About
Photo by Meghan Krauss, 2022Amanda White (she/her) is a white settler artist and scholar currently living and working in Tkaronto/Toronto. She is a postdoctoral Fellow at the Centre for Sustainable Curating in the Department of Visual Art at Western University, and is also a Co-initiator of the Creative Food Research Collaboratory.
Amanda’s work sits at the intersection of art, environmental and cultural studies with a focus on plants and food. Amanda holds a PhD from Queen’s University and a MFA (Visual Art) from the University of Windsor and held a SSHRC postdoctoral fellowship at Western. Her ongoing works-in-progress include several collaborative and solo studio-based projects, a co-edited book (forthcoming from WLUP) and a graphic novel.
Amanda has taught undergraduate and graduate courses in studio art, art history and cultural studies at universities including; Queen’s, Western, UofT, McMaster, and currently supervises research-creation graduate projects at Queen’s University.
She lives with her partner and sometimes artistic collaborator Brad Isaacs and their child, together they care for a cat, some fish and various plants.
Follow me: ︎
Amanda’s work sits at the intersection of art, environmental and cultural studies with a focus on plants and food. Amanda holds a PhD from Queen’s University and a MFA (Visual Art) from the University of Windsor and held a SSHRC postdoctoral fellowship at Western. Her ongoing works-in-progress include several collaborative and solo studio-based projects, a co-edited book (forthcoming from WLUP) and a graphic novel.
Amanda has taught undergraduate and graduate courses in studio art, art history and cultural studies at universities including; Queen’s, Western, UofT, McMaster, and currently supervises research-creation graduate projects at Queen’s University.
She lives with her partner and sometimes artistic collaborator Brad Isaacs and their child, together they care for a cat, some fish and various plants.
Get in touch: amanda.white (at) uwo.ca
Follow me: ︎
Visualizing Foodways:
Art+Food Relational Approaches
Course Description:
This course focused on critical artistic approaches to food and agriculture from a relational, personal perspective. Over the fall semester, students developed their own research/research-creation projects as well as a collaborative garden installation.
Drawing on theory from the environmental humanities, critical plant studies, feminist perspectives, science-fictional ecologies and biological arts, we examined personal and physical relationships with the world through the food that we eat. Students engaged with these ideas through reading, making (studio, kitchen, garden), site visits and interdisciplinary, research-creation approaches and examples (theory, art, fiction, etc.) with a particular focus on edible plants, and plants in agricultureSyllabus (link)
Link to Student Project Website
Read about the course in this article from Western News:
Anthotypes
2022
Blackflash Article: “A Field Gide to Monster Plants”, written including this series of plant-based anthotype images using some commonly cultivated vegetables including; spinach, beets, cabbage, and onion. Images are still from from films of the 1950’s and 60’s featuring ‘monster plants’.
https://blackflash.ca/field-guide-to-monster-plants/
Blackflash Article: “A Field Gide to Monster Plants”, written including this series of plant-based anthotype images using some commonly cultivated vegetables including; spinach, beets, cabbage, and onion. Images are still from from films of the 1950’s and 60’s featuring ‘monster plants’.
https://blackflash.ca/field-guide-to-monster-plants/
Welcome Plants
2019 -
Textile works, wool and plant fibres on cotton cloth. These ‘welcome mat’ handmade hooked rugs depicting common wild plants, particularly those often viewed in conflicted ways by humans.
Textile works, wool and plant fibres on cotton cloth. These ‘welcome mat’ handmade hooked rugs depicting common wild plants, particularly those often viewed in conflicted ways by humans.
