My research centres on the imbrications of artwriting and art making in the modern and contemporary periods. I have written books and articles on abstract art, the reception of Immanuel Kant’s thinking in the visual arts and the discipline of art history, on art historical methodology, and on recent Canadian and international art. The historiography and methodology of art history and the field of Visual Culture Studies is an ongoing research interest, as is contemporary art in Canada and abroad, from both curatorial and academic perspectives. Much of my current work is on ecoart and GeoAesthetics.

I am the recipient of a John Simon Guggenheim Memorial Fellowship, a Sterling & Francine Clark Art Institute Fellowship, a University of Toronto Connaught Research Fellowship and Chancellor Jackman Research Fellowship in the Humanities, several Social Sciences and Humanities Research Council of Canada research grants, the Edward G. Pleva Award for Excellence in Teaching (University of Western Ontario, 1998), and the Northrop Frye Award for teaching (University of Toronto, 2006). In 2006, I received the Art Journal Award from the College Art Association of America for “Matting the Monochrome: Malevich, Klein, & Now,” and in 2008, the Curatorial Writing Award from the Ontario Association of Art Galleries, for “The Transformative Abstraction of Robert Houle,” in Robert Houle: Troubling Abstraction. Exh. Cat. McMaster University Art Gallery, Robert McLaughlin Gallery (Oshawa), 2007. My co-curated exhibition Jack Chambers: The Light From the Darkness / Silver Paintings and Film Work was awarded “Exhibition of the Year” (a juried prize) by the Ontario Assoc. of Art Galleries, 2011.

I was the principal investigator on a SSHRC Partnership Development Grant titled CACHET (Canadian Art Commons for History of Art Education and Training), 2013-17. ArtCan.ca is our (now archived) website.


  • The University of Toronto, 1972-76; B.A. (Philosophy), 1976.

  • The University of Toronto, 1976-77; M.A. (Philosophy), 1977.

  • The Johns Hopkins University, 1979-81; Non-Degree Studies, Humanities Center

  • University College London, England [UCL], 1977-82; Ph.D. (History of Art), 1982


Single-Authored Books 

  • Landscape into Eco Art: Articulations of Nature since the ‘60s. Penn State UP, 2018.

  • Jack Chambers: Life and Works. Art Canada Institute ‘Online Artbook’. Nov. 2013. 10,000 words (62 pp. in PDF). Refereed. [http://www.aci-iac.ca/jack-chambers]

  • Artwriting, Nation, and Cosmopolitanism in Britain: The Englishness” of English Art Theory since the 18th Century. Ashgate: British Art: Global Contexts series. 2012. Paperback ed., 2016.

  • Abstract Art Against Autonomy: Infection, Resistance, and Cure since the ’60s. Cambridge UP, 2006.

  • Kant, Art, and Art History: Moments of Discipline. Cambridge UP, 2001. [Paperback ed., CUP, Feb. 2009; Chinese trans., Nanjing: Jiangsu Fine Arts Publishing House, 2010.]

  • Alex Colville: The Observer Observed. Toronto: ECW Press, 1994. (2nd ed., 1995).

  • La Mémoire Postmoderne: Essai sur l’art canadien postmoderne. Trans. Jean Papineau. Montréal: Liber, 1992. (This is a French ed. of Remembering Postmodernism, cited below. Recipient of the Prix littéraire du Gouverneur général, catégorie traduction, 1992)

  • The Rhetoric of Purity: Essentialist Theory and the Advent of Abstract Painting. Cambridge: Cambridge University Press (Cambridge New Art History and Criticism series, ed. Norman Bryson), 1991. Paperback editions: 1994, 2009.

  • Remembering Postmodernism: Trends in Recent Canadian Art. Oxford and Toronto: Oxford University Press, 1991. (Afterword by Linda Hutcheon). * Remembering Postmodernism: Trends in Canadian Art, 1970–1990. Second, revised ed. OUP, 2012.


Edited Books

  • Editing the Image: Strategies in the Production and Reception of the Visual. Mark A. Cheetham, Elizabeth Legge, Catherine M. Soussloff, Co-editors. University of Toronto Press, 2008.

  • The Subjects of Art History: Historical Objects in Contemporary Perspective. Coeditor with Michael Ann Holly and Keith Moxey, Cambridge UP, 1998 (paperback 2008). (Korean translation, Seoul: Kyungsung University Press, 2007)

  • Theory Between the Disciplines: Authority Vision Politics. Coeditor with Martin Kreiswirth. Ann Arbor: University of Michigan Press, 1990.





  • Conspiracies of Illusion: David Reed, Janice Gurney, Nestor Kruger, Yam Lau. McMaster Museum of Art, August 28 – November 3, 2012. Co-curator, author. 64 pp. catalogue.

  • Jack Chambers: The Light from the Darkness / Silver Paintings and Film work. Museum London, 2011. Curator & co-author. 88 pp.

  • Disturbing Abstraction: Christian Eckart. London: ArtLab. Nov. 1996. Curator, editor and Coauthor. 60 pp.

  • Sheila Ayearst: The 401 Towards London. London Regional Art and Historical Museums, 1995. Co-author. 4 pp.

  • Memory Works: Postmodern Impulses in Canadian Art. London Regional Art & Historical Museums, 1990. 8 pp.

Exhibitions Curated 

  • Struck by Likening: The Power & Discontents of Artworld Analogies. McMaster University Museum of Art, Sept. – Dec. 2017. [Artists: Cartier-Bresson, Chambers, Hogarth, Grosz, Kurelek, Lam, Lucas (after Constable), Morrisseau, Picasso, Puvis de Chavannes, Thomson, Town, Richter, van Gogh, Watson, Weston].

  • Conspiracies of Illusion: Projections of Time & Space in the work of Janice Gurney, Nestor Kruger, Yam Lau, Blinky Palermo and David Reed. McMaster Museum of Art, Sept. – Nov. 2012. Co-curated with A. Patton & C. Sprengler.

  • The ‘Floating’ Urbanities of Utamaro and Hogarth: Pictures for Women? A component of the exhibition Rising to the Occasion: The Long 18th Century. McMaster University Museum of Art, 23 Aug. 2011 – 7 Jan. 2012.

  • Jack Chambers: The Light from the Darkness / Silver Paintings and Film Work. Co-Curator. Museum London, Jan. 15 – April 3, 2011. Tour: McMichael Gallery, Kleinburg, October 8, 2011 through January 15, 2012. 88 pp. catalogue. Awarded “Exhibition of the Year” (a juried prize) by the Ontario Assoc. of Art Galleries, 2011.

  • Sliding Tense: Identifying Toronto Art. Exhibition, University of Toronto Art Centre, May 10 – June 4, 2005. Collaboration with 12 UofT students.

  • Disturbing Abstraction: Christian Eckart. Guest curator, UWO ArtLab, exhibition Nov. 14 – Dec. 6/96. Tour: Art Gallery of North York, Toronto; Nickle Arts Museum, Calgary; MacKenzie Art Gallery, Regina, Art Gallery of Windsor; Edmonton Art Gallery, 1997-98. 60 pp. catalogue.

  •  Memory Works: Postmodern Impulses in Canadian Art. London Regional Art &    Historical Museums, Dec. 15/90 – Feb.3/91. (20 artists, 23 works, accompanying        catalogue). Tour: 1991 (Mississauga Civic Centre Art Gallery, Toronto; Glenbow   Museum, Calgary).

Articles ands Chapters on request.

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