Fraser McCallum

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	<title>Fraser McCallum</title>
	<link>https://frasermccallum.com</link>
	<description>Fraser McCallum</description>
	<pubDate>Mon, 08 Jun 2026 16:09:07 +0000</pubDate>
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		<title>Homepage</title>
				
		<link>https://frasermccallum.com/Homepage</link>

		<pubDate>Sat, 09 May 2020 18:57:58 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

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Fraser McCallum is an interdisciplinary artist, curator, and arts worker of Euro-Canadian ancestry living and working in Toronto.

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		<title>The Classroom</title>
				
		<link>https://frasermccallum.com/The-Classroom</link>

		<pubDate>Mon, 08 Jun 2026 16:09:07 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/The-Classroom</guid>

		<description>
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	The Classroom
Hicham Benohoud
May 13–August 31, 2026Curated by Fraser McCallumBlackwood Gallery lightboxes, University of Toronto Mississauga campus︎ link

Photos: Toni Hafkenscheid

	
The Classroom consists of over 100 photographs taken by Hicham Benohoud while working as an art teacher in Marrakech between 1994 and 2002. Benohoud staged increasingly elaborate scenes with his students, generating a body of work that reflects postcolonial identity, performance, and pedagogy. 


The series arose from Benohoud’s frustrations with Morocco’s rigid educational system of the time, whose curriculum of repetition and mimicry bored him and his students alike. In The Classroom, Benohoud uses the school furniture and art supplies at his disposal to create quirky, witty, and poignant images.


The Classroom is not simply cheerful portraiture, as many of his students’ expressions convey ambivalence with the camera. Benohoud suggests their unease reflects the hardships or repression they faced in Morocco’s postcolonial society. The artist’s props often confine, shape, or obscure the sitter’s body, creating “visual metaphors [that] reflect the constraints of my own reality.” These tableaux exceed confinement to reveal forms of agency latent in everyday life, with the imagination and wit of young people at their centre.
Public Programs

Accompanied by four public programs throughout summer 2026. Co-curated with Jacqui Usiskin.&#38;nbsp;︎link
Contributors: Jose Miguel Esteban, Maya El Helou, Leila Fatemi, Lucy El-Sherif, Zaytouna Academy of Cultural Arts. &#38;nbsp;


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		<title>On Butterfly Logic</title>
				
		<link>https://frasermccallum.com/On-Butterfly-Logic</link>

		<pubDate>Wed, 12 Nov 2025 14:24:20 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/On-Butterfly-Logic</guid>

		<description>
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	On Butterfly Logic&#38;nbsp;
Inari SandellOctober 24, 2025 – January 31, 2026Curated by Fraser McCallumBlackwood Gallery lightboxes, University of Toronto Mississauga campus&#38;nbsp;
︎ link
Photos: Toni Hafkenscheid.

On Butterfly Logic (2024) examines butterflies’ movement patterns,
social norms of neurotypicality, and psychiatric and historic representations
of Autism. “Butterfly logic,” in philosophy, refers to “faulty” logic which
draws conclusions from insufficient evidence, likened to a butterfly’s flight
pattern. Though the insect’s movements might not make sense to a human
observer, its erratic logic keeps it safe from predators. Sandell presents the
butterfly as a symbol of resistance to normative cognitive processes, linking
it to neurodivergent modes of movement and thought. “Butterfly logic” is
reified as an intelligent, worthy, and non-normative thought process.


In the Blackwood lightboxes,
Sandell has combined still photographs with text excerpts which appear in their
short film of the same title. In the photographs, various butterfly species are
seen against the backdrop of an industrial greenhouse, in a contrast that references
the historic institutionalization of people with Autism. This effect is
heightened by hand-stamped lettering, which alludes to systems of cataloguing
and categorization. Across the four campus lightboxes, text excerpts reflect the
links between normative thought, neurodiversity, and what butterflies can teach
us.