A Breathing Room
2017-2019
A Breathing Room is a living installation, housing the correct number of plants (Approx 300) necessary for one person to breathe symbiotically with plant life. The architectural component of A Breathing Room was designed in collaboration with Calgary-based architect Matt Knapik in 2015
A Breathing Room is a living installation, housing the correct number of plants (Approx 300) necessary for one person to breathe symbiotically with plant life. The architectural component of A Breathing Room was designed in collaboration with Calgary-based architect Matt Knapik in 2015
Movement Compositions
2017
The cyanotype prints that comprise Movement Compositions are presented as four different maps, each a specific collection of ten figures of plant movement from The 1886 book The Power of Movement in Plants by Charles Darwin. The figures are recontextualized within a community of plants as one might imagine them together in a garden or in the wild:
Movement Composition for Ten Flowers; Movement Composition for a Vegetable Garden; Movement Composition for a Forest; and Movement Composition for Ten Cabbages
The cyanotype prints that comprise Movement Compositions are presented as four different maps, each a specific collection of ten figures of plant movement from The 1886 book The Power of Movement in Plants by Charles Darwin. The figures are recontextualized within a community of plants as one might imagine them together in a garden or in the wild:
Movement Composition for Ten Flowers; Movement Composition for a Vegetable Garden; Movement Composition for a Forest; and Movement Composition for Ten Cabbages
Rewriting the Wild
this projectexists as objects and events- reading groups or book clubs. The work evisits well known novels that feature ‘man-vs-nature’ conflict narratives, editing the gender of the protagonists. To date this project
includes The Old Man and the Sea (The Old Woman and the Sea), and The Call of the Wild, with two more in
progress. The Call of the Wild Was printed and sent out to 25 participants for review, to gather responses to the project and the new story. With designer Tetyana Herych (of Furrrawn Press) the beeks are being designed as a series, starting with The Old Woman and the Sea.
This artistic experiment is concerned with generating discussion and debate; will this slight but important shift change the story’s human-nature narrative in interesting ways? Will it generate new themes, metaphors, and meanings?
This artistic experiment is concerned with generating discussion and debate; will this slight but important shift change the story’s human-nature narrative in interesting ways? Will it generate new themes, metaphors, and meanings?
The Creative Food Research Collaboratory
The Creative Food Research Collaboratory germinates collaborations at the intersection of art and food studies, exploring how the arts can imagine—and therefore help to achieve—food security, food sovereignty, and food justice in Canada.
Co-initiated in 2022 by Dr. Amanda White and Dr. Zoë Heyn-Jones with Research Associates Anahí González and Katie Lawson, we are currently based at the Center for Sustainable Curating at Western University (London, Canada). Foregrounding collaboration as methodology, we seeks to cultivate networks and structures that will allow collaborative artistic practices and knowledge mobilization strategies around food issues to take root and flourish.
Our work includes academic research, public events, teaching and workshops, as well as fundraising for community food initiatives.
creativefoodresearch.ca
Our work is supported in part by funding from the Social Sciences and Humanities Research Council of Canada.
Co-initiated in 2022 by Dr. Amanda White and Dr. Zoë Heyn-Jones with Research Associates Anahí González and Katie Lawson, we are currently based at the Center for Sustainable Curating at Western University (London, Canada). Foregrounding collaboration as methodology, we seeks to cultivate networks and structures that will allow collaborative artistic practices and knowledge mobilization strategies around food issues to take root and flourish.
Our work includes academic research, public events, teaching and workshops, as well as fundraising for community food initiatives.
creativefoodresearch.ca
︎
Our work is supported in part by funding from the Social Sciences and Humanities Research Council of Canada.
Ecologies in Practice: Environmentally Engaged arts in Canada
Co-edited with Elysia French
Forthcoming in 2024 from Wilfrid Laurier University Press
LINK TO PRESS PAGE
https://www.wlupress.wlu.ca/Books/E/Ecologies-in-Practice
What is the responsibility, or the task of the arts as we face environmental crisis?
Ecologies in Practice is an edited collection of dynamic and multi-formatted contributions exploring the ways in which cultural production informs perceptions, communications, and knowledge of environmental distress in a Canadian context, pointing to the significance of the Arts in the creation and sharing of crucial counter narratives and alternative possibilities. Ecologies in Practice identifies the arts as an important mode of inquiry for reimagining, and for public engagement and understanding of pressing environmental and social concerns, while acknowledging the ways in which it contributes important work to the growing interdisciplinary field of Environmental Humanities.
