601-580 Christie St., Toronto, ON, CAN. M6G 3E3. 1-416-653-2767.
A series of paintings inspired by the Tabula Cebetis and emblem books.
Novel titled “Diary of a Statue.”
Poetry manuscript titled “Frame.”
Manuscript “Emblematic Transmission: Tracking the Migration of Metaphor.”
M.A. History of Art, University of Toronto (Renaissance Art)
B.A. Hon., High distinction. University of Toronto (History of Art and Visual Studies)
Ontario College of Art (Associate degree)
“A World Under Pressure: The Globe in Montenay’s Emblèmes ou devises chrestiennes.” Renaissance Society of America Conference, Toronto, Canada, 2019.
“Sacred Emblems in Jesuit Sermons: From Aresi’s Delle Sacre Imprese to Bovio’s Rhetoricae Suburbanum.” Sixteenth Century Society Conference. Albuquerque, USA, 2018.
“Rebuilding the Temple in Georgette de Montenay’s Emblèmes.” International Congress of Medieval Studies. The Society of Emblem Studies. Kalamazoo, USA, 2018.
“Fit for a Queen of Reform: Georgette de Montenay’s Emblèmes.” Biblyon, livre et création littéraire à Lyon au XVIe siècle. Lyon, France, 2017.
“Fortuna’s Role in the Tabula Cebetis.” 11th International Society for Emblem Studies Conference. Nancy, France, 2017.
“Emblems Turned Upside Down: Tabula Cebetis and Allegories of an Unbridled World.” Renaissance Society of America. Chicago, USA. The Society for Emblem Studies, 2017.
Alter Pieces. Carol Barbour: Toronto, 2019.
“Vow” in Draft 14.1. Toronto: Draft Reading Series, 2018.
Infrangible: Poems. Toronto, Buffalo: Guernica Editions, 2018. More Information
“Manitoulin Sediment” at Poetry Super Highway, ed Rick Lupert, online, 2018. Read
“Matera, Basilicata; Neurology; Spoke” poems at Nine Muses Poetry, ed. Annest Gwilym, online, 2018.Read
“Spider Wars” poem for National Poetry Month, ed. Amanda Earl, online April 29, 2018.
“Giovanni Paolo Lomazzo’s Self Portrait,” poem in Ekphrastic Review, ed. Lorette C. Luzajic, Toronto, online journal, 2016. Read
“Finding without looking,” poem in Canthius, ed. Clare Farley and Cira Nickel, 2016. Read
“Forced Beauty” and “Untitled,” poems in Sein und Werden: Corpus, ed. Rachell Kendall, Manchester, UK, online Journal, Feb. 2016.
“Viral Load,” poem in TransVerse14: Gold Rush/Human Resources: Centre for Comparative Literature, University of Toronto. Read
“J.E.H. MacDonald: Designs for Reading,” essay in The Group of Seven Project, 1920-2005, ed. Dennis Reid et al, 79-81. Toronto: Ontario Association of Art Galleries.
“Farewell to Woodsyman,” poem in The Fiddlehead (Winter), no. 242: 89.
“Excrete,” poem in The Toronto Quarterly, no. 6: 56.
Reading the Face: Portraits, exhibition catalogue, ed. Gordon Haat, Cambridge Galleries, Cambridge, ON., 2000.
“Second Reading: Body Works,” essay on artist Jeanie Thib, in Matriart: a Canadian Feminist Art Journal 5, Gender/Identity issue, no. 4: 8-11.
“Crafting the Psyche: Picking up the Pieces: Quilted Stories,” review in Matriart: a Canadian Feminist Art Journal: Art/Craft hierarchy issue 4, no. 4: 32-7.
“Jeannie Thib: Survival Tips,” interview in Artword (Spring/Summer): 24-25.
“What Do I Believe In?” interview with artist Lisa Neighbour, in Artword (Fall): 5-6.
“Posted Her Incoherent Epistle,” essay in Resources for Feminist Research: Writing and Literature issue 21, no. 3-4: 16.
“Discount Goddess,” photocopy artwork in ISCA: The International Society of Copier Artists 11, no 2.,
AlterPieces. Carol Barbour: Toronto, 2019.
Running to the Tower: an artist writing on her paintings, 1997.
Votive Spindle Whorl, 1993.
Slips of Nature, 1991.
The Wind People, 1990.
Damaged Goods, 1984. Co-authored with William Basso.
Books collected by National Gallery of Canada (Art Metropole Collection), University of Western Ontario, York University, University of Toronto (E.J. Pratt), Woman’s Art Library/Goldsmiths at University of London, British Library, Franklin Furnace Collection, ArtTexte, Banff Centre Library, Virginia Commonwealth University, Columbia College, and others.
Selected Solo and Group Exhibitions
Summer Group Exhibition, Secret Handshake Gallery, Toronto, 2019.
Do I know you? Alter Pieces, Paintings and Heads. Artscape Wychwood Barns, Toronto, 2018.
Holiday Salon, Yumart, Toronto, 2018.
Framed by Feminists, Gladstone Hotel, 2018. Framed by Feminists
Their Stories: Unidentified Portraits from the Thomas