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		<title>The Art Gallery Problem</title>
				
		<link>https://frasermccallum.com/The-Art-Gallery-Problem</link>

		<pubDate>Wed, 12 Nov 2025 14:03:00 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/The-Art-Gallery-Problem</guid>

		<description>
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	The Art Gallery ProblemJanuary
8 – March 5, 2025, Blackwood
Gallery, University of Toronto Mississauga


Artists: Nikita Gale, Maïder
Fortuné &#38;amp; Annie MacDonell, Matt Nish-Lapidus, Karthik Pandian, Paolo
Patelli &#38;amp; Giuditta Vendrame, Jeremy Toussaint-Baptiste


Curator: Fraser McCallum︎link


The “art gallery problem” is a well-known math problem with a
simple premise: what is the minimum number of guards or surveillance cameras necessary
to observe an entire gallery? Across different layouts and floorplans, the art
gallery problem challenges math students to achieve full surveillance of a
space using the minimum labour or technology. The problem is not put to use by
major museums and galleries, despite replicating their standard practices for
monitoring facilities. Even so, it remains a dominant understanding of art’s
presentation.


This exhibition appropriates the art gallery problem as a
framework to consider how objects and bodies are put to work in galleries and
museums. The “problem” is in fact not singular: there is far more to the
presentation of art than the securitization of objects; there are problems of
narrative, representation, hegemony, and access to knowledge. 


The art gallery problem highlights a set of underlying assumptions
that animate museums and galleries, including surveillance, labour, visuality,
law, and ownership. As significant human labour and technologies are mobilized
for the preservation and display of objects, it bears asking: Do norms of exhibition
and display serve audiences and galleries alike? What are the alternatives to
reification, permanence, ownership, and surveillance? What are other ways for
living with objects?


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Public Programs
Contributors: Naisargi N. Davé, Mike Forcia, Sneha Mandhan, Robyn Maynard, Karthik
Pandian, Paolo Patelli, Brendan Philip, Scott Sorli, Jeremy Toussaint-Baptiste


The Art Gallery Problem is accompanied by performances, screenings, and discussions that extend
and elaborate works in the exhibition, and expand and complicate the curatorial
premise.


Public programs engage
with institutional spaces adjacent to galleries—atriums, “crush” spaces,
theatres, lecture halls—which are designed for similar ends of observation and
optimization. With these programs, additional facets of the “problem” come into
view—including its sociopolitical implications beyond the arts alone.


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	Hollow
Bones: Screening and Conversation
January 23, 2025


Innis Town Hall Cinema, Toronto


Screening of works by Karthik Pandian and a discussion
with Karthik Pandian and Mike Forcia

	On
Both Sides of the RiverJanuary 24, 2025Collaborative Digital Research Space, University of Toronto Mississauga
Discussion with Karthik Pandian and Naisargi N. Davé.


	Y’All Don’t Wanna Hear Me (You
Just Wanna Dance)
February 6, 2025


CCT Atrium, University of Toronto Mississauga


Performance by Jeremy Toussaint-Baptiste followed by a
discussion with Robyn Maynard. With additional music by Brendan Philip.


	Friction Atlas: DiscussionMarch 1, 2025CCT Atrium, University of Toronto Mississauga


Discussion with Sneha Mandhan, Paolo Patelli, and Scott
Sorli


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		<title>Dignity Images</title>
				
		<link>https://frasermccallum.com/Dignity-Images</link>

		<pubDate>Wed, 12 Nov 2025 15:52:05 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Dignity-Images</guid>

		<description>
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	Dignity Images
American ArtistMarch 22 – April 18, 2021
Curated by Fraser McCallum

Part of Burning Glass, Reading Stone, lightbox exhibition at the Blackwood, University of Toronto Mississauga
︎link

[T]he extent to which one becomes conditioned by social media use is not always easy to perceive.—American Artist1
Employing strategies of refusal and redaction, American Artist’s Dignity Images examine how social media platforms condition our sense of self, identity, and community. Concerned with the vampiric nature of social media—where user content, data, and engagement generate profit—Artist’s practice proposes ways to challenge platform and surveillance capitalism. One such strategy is in Artist’s own legal renaming, which intervenes in the overwhelmingly white and male artistic canon.

Whereas Artist’s renaming simultaneously claims anonymity and hypervisibility, Dignity Images are rooted in omission and intimacy. Artist defines dignity images as photographs sitting idle on one’s smartphone, withheld from social media circulation. A dignity image represents a conscious choice to mediate between one’s online and offline self; for Artist, it is “a means of recovering dignity outside of social media by acknowledging that images outside of these platforms are equally if not more valuable.”2 Like photographs in albums or scrapbooks, dignity images are tangible and personal, contrasting the homogenous interfaces of social media platforms.