Bringing together artistic perspectives from a range of lenses and voices,including; artists, writers, scholars, activists, curators, theorists, and makers, Ecologies in Practice offers important tools for artists, scholars, students, and research-creators invested in arts and the environment. Contributors present artistic methods as alternative sites of understanding that contribute significant and affective work to environmental scholarship, while thinking outside of the disciplinary borders and confines of the artworld. Ecologies in Practice aims to initiate vital conversations among practitioners, and together with readers, consider what environmentally engaged arts lend differently to these conversations.
Table of Contents:
An Introduction to Making Ecological, Elysia French and Amanda White
INTERRUPT: Making as Intervention
Notes from a Garden Wedged into the City, Camille Georgeson-Usher
Dirty Nature: Pedagogy, Performance, Politics, David Huebert and Tom Cull
I Believe in Living: an intertextual curatorial approach to environmental (inter)relations, Ellyn Walker
WITNESS: Picturing the Invisible
seeds are meant to disperse [to get to the future, a return to the past], Christina Battle
Of Passengers and Lost Relations, Lisa Hirmer
Carbon Study: Walking in the Dark, Genevieve Robertson
(RE)PLACE: Offering Alternative Experiences of Place into steps and breath, leah decter
Coney Island MTL: Re-Mediating the Greatest Show on Earth, Natalie Doonan
After The Fire, Andreas Rutkauskas
Listening in Place, Emma Morgan-Thorp
REFLECT: Considerations of a Material Practice
Can Ceramics Ever be a Sustainable Cultural Practice? Mary Ann Steggles
Mapping Narratives: Methods and Entanglements of Social Practice, Maria Michails
1:10000, Dana Prieto
Field Work: Rural Residencies and Environmental Arts, Emily McGiffin
Conclusion, Elysia French and Amanda White
Bibliography
Contributor Biographies
The Centre for Sustainable Curating
Hungry Stories
Hungry Stories is a reserch team including myself, Dian Day, Elaine Power, Jennifer Brady and Jennifer Black, aiming to tell new stories that move the narrative around food insecurity from food charity to food justice.
Visit our research website:
hungrystories.ca
Visit our research website:
hungrystories.ca
Stuffing the bus is a middle grade graphic novel about food security and its systemic roots, written as an engaging story of two friends who love cats, comics, and snacks, and their journey in learning about this complicated topic. By author Dian Day and myself.
“When Mila’s best friend Kit gobbled three bananas in a row, she thought rude was just plain rude. But gradually Mila begins to understand that rude can also be hungry.”
@stuffthebus
“When Mila’s best friend Kit gobbled three bananas in a row, she thought rude was just plain rude. But gradually Mila begins to understand that rude can also be hungry.”
@stuffthebus
Assembling Recipes for Sustainability
2022-23
Mail art project with the Centre For Sustainable Curating
Dowload or view digital package HERE
In the 1960’s, well before the global network of the internet, Fluxus artist Robert Filliou famously coined the term “The Eternal Network” to describe a global network of artists exchanging works, ideas and objects through the mail, or what came to be known as an artistic genre of mail art. “Eternal” in this case refers to both the decentralized nature of the network, and importantly, to the notion that art itself is eternal: without end or beginning. Today, in the context of environmental concerns and ecological thinking, the idea of something ‘eternal’ evokes the concept of sustainability. With a nod to this art historical precedent, we have initiated this mail exchange to explore this method as a framework for collaboration, to imagine different ways of convening and to share ideas around sustainability in the arts.
We were inspired by mail art tactics in which all are welcome to contribute and the assembled collection is distributed to all participants. Through an international open call, we invited artists, writers, activists, scholars, organizers, visionaries, and revolutionaries to contribute to a collective project through the mail as a form of ‘slow scholarship.’ Participants were invited to contribute a ‘recipe’ for sustainability—with ‘recipe’ to be interpreted as literally or as creatively as desired. These recipes were submitted on index cards and the collection of cards is assembled in a recipe box set.
