2016.
  • Kirsty Robertson and Lisa Vinebaum. “Crafting Community.” Textile: The Journal of Cloth and Culture 14.1 (2016), pp. 2-13.>


  • Kirsty Robertson. Tear-Gas Epiphanies: Protest, Museums, Culture, McGill-Queen’s University Press, 2019.


  • Sara Belontz, Patricia Corcoran, Heather Davis, Kathleen Hill, Kelly Jazvac, Kirsty Robertson, Kelly Wood (the Synthetic Collective). “Embracing an Interdisciplinary Approach to Plastics Pollution Awareness and Action.” In The Society for the Diffusion of Useful Knowledge issue 04: SHORING, Blackwood Gallery, Toronto, 2019.
  • Kirsty Robertson. “Plastiglomerate.” In CSPA (Queer Ecologies). Tarsh Bates, ed. Los Angeles: The Center for Sustainable Practice in the Arts, 2018, pp. 36-42.
  • Kirsty Robertson. “Plastiglomerate.” In Plastiglomerates. Petrina Ng and Rachel Wallace, eds. Toronto: Durable Good, 2018. 


  • Sprengler, C., “Paratextual Encounters of Four Kinds: Blade Runner and Cinematic Memory,” Journal of Cinema and Media Studies 60.2 (formerly Cinema Journal), 2021. 
  • Sprengler, C. “Chamber Made Opera’s Phobia (2003) and Jean Curran’s The Vertigo Project (2018): The Sounds and Sights of Vertigo’s Afterlife in Art,” in Sidney Gottlieb, ed. Haunted by Hitchcock: Vertigo Then and Now. Bloomington, IN: Indiana University Press and John Libbey, 2021. 
  • Sprengler, C. “Midcentury Metamodern: Returning Home in the 21st Century Nostalgia Film,” in Matthew Leggatt, ed. Was it Yesterday? Nostalgia in Contemporary Film and Television, SUNY Press, 2021.
  • Sprengler, C. “Grease, The Jukebox Fifties, and Time’s Percolations,” in Peter Kramer and Oliver Gruner, eds. Grease is the Word: Exploring a Cultural Phenomenon, Anthem Press, 2019.
  • Sprengler, C. “Cinema and the Visual Arts.” In Oxford Bibliographies in Cinema and Media Studies. Ed. Krin Gabbard. New York: Oxford University Press, 2012; updated significantly 2019 (16,000 words)
  • Sprengler, C. “Modern Art and Retromediated Histories: Pleasantville and Far From Heaven” in Jilly Boyce Kay, Cat Mahoney, and Caitlin Shaw, eds. The Past in Visual Culture: Essays on Memory, Nostalgia and the Media. McFarland, 2017.
  • Hitchcock and Contemporary Art. New York: Palgrave MacMillan, 2014.
  • In a Hundred Years of Cinema…’: Cultural Memory and Musealization in Harun Farocki’s Workers Leaving the Factory in Eleven Decades,” in Gabriele Muller and Peter McIsaac, “Exhibiting the German Past: Museums, Film, Musealization,” University of Toronto Press, 2015.
  • “Past Failures and Future Promises: Mark Lewis’ Children’s Games, Heygate Estate”, in Bridget Elliott, ed. Breaking and Entering: The House Cut, Spliced and Haunted, McGill-Queens, 2015.