For this new iteration of Dignity Images, Artist re-photographed four of their own personal images from the lockdown period. These images—of domestic life; distanced communication with family; voting infrastructure; and navigating city space amid pandemic restrictions—each attest to the distinct conditions of separation and mediation of this moment. These images of one person’s online and offline life, unmoored from the narratives usually accompanying personal images, reckon with the intricacies of posting and sharing. Through the glimpses of intimate daily life seen here, visitors are beckoned to consider: How do I engage with social media? What do I withhold from it, and why?

1)“A Declaration of the Dignity Image,” The New Inquiry, September 13, 2016.
2) Artist, “A Declaration of the Dignity Image.”
See also No Other Findings, a response by Jessica Karuhanga&#38;nbsp;︎link

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		<title>Nearshore Gatherings</title>
				
		<link>https://frasermccallum.com/Nearshore-Gatherings</link>

		<pubDate>Wed, 12 Nov 2025 15:57:27 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Nearshore-Gatherings</guid>

		<description>
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Photos: Henry Chan
	Nearshore GatheringsJune–September 2022

Contributors: Miranda Black, Alan Colley, Kat Dervenis, Sherry Fukuzawa, Brad Isaacs, Stephanie Keeler, Kandy Kennedy, Veronica King-Jamieson, Minoya Magendrathajan, Helen Mills, Adalyn Ordono, Dana Prieto, Sean Procyk, Elder Garry Sault, Shrey Savale, Derek Stone, Amanda WhiteCurator: Fraser McCallum
︎link

Nearshore Gatherings was a series of outdoor public events hosted by the Blackwood and led by local artists, researchers, community organizers, knowledge-keepers, and educators of various backgrounds. Through walks, workshops, and discussions, the program engages the intersecting social, political, and ecological worlds that meet at Lake Ontario’s nearshore. Taking place along the lakefront and Credit River, these events highlight key issues animating urban waterbodies in Mississauga, and further afield: land defence, community-engaged research, watershed ecology, plant and animal life, and artistic interventions.Program Partners: Credit Valley Conservation, Eagle Spirits of the Great Waters, Ecosource, Lost Rivers, The Riverwood Conservancy, Visual Arts Mississauga
Presented alongside Sean Procyk’s lyfeboat prototype ︎ at Lakefront Promenade Marina, Mississauga.


&#60;img width="3000" height="2002" width_o="3000" height_o="2002" data-src="https://freight.cargo.site/t/original/i/72f20debc6091a023fbaa7fb0152ea8b84da5e35c7f3054f8c258a97a75bb0ea/Active-Collaborations---Artistic-Materials-and-Media-20220924b-HC-copy.jpg" data-mid="240564814" border="0"  src="https://freight.cargo.site/w/1000/i/72f20debc6091a023fbaa7fb0152ea8b84da5e35c7f3054f8c258a97a75bb0ea/Active-Collaborations---Artistic-Materials-and-Media-20220924b-HC-copy.jpg" /&#62;


	Walking the Nearshore
June 12, Lakefront Promenade Marina
	Land and Water Stewardship in Mississauga
July 9, Lakefront Promenade Marina
	Tree-planting in the Credit Watershed
July 17, The Riverwood Conservancy


	Serson Creek: Reconnecting a Lost River
August 11, Lakeview Village Discovery Centre
	Collaborative and Community-engaged Research
Sept 17, Lakefront Promenade Marina
	Active Collaborations: Artistic Materials and Media
Sept 24, Lakefront Promenade Marina