We hope that through this collection, we will inspire each other with ideas, DIY solutions, creative or speculative imaginings, practical tips, inherited strategies, poetic responses and plans for sustaining our work.
Assembling Recipes for Sustainability was developed by Amanda White, Zoë Heyn-Jones and Kirsty Robertson as part of a larger visioning exercise at the Centre for Sustainable Curating. It was conceived in consultation with artist and mail art practitioner-scholar Lois Klassen and realized with help from Ashley Snook, Katie Lawson, Anahi Gonzales and all of the 50 contributors herein.
Rooted in the Region, 2022
Rooted in the Region, Agriculture and the Arts in Southwestern Ontario
Sunday 18 September 2022, 2-5pm
Blyth Festival Theatre’s Harvest Stage
Sunday 18 September 2022, 2-5pm
Blyth Festival Theatre’s Harvest Stage
Rooted in the Region: Agriculture and the Arts in Southwestern Ontario, a celebration of art and agriculture highlighting Indigenous, settler and migrant worker voices, combines conversations among farmers and artists with a meal and live music, taking place at the Blyth Festival Theatre’s fully accessible outdoor Harvest Stage. The Blyth Festival, located in a small farming community between Lake Huron and London, Ontario, has great historical relevance to the arts and agriculture, as the site of the germinal community-based theatre production “The Farm Show,” which celebrated its 50th anniversary in 2022.
Rooted in the Region began with appetizers sourced from local seasonal ingredients, catered by Chef Charles Catchpole (Anishnaabe, Couchiching First Nation) of Charger Foods and Gitigaanes microfarm. We highlight the importance of corn—in Southwestern Ontario and across the hemisphere—with a corn roast by London-based artist and gardener Ron Benner whose long-standing interdisciplinary art practice focuses on the politics of food cultures and foodways across the Americas. While eating, we enjoyed live music by the Farms Music Band Association from Leamington, ON, a band formed by temporary farm workers and community members who blend their musical talents to play and share their Latin music and culture. Throughout the event, there were presentations by artists including Anahí González, Laura Rojas and Camila Salcedo, and products available for purchase from local farms and food initiatives, including Café Justicia, Meeting Place Organic Farm, Firmly Rooted Organic Farm, and more.
Curated by Amanda White and Zoë Heyn-Jones, print designs by Laura Rojas and Camila Salcedo, photos by Anahí González. Rooted in the Region was an initiative of the Creative Food Research Collaboratory, based at the Centre for Sustainable Curating in the Department of Visual Arts at Western University.
Rooted in the Region began with appetizers sourced from local seasonal ingredients, catered by Chef Charles Catchpole (Anishnaabe, Couchiching First Nation) of Charger Foods and Gitigaanes microfarm. We highlight the importance of corn—in Southwestern Ontario and across the hemisphere—with a corn roast by London-based artist and gardener Ron Benner whose long-standing interdisciplinary art practice focuses on the politics of food cultures and foodways across the Americas. While eating, we enjoyed live music by the Farms Music Band Association from Leamington, ON, a band formed by temporary farm workers and community members who blend their musical talents to play and share their Latin music and culture. Throughout the event, there were presentations by artists including Anahí González, Laura Rojas and Camila Salcedo, and products available for purchase from local farms and food initiatives, including Café Justicia, Meeting Place Organic Farm, Firmly Rooted Organic Farm, and more.
Curated by Amanda White and Zoë Heyn-Jones, print designs by Laura Rojas and Camila Salcedo, photos by Anahí González. Rooted in the Region was an initiative of the Creative Food Research Collaboratory, based at the Centre for Sustainable Curating in the Department of Visual Arts at Western University.
Life in the Soil
March 7-9, 2017
Life in the Soil was a 3-day interdisciplinary event,
presented by The Deep Earth Treatment Centre (DETC)
Amanda White and Alana Bartol in collaboration with Incubator Lab at the University of Windaor. The event
aimed to encourage public engagement and cross-disciplinary dialogue towards
deepening our relationship with and understanding of the complexity of living
soil and its importance to all life on earth.