	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a5b3519d227db82b310820259861465a9b2fa621b07a82b4ff5fd0f6bc854ba8/Tree-Planting-in-the-Credit-Watershed-20220717-HCZ_2869b.jpg" data-mid="240564859" border="0"  src="https://freight.cargo.site/w/1000/i/a5b3519d227db82b310820259861465a9b2fa621b07a82b4ff5fd0f6bc854ba8/Tree-Planting-in-the-Credit-Watershed-20220717-HCZ_2869b.jpg" /&#62;
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	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1476a47e7bf60c9d39d86397c31b8de75307cc1d03dc9a9b1e6db01370c17425/Active-Collaborations---Artistic-Materials-and-Media-20220924-HC-copy.jpg" data-mid="240564811" border="0"  src="https://freight.cargo.site/w/1000/i/1476a47e7bf60c9d39d86397c31b8de75307cc1d03dc9a9b1e6db01370c17425/Active-Collaborations---Artistic-Materials-and-Media-20220924-HC-copy.jpg" /&#62;
	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f4b9a28cce05125b9eaa7960a15491afcc323c3df45eaf342c1fee26bb825f1d/Tree-Planting-in-the-Credit-Watershed-20220717-HCZ_2793-web.jpg" data-mid="240564856" border="0"  src="https://freight.cargo.site/w/1000/i/f4b9a28cce05125b9eaa7960a15491afcc323c3df45eaf342c1fee26bb825f1d/Tree-Planting-in-the-Credit-Watershed-20220717-HCZ_2793-web.jpg" /&#62;


</description>
		
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	<item>
		<title>Running with Concepts: The Mediatic Edition</title>
				
		<link>https://frasermccallum.com/Running-with-Concepts-The-Mediatic-Edition</link>

		<pubDate>Wed, 12 Nov 2025 16:02:14 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Running-with-Concepts-The-Mediatic-Edition</guid>

		<description>&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/909fcf5f8569a3c4967de8d6e3200d712df54670384f96836ca698fa5b96473c/General_Title_Slide.png" data-mid="240564940" border="0"  src="https://freight.cargo.site/w/1000/i/909fcf5f8569a3c4967de8d6e3200d712df54670384f96836ca698fa5b96473c/General_Title_Slide.png" /&#62;A virtual public program, fellowship, and experimental conference
October 2020 – January 2021
Winner of the 2021 Galleries Ontario Program of the Year Award!

	Guest Presenters: Adwoa Afful, Kristen Bos, Meredith Broussard, Anita Say Chan, Beth Coleman, Sonia Corrêa, T.L. Cowan &#38;amp; Jasmine Rault, Heather Dorries, Ellen Graham &#38;amp; John Kim, Rick Harp, Shalini Kantayya, Nora N. Khan, Kite, Sean Lee, Anita Li, Carol Linnitt, Esery Mondesir, Kristine Neglia, Isadora Neves Marques, Ogimaa Mikana Project (Susan Blight &#38;amp; Hayden King), Carmen Papalia, Mike Pepi, Karyn Pugliese, Nicky Recollet, Tiara Roxanne, Caroline Sinders, Brett Story, Lewis Raven Wallace, Bianca Wylie
	Research Fellows: Emily Fitzpatrick, Cassandra Gemmell, Kat Germain, Parker Kay, Olivia Klevorn, Matthew Ledwidge, Jordan Loeppky-Kolesnik, Estraven Lupino-Smith, Matt Nish-Lapidus, Jennifer Su, Polina Teif, Pegah VaeziProgram Respondents: D.T. Cochrane, Emily Doucet, Zinnia Naqvi, Aliya PabaniHosted by: Alison Cooley and Fraser McCallum, Blackwood Gallery

Running with Concepts: The Mediatic Edition, the sixth edition of the Blackwood’s hybrid educational event, bridges recent and ongoing Blackwood programming and publishing on spectatorship, animatic technologies, and media ecologies. Interrogating the contexts, conditions, and forces that modulate, arbitrate, and disrupt knowledge-production and political action, The Mediatic Edition unfolds as an online durational event with a concurrent fellowship program taking place across October 2020–January 2021.

Participants bring expertise from emergent and established media disciplines whose methodologies shape artistic practice: newer movements in data sovereignty,&#38;nbsp;and&#38;nbsp;citizen science&#38;nbsp;develop models for participation and engagement;&#38;nbsp;social media users,&#38;nbsp;meme-makers, and&#38;nbsp;decolonial map-makers&#38;nbsp;work within and against existing platforms to create counter-narratives; and critical&#38;nbsp;journalists&#38;nbsp;question the norms and epistemologies on which their discipline is founded. Research fellows present works on a range of topics:&#38;nbsp;accessibility&#38;nbsp;and translation;&#38;nbsp;algorithmic tailoring; queer and feminist digital embodiment; peer-to-peer protocols and network decentralization;&#38;nbsp;mapping and data visualization&#38;nbsp;to&#38;nbsp;artist-AI collaborations. Four program respondents follow the conference, documenting and sharing observations on the Blackwood website.Across a durational online format, Running with Concepts: The Mediatic Edition asks: how can we intervene in and interrogate the conditions that mediate knowledge production and political action? What intersectional and cross-sectoral approaches to data and data ethics do we need now? How can artistic research engage with the interfaces and platforms that constitute our mediated environment? How can we better comprehend and work within our always-mediated conditions of spectatorship?

All Running with Concepts programs are broadcast online, FREE and open to the public. Recordings are available for 72 hours following their release, on this website. Closed captioning is provided. Audio introductions and transcripts will be provided for select film screenings.

Fall 2020 Programs


	Coded Bias: Race, Technology, and AlgorithmsOctober 7–10
	Elements of Technology Criticism WorkshopOctober 19
	Research Fellow Presentations: Virtuality and the Affect of EnvironmentsOctober 23–25
	Journalism's Myth of Objectivity: Accountability, Embodiment, and NeutralityOctober 28–31


	Documentary Practices: Power, Agency, and RepresentationNovember 4–7
	Research Fellow Presentations: Constructions of Selfhood, Nature, and TerritoryNovember 18–21
	A Mordida: Gender, Contagion, and BiopoliticsDecember 2–5
	

Winter Programs – January 22–24, 2021

	Levels of Access: Bandwidth, Translation, and Virtual Spaces
	Research Fellow Presentations: Translation, Camouflage, Spectatorship
	(Counter-)Mapping
	Feminist Data Set


	Research Fellow Presentations: Data Infrastructures, Blockchain, and Collaborative Platforms
	Data Governance, Ethics, and Sovereignty
	Research Fellows Presentations: Visualizing Environment, Visualizing Confidence
	Reading Open Data: Data Visualization, Citizen Science, and Collective Action

	Pȟehíŋ Kiŋ Líla Akhíšoke (Her Hair was Heavy)
	
	
	&#60;img width="2338" height="1398" width_o="2338" height_o="1398" data-src="https://freight.cargo.site/t/original/i/a99a57bc1f1c7b1387571f244a69ccd50c4b806887b3ff0cd164d2e15e83983b/1_JoyinMaskStill.png" data-mid="240564931" border="0"  src="https://freight.cargo.site/w/1000/i/a99a57bc1f1c7b1387571f244a69ccd50c4b806887b3ff0cd164d2e15e83983b/1_JoyinMaskStill.png" /&#62;
	&#60;img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/e43acc14c3ec42517e36f187ffb0dfc385c21ea3163a6e4a04b3fb33ba37282e/Kite_REDCAT_Performance.jpg" data-mid="240564943" border="0"  src="https://freight.cargo.site/w/1000/i/e43acc14c3ec42517e36f187ffb0dfc385c21ea3163a6e4a04b3fb33ba37282e/Kite_REDCAT_Performance.jpg" /&#62;
	&#60;img width="1920" height="1005" width_o="1920" height_o="1005" data-src="https://freight.cargo.site/t/original/i/01bbc2e603a038a619a537ed0c090bd08775911d95287edd2b4d23f9dab3de30/A_Mordida_Facebook.jpg" data-mid="240564932" border="0"  src="https://freight.cargo.site/w/1000/i/01bbc2e603a038a619a537ed0c090bd08775911d95287edd2b4d23f9dab3de30/A_Mordida_Facebook.jpg" /&#62;

	&#60;img width="1920" height="1005" width_o="1920" height_o="1005" data-src="https://freight.cargo.site/t/original/i/f68f027fd9cd5334bfca3a0f6c6428c8792d24a53afdc575e66bfb5a9350f557/Feminist-Data-Set.jpg" data-mid="240564939" border="0"  src="https://freight.cargo.site/w/1000/i/f68f027fd9cd5334bfca3a0f6c6428c8792d24a53afdc575e66bfb5a9350f557/Feminist-Data-Set.jpg" /&#62;
	&#60;img width="3840" height="2010" width_o="3840" height_o="2010" data-src="https://freight.cargo.site/t/original/i/575753dd6e717e8b9633e7218bb51687b1a07c5b8f675df2ac640bccfe419a27/Levels-of-Access.jpg" data-mid="240564944" border="0"  src="https://freight.cargo.site/w/1000/i/575753dd6e717e8b9633e7218bb51687b1a07c5b8f675df2ac640bccfe419a27/Levels-of-Access.jpg" /&#62;
	&#60;img width="1920" height="1005" width_o="1920" height_o="1005" data-src="https://freight.cargo.site/t/original/i/6ee07a5ad7471e82bb7084eb744439f998cd835a165599c44ec10e6bd5abf7a1/Documentary_Practices_Facebook.jpg" data-mid="240564935" border="0"  src="https://freight.cargo.site/w/1000/i/6ee07a5ad7471e82bb7084eb744439f998cd835a165599c44ec10e6bd5abf7a1/Documentary_Practices_Facebook.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Writing and Editing</title>
				