This gathering and workshop involved presentations and activities connecting participants to the liveness of soil; highlighting various perspectives, and exploring the ethics of inter-species collaborations.
This gathering and workshop involved presentations and activities connecting participants to the liveness of soil; highlighting various perspectives, and exploring the ethics of inter-species collaborations.
Publications
Book:
COMING SOON - Ecologies in Practice: Environmentally Engaged Arts in Canada, Co-edited with Elysia
French. Wilfrid Laurier University Press, 2024
Book Chapters:
“(Un)Welcome Plants”, in Artwork for Jellyfish, Eds. Ted Hiebert and Amanda Boetzkes, Noxious Sector Press, 2022
“Plant radio for Plants”, in Why Look at Plants? the Botanical Emergence in Contemporary Art, by Giovanni Aloi. Brill, 2019
“Notes from the Deep Earth Treatment Centre” in Naturally Post-Natural: Jennifer Willet, ed. by Ted Heibert. Noxious Sector Press, 2018
“Sharing food Sharing Knowledge; food and agriculture in contemporary art practices” in Perma/Culture: Imagining Alternatives in an Age of Crisis, Edited by Molly Wallace and David Corruthers, Rutledge Environmental Humanities 2017
Artists Publications/ Projects:
Roots, Leaves, Stems and Blooms, Dandelion zine and cookbook, 2020
“Two recipes”, The Artists Cookbook, Edited by Carrie Perrault. 2019
The Call of the Wild, ‘re-writing the wild’ re-edited book series, work in Progess, 2019-
Talking Plant PhD Thesis, Cultural Studies, Queen’s University, 2018. https://qspace.library.queensu.ca/handle/1974/25858
“What’s Invisible About a Plant?” Parkhive Collective Research, Co-edited broadsheets with Teresa Carlesimo and Michael DiRisio, Vol. 1-5, 2015 (artists publication)
Random Seeds artists book, in collaboration with Matthew Knapik (self-published) Banff Centre, 2015
Wild Edibles Guide to Downtown Windsor developed in collaboration with Rashel Tremblay, Text and Illustrations, Neighborhood Spaces Residency (artists publication) 2014
Articles:
“Field Guide” with Brad Isaacs, Public 64: Beyond Unsettling: methodologies for decolonizing futures, Eds. Leah Decter and Carla Taunton, Winter 2022
“A Field Guide to Monster Plants”, Blackflash Magazine, 2022
French, Elysia, “Infinte Silences” interview, feature in Antennae-The Journal of Nature in Visual Culture no.51, Vegetal Entanglements, 2020
"Where Do Animals Live in our Subconscious?" Antennae - The Journal of Nature in Visual Culture, Issue 40, summer 2017
"Engaging Vegetable Others" esse art + opinions, issue # 87, Spring/Summer 2016
“Need a Green Friend?” Neighborhood Spaces Publication, Arts Council Windsor and Region with Neighborhood Spaces. Windsor, ON 2015
“Tracking the Eastern Elk” Text and Artists Project, Art Windsor, Vacancy Issue. Winter, 2015
Recent Exhibiton Texts:
“Some Instructions for Folding Perception”, Written to accompany the knots of the net, Tyler Los Jones, Norberg Hall Gallery, Calgary. 2021
“Do Roses Dream of Freedom?” Written to accompany Waard Ward’s floristry project, as part of the exhibition Public Space, Visual Arts Centre of Clarington. 2021.
News
Ecologies in Practice: Environmetally Engaged Arts in Canada, Book Now Available for Pre-Order!!
Link to Press Page to pre-order from your local independent bookstore
Nov, 2023
Panel Discussion
Nov 23, 2023 at Hart House, University of TorontoHarmonizing Environmentalism and Art, Artists and Climate Crisis:
Nov, 2023
Ecological Reparations
A great video series, created by Dimitris Papadopoulos,Maria Puig de la Bellacasa, Juliana Mainard-Sardon, Giulia Champion. This episode, Groundwater Microbial Kinship features Clips from an animation from Alana Bartol and myself, Life in the Soil
Series info, Ecological Reparations
How can ecological thinking and practice enable reparation? How can reparation for damages done be ecological? The channel Ecological Reparation discusses work engaged in remediating and repairing as well as claiming reparations for more than human ecologies. Aspects of this research appear in: Papadopoulos D., Puig de la Bellacasa, M., & Tacchetti, M., (Eds.). (2022). Ecological Reparation. Repair, Remediation and Resurgence in Social and Environmental Conflict. Bristol: Bristol University Press.
July, 2023
Assembling Recipes for Sustainabilty
Mail art project with the Centre For Sustainable Curating
Digital package now available HERE
June, 2023
BioCurious at the AGW
Art Gallery of Windsor, March 14 - Oct 1, 2023BioCurious brings together works by eighteen artists whose works explore living materials as their subject matter, and in some cases, their artistic medium. Curated in the context of the ongoing COVID-19 pandemic and impacts of climate change, the exhibition asks pressing questions about how we have impacted the world we inhabit and how this changing world, marred by our draining of its resources, has shaped our existence. How do we create definitions of culture that include biological culture? In what ways are bodies and objects co-created with nature, during the cycle of life? How can art help us understand how the human body is permeable to, and comprised of, other life forms, and inherently connected to – not detached from – the land? How can contemporary art help us understand the genre of “landscape” more expansively? How might art depict our biological futures? What changes must happen now to heal the land, our bodies, and the places we call home?
Sitting at the intersection of art and science, the works in this exhibition focus on humanity’s relationship to the elements—water, plant life, and the air that we breathe—and how this relationship has morphed through trade and resource extraction. The selected artists, who identify as Canadian and/or Indigenous, intertwine scientific and cultural knowledge to propose different ways of understanding living bodies and the land.
Artists:
Siku Allooloo, Alana Bartol, Christi Belcourt, Daphne Boyer, Hannah Claus, Nicole Clouston, Becky Comber, Ruth Cuthand, Lisa Hirmer, Charmaine Lurch, Laura Magnusson, Maria Simmons, Kara Springer, Laura St. Pierre, Jennifer Wanner, Amanda White, Jennifer Willet and Xiaojing Yan.
Curated by Jennifer Matotek & Julie Rae Tucker
March 2023
Dec 2022
Rooted in the Region: Agriculture and the Arts in Southwestern Ontario
Sunday 18 September 2022, 2-5pm
Blyth Festival Theatre’s Harvest Stage
FREE shuttle bus to and from the event, departing from and returning to Western University
This event is FREE and open to the public. RSVP by 5 September 2022 is required.
RSVP HERE
Sept 2022
CALL FOR PARTICIPANTS: Assembling Recipes for Sustainability
LINK TO SIGN UP
Calling all artists, writers, activists, scholars, organizers, visionaries, and revolutionaries: we invite you to contribute to a collective recipe box project through the mail. Let us inspire each other with our ideas, DIY solutions, creative or speculative imaginings, practical tips, inherited strategies, poetic responses and plans for sustaining our work in (the) art world(s).
Participants are invited to contribute a ‘recipe’ for sustainability – with ‘recipe’ to be interpreted as literally or as creatively as desired. These recipes will be submitted on an index card and the collection of cards will be assembled in a recipe box.
There is no cost to participate, and all participants will be provided with a self-addressed stamped envelope and a card to submit their recipe. In exchange for contribution, participants will receive a copy of the entire collection.
This collective mail art project is curated by the Centre for Sustainable Curating’s inaugural postdoctoral fellows, Drs. Amanda White and Zoë Heyn-Jones. “Assembling Recipes for Sustainability” is a component of “Imagining The Centre For Sustainable Curating,” the CSC’s year-long visioning exercise to imagine, collaborate, and discuss the ways we can take seriously the goal of the Centre to be sustainable in all ways: that is, sustainable in teaching about best ecological practices for exhibition making, sustainable in how we might engage with the world around us, and sustainable in the outcomes built through our efforts. “Imagining The Centre For Sustainable Curating” is supported in part by funding from the Social Sciences and Humanities Research Council.