		<link>https://frasermccallum.com/Writing-and-Editing</link>

		<pubDate>Wed, 12 Nov 2025 16:17:22 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Writing-and-Editing</guid>

		<description>Writing and EditingRecent publications include:
Contributed a co-authored introduction to Organizing Our Grief: A Collaboration in Response to the Overdose Crisis&#38;nbsp;︎link
Editor of Living with Concepts micropublication, with essays by&#38;nbsp;Danielle Boissoneau, Ella Finer, Nicole Latulippe&#38;nbsp;︎linkCo-editor (with Alison Cooley) to Back Up Your Data! with essays by&#38;nbsp;D.T. Cochrane, Emily Doucet, Zinnia Naqvi, and Aliya Pabani and an introduction by Cooley &#38;amp; McCallum&#38;nbsp;︎linkContributor and co-editor for the Blackwood’s The Society for Diffusion of Useful Knowledge broadsheet&#38;nbsp;︎link


	&#60;img width="2047" height="3000" width_o="2047" height_o="3000" data-src="https://freight.cargo.site/t/original/i/50ddcb89e24099543f1268c6b7962466095638cdf129ff045ee29484f79f2639/backupyourdata_cover.jpg" data-mid="241051223" border="0"  src="https://freight.cargo.site/w/1000/i/50ddcb89e24099543f1268c6b7962466095638cdf129ff045ee29484f79f2639/backupyourdata_cover.jpg" /&#62;
	&#60;img width="975" height="1350" width_o="975" height_o="1350" data-src="https://freight.cargo.site/t/original/i/9eff0f75e259d617b9fdbddaee68149fa5effd6ea15aa4f42dd6d0aa693f01ac/blackwoodgallery_lwc_micropublication_03.jpg" data-mid="240565271" border="0"  src="https://freight.cargo.site/w/975/i/9eff0f75e259d617b9fdbddaee68149fa5effd6ea15aa4f42dd6d0aa693f01ac/blackwoodgallery_lwc_micropublication_03.jpg" /&#62;
	&#60;img width="975" height="1350" width_o="975" height_o="1350" data-src="https://freight.cargo.site/t/original/i/6dd86a82c0bdcff998f0af7d6ff2cf065347449ab5682269a6c74c68bed1429c/oog_cover.jpg" data-mid="241051221" border="0"  src="https://freight.cargo.site/w/975/i/6dd86a82c0bdcff998f0af7d6ff2cf065347449ab5682269a6c74c68bed1429c/oog_cover.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Indeterminate Growth</title>
				
		<link>https://frasermccallum.com/Indeterminate-Growth</link>

		<pubDate>Fri, 07 Feb 2020 19:22:04 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Indeterminate-Growth</guid>

		<description>
	&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/c3ccd98eb6009157c1dee86a9b69b90fcd80f1d5798a6a0cfa3feba760e3d421/Indeterminate_Growth_1-web.jpg" data-mid="70326277" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c3ccd98eb6009157c1dee86a9b69b90fcd80f1d5798a6a0cfa3feba760e3d421/Indeterminate_Growth_1-web.jpg" /&#62;
	

Indeterminate Growth2020
with Sam Cotter
Commissioned for Temporary Contemporary 2019–20Trafalgar Campus, Sheridan College
Plants, hydroponic grow system, steel, phenolic plywood. 
14’ x 8’ x 8’


&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/20bc9ac2406e8805b382cfe0950448477cc0850d6d3fe546a979dbf8903458e7/Indeterminate_Growth_2-web.jpg" data-mid="70326279" border="0"  src="https://freight.cargo.site/w/1000/i/20bc9ac2406e8805b382cfe0950448477cc0850d6d3fe546a979dbf8903458e7/Indeterminate_Growth_2-web.jpg" /&#62;

Indeterminate Growth engages with Oakville’s local histories by exploring the contemporary relationship between nature and technology. In creating an open-ended artificial growing environment with hydroponic irrigation, lighting, and plants, the artists want us to pay closer attention to the capacity of plants to “delight and surprise,” and consequently, to reclaim the greenhouse as a structure that can respect plant agency.