April 2022
Exhibition: From Remote Stars: Buckminster Fuller, London, and Speculative Futures
Museum London
March 5 to May 15, 2022
Museum London link
Remote Stars Podcast and Exhibition Website
March 2022
Public 64: Beyond unsettling
Collaborative work with Brad Isaacs included in this issue of Public Journal, edited by Leah Decter and Carla Tauton.
Link to Issue
“The artworks, conversations and texts in PUBLIC 64: Beyond Unsettling offer innovative perspectives in non-consumptive, collaborative, ethical, and accountable, arts-based approaches to undoing colonial dominance. The issue is 264 pages in length, full-colour, with a wrap-around cover by Afuwa.”
Jan 2022
Some Instructions for Folding Perception
S𝘰𝘮𝘦 𝘐𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯𝘴 𝘧𝘰𝘳 𝘍𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘦𝘳𝘤𝘦𝘱𝘵𝘪𝘰𝘯, written to accompany the exhibition:
𝘵𝘩𝘦 𝘬𝘯𝘰𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘯𝘦𝘵, Tyler Los-Jones, On now (Nov 19 - Jan 8, 2022) at Norberg Hall Gallery in Calgary, AB. Risograph print was designed with/by Tyler Los Jones and printed by Yolkless press. Copies printed in a variety of colors and available at the gallery, and a plain text version online, on the gallery website: https://norberghall.com/tyler-los-jones-the-knots-of-the-net/
Nov 2021
Do Roses Dream of Freedom?
(link to text pdf): Do Roses Dream of Freedom? An essay to accompany Waard Ward’s floristry project, as part of the exhibition Public Space, Visual Arts Centre of Clarington, 2021. PDF available on The VAC website in English and Arabic. Translation by Talal Baranbo, https://www.vac.ca/waard-ward
“Waard Ward is: Abd Al-Mounim, Hanen Nanaa, Petrina Ng, Laura Ritacca, and Patricia Ritacca. Waard Ward is a collaborative, social practice project that invites newcomers to train as florists and imagine social-entrepreneurial futures. Collectively led by Syrian florist Abd Al-Mounim, community organizer Hanen Nanaa, educator Laurie Ritacca, curator/educator Patricia Ritacca, and artist Petrina Ng, Waard Ward collaborates in floral arrangement, decolonial research, and newcomer community building. Waard Ward's name proposes the idea of a diasporic flower district; "waard" is a romanization of the Arabic word for flower.”
Sept 2021
The Botanical Turn
Image: Zachari Logan, "Nel Mezzo Del Cammi Di Nosta Vita (The Gate)" 2018 (detail). Courtesy of the artist and Paul Petro Contemporary Art.The Botanical Turn
McIntosh Gallery at Western University
September 23 - December 11, 2021
Carrie Allison, Paul Chartrand, Joscelyn Gardner, Zachari Logan, Sarah Maloney, Amanda White, and ZOFFCurated by Helen Gregory
Panel Discussion
Co-presented by McIntosh Gallery & the Art Now! Speakers' SeriesOctober 7, 2021, 7:00 pm EST on Zoom
Register here
Fall 2021
Missing Pages
Missing Pages
A Community centered series of online projects, Fall 2021Presented by BRIDGE Centre for Architecture + Design and Cambridge Art Galleries | Idea Exchange
Reading group on Oct 27th:
https://www.missingpages.space/amanda-white
Fall 2021
SSHRC Postdoctoral Fellowship, 2021-23
I am thrilled to share that I am a SSHRC Postdoctoral Fellow in the new Centre for Sustainable Curating, in the Department of Visual Art at Western University.
sutainablecurating.ca
June, 2021
Artists Talk, Nipissing University
October 08, 2020
Plant Encounters
Collaborative work with Brad Isaacs, for a digital project, curated by the Long Walk Collective; Plant Encounters, is online publication hosted by the Long Walk Collective, in the traditional territories of the Tr'ondëk Hwëch'in, also known as Yukon’s Klondike.
August, 2020-2021
A Matter of Taste
Koffler Digital - Group Exhibition,Online: Aug 18-Nov 30
https://koffler.digital/a-matter-of-taste/
Aug 18 -Nov 30, 2020
Garden Relations: Plants + Humans, Gardens and Community,
Web talk on Aug 18 @ 7pm (PT)
Aug 18, 2020
Infinite Silences
A Conversation with Elysia French about some of my recent work recently published in the Summer 2020 Issue #51 of Antennae, The Journal of Nature in Visual Culture: Vegetal Entaglements.“This issue of Antennae is the first of three instalments entirely dedicated to plants in art and culture.”
See link for open access: http://www.antennae.org.uk/
Summer 2020
We Dug Through a Mountain of Gold to Find You
Amanda White & Brad Isaacs
Factory Media Centre, July 1 -31, Hamilton, ON
Screening online and in the Factory Media Centre (FMC) window space as part of the Public Works series.
https://www.factorymediacentre.ca/public-works/
July 1-31 2020
The Old Woman and the Sea Reading Group at Forest City Callery
Forest City Gallery is facilitating an online Reading Group, which will take place on June 4th, 2020. Registered participants recieved a copy of the book to read and the event will offer a shared online space to collectively discuss the newly edited novel.
https://forestcitygallery.com/event/rewriting-wild-reading-group-0
May 2020
Publication Now Available in Paperback:
Why Look at Plants? By Giovannoe Aloi (and including a chapter I wrote about pirate radio, art and plants) is now available in paperback,
You can order it here:
https://brill.com/view/title/33086?format=PBK&offer=552695
Oct 2019
Upcoming Workshop:
Dandelion Variations: Canning Workshop and Conversation
Amanda White and Rav Singh
August 12, 2019
6-8pm
Studio.89, 1065 Canadian Pl #104, Mississauga, ON
Please register online here.
Beginning with a tasting of dandelion-based preserves and pickles, participants will learn a variety of uses and recipes for this common plant along with an introduction to food preservation. Amanda White will demonstrate the basics of hot water bath canning, using a dandelion jelly recipe that is inspired by her great grandmother’s recipe for dandelion wine, with foraged ingredients. This will be followed by a discussion of sustainable agriculture and urban food security featuring White in dialogue with Rav Singh, Urban Agriculture Coordinator, Ecosource.
https://workofwind.ca/programs/dandelion-variations-canning-workshop-discussion/
As part of the SDUK prgramming at Blackwood Gallery, MIssissauga, For more information about SDUK programs visit workofwind.ca/programs
July 2019
New Book Project - Call for Contributions:
In collaboration with scholar Elysia French (Post-doctoral Fellow, Faculty of Environmental Studies, York University), we are seeking contributions for an edited anthology: Making Eco(ogical): Locating the Arts in the Environmental Humanities in Canada
“Bringing together diverse perspectives from artists, scholars, activists, curators, theorists, and makers, Making (Eco)Logical will locate artistic practice within the Environmental Humanities and explore the ways in which cultural production informs perceptions, communications, and knowledge of environmental distress in a Canadian context. The book will address what the arts can do; what making can make, and perhaps what it cannot, in the context of current environmental conversations.”
More info: https://makingecological.wordpress.com/
CALL PDF
Jan 2019
Exhibition
Small Arms Inspection Building /
City of MIssissauga
Public Volumes
April 6 - May 5
Curated by: Noa Bronstein
Artists:
Joi T. Arcand
Cathy Busby
soJin Chun
Stephanie Comilang
Sheena Hoszko
Germaine Koh
HaeAhn Paul Kwon Kajander
Morris Lum
Dawit L. Petros
jes sachse
Kara Springer
LeuWebb
Amanda White
https://smallarmsinspectionbuilding.ca/index.php/event/public-volumes/
Chapter (publication):
“Plant Radio” (P. 198-203) in:
Why Look at Plants?
The Botanical Emergence in Contemporary Art by Giovanni Aloi
https://brill.com/view/title/33086J
Jan 2019