Accompanied by a publication with curatorial essays by Valentyna Onisko and Patrick J. Reed.︎ Click to view.
See further details on the Creative Campus Galleries website. Additional documentation to follow.
&#60;img width="3333" height="5000" width_o="3333" height_o="5000" data-src="https://freight.cargo.site/t/original/i/6d0be857bb2e3e7e93cbdecf87a604b792e8d908171de014901f743cf2b6ffd2/_DSF7507.jpg" data-mid="70326276" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/6d0be857bb2e3e7e93cbdecf87a604b792e8d908171de014901f743cf2b6ffd2/_DSF7507.jpg" /&#62;


In plant life, light intensity, hydration, and temperature contribute to germination. Some seeds must pass through the digestive tracts of beasts or endure scraping, cracking, and abuse by the elements to initiate the process. Some must endure flame so the seedling might burst forth.

As human viewers negotiate their spatial and conceptual proximity to the plants on exhibition, the plants negotiate their immediate environment, responding to the variable conditions of light, temperature, and humidity (all the factors important to germination). This pas de deux, enacted across radically different timelines, constitutes part of what the artists consider an interplay leading to interspecies awareness.


—Patrick J. Reed

Archival images courtesy Peel Art Gallery Museum + Archives.
Below, clockwise from top left: Calvert-Dale Estates Ltd., Florists’ Supplies Catalogue, 1967; Two workers in a greenhouse, c.1910–1917; Chrysanthemums in a Dale Estate greenhouse, c.1910–1917; Dale Estate greenhouses in winter, c.1960; Unidentified man in Dale Estate greenhouse, n.d.


&#60;img width="1400" height="907" width_o="1400" height_o="907" data-src="https://freight.cargo.site/t/original/i/40453be51e69876574c673fdcba0dd36a36a939a3e0de3b3a9d4abd2ac5bb045/sheridan_catalogue.png" data-mid="70415327" border="0"  src="https://freight.cargo.site/w/1000/i/40453be51e69876574c673fdcba0dd36a36a939a3e0de3b3a9d4abd2ac5bb045/sheridan_catalogue.png" /&#62;
&#60;img width="884" height="1200" width_o="884" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fcdf40579352c050ba7727296098edfd8abd8a7b9bed8a8f5799f5cf75e1bb3a/dale_greenhouse_bw.png" data-mid="70415323" border="0"  src="https://freight.cargo.site/w/884/i/fcdf40579352c050ba7727296098edfd8abd8a7b9bed8a8f5799f5cf75e1bb3a/dale_greenhouse_bw.png" /&#62;
&#60;img width="1200" height="812" width_o="1200" height_o="812" data-src="https://freight.cargo.site/t/original/i/b823b621a417aea38a0f0bff39836175ea3ae0d6c08a3dc2068dc5f023aff414/dale_greenhouse_colour.png" data-mid="70415324" border="0"  src="https://freight.cargo.site/w/1000/i/b823b621a417aea38a0f0bff39836175ea3ae0d6c08a3dc2068dc5f023aff414/dale_greenhouse_colour.png" /&#62;
&#60;img width="1200" height="818" width_o="1200" height_o="818" data-src="https://freight.cargo.site/t/original/i/c449ba88ac227b28960dd3ce0379ce08bb585cfa4fafdf2e801b1a2b247fdc79/greenhouse_winter.png" data-mid="70415326" border="0"  src="https://freight.cargo.site/w/1000/i/c449ba88ac227b28960dd3ce0379ce08bb585cfa4fafdf2e801b1a2b247fdc79/greenhouse_winter.png" /&#62;
&#60;img width="1200" height="893" width_o="1200" height_o="893" data-src="https://freight.cargo.site/t/original/i/3df2cf3dd69383f2e3322a8e2665dcfbf3a20d47af55c659afed158c05fdb7d4/dale_chrysanthemums.png" data-mid="70415322" border="0"  src="https://freight.cargo.site/w/1000/i/3df2cf3dd69383f2e3322a8e2665dcfbf3a20d47af55c659afed158c05fdb7d4/dale_chrysanthemums.png" /&#62;

</description>
		
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	<item>
		<title>Vertical Frontier</title>
				
		<link>https://frasermccallum.com/Vertical-Frontier</link>

		<pubDate>Sun, 17 Nov 2019 15:00:17 +0000</pubDate>

		<dc:creator>Fraser McCallum</dc:creator>

		<guid isPermaLink="true">https://frasermccallum.com/Vertical-Frontier</guid>

		<description>
	&#60;img width="1999" height="1055" width_o="1999" height_o="1055" data-src="https://freight.cargo.site/t/original/i/18ff65bcad5a2f8b2ad12761070ffa480bd6d3ef22ef28bd313fcc7c62332396/Vertical_Frontier_still_1.jpg" data-mid="70326281" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/18ff65bcad5a2f8b2ad12761070ffa480bd6d3ef22ef28bd313fcc7c62332396/Vertical_Frontier_still_1.jpg" /&#62;
	Vertical Frontier
2019–2020
4K HD Video, stereo sound
08:42


︎ email for screener preview.


Vertical Frontier chronicles relationships between settler colonialism, extractive capitalism, and the making of scientific knowledge through early modern geologic surveys completed by the Canadian government. Loosely focused on Arthur P. Coleman (1852–1939) and the Geologic Survey of Canada, Vertical Frontier considers how seeing geologically constituted an epistemological shift in how lands were documented, classified, and instrumentalized. 
At the forefront of this shift, this film focuses on the tools and measuring devices used to legitimize the geologic profession. Measurement is accordingly shown to be rife with slippages and gaps: hammers used for scale in specimen photographs are undermined through homogenization; tools used in metallurgical assay are rendered indecipherable; and landscapes of geologic significance are seen beyond their instrumental value. With its focus on the unusual methods and broad implications of geology within settler colonialism and extractivism, Vertical Frontier highlights the discipline’s unceremonious origins in order to better understand its ongoing implications in environmental violence.


Below: stills from video.

	
&#60;img width="2000" height="1055" width_o="2000" height_o="1055" data-src="https://freight.cargo.site/t/original/i/b38695836d806d79013fbc5027e4dde744904a89a826dfb03c3c0865ad655c03/VF_assay_kit_still.jpg" data-mid="72270445" border="0"  src="https://freight.cargo.site/w/1000/i/b38695836d806d79013fbc5027e4dde744904a89a826dfb03c3c0865ad655c03/VF_assay_kit_still.jpg" /&#62;
&#60;img width="2000" height="1055" width_o="2000" height_o="1055" data-src="https://freight.cargo.site/t/original/i/db7089d6a4de6ad9290e087c42328424a8e19bd279344c94c4f37eaeb0e076b0/vf_ROM_still.jpg" data-mid="72270448" border="0"  src="https://freight.cargo.site/w/1000/i/db7089d6a4de6ad9290e087c42328424a8e19bd279344c94c4f37eaeb0e076b0/vf_ROM_still.jpg" /&#62;
&#60;img width="2000" height="1055" width_o="2000" height_o="1055" data-src="https://freight.cargo.site/t/original/i/29561645e1e89f3a25db2ac64d1cd1aefd79b6f12b3ff380400c101c847c62a2/VF_hammer_still_stroke.jpg" data-mid="72381182" border="0"  src="https://freight.cargo.site/w/1000/i/29561645e1e89f3a25db2ac64d1cd1aefd79b6f12b3ff380400c101c847c62a2/VF_hammer_still_stroke.jpg" /&#62;
&#60;img width="2000" height="1055" width_o="2000" height_o="1055" data-src="https://freight.cargo.site/t/original/i/729f548f4377a683ecb305590d25b7c0cfe5b73a05f4b0a3158b9d4028bc46e0/VF_streak_plate_still.jpg" data-mid="72270449" border="0"  src="https://freight.cargo.site/w/1000/i/729f548f4377a683ecb305590d25b7c0cfe5b73a05f4b0a3158b9d4028bc46e0/VF_streak_plate_still.jpg" /&#62;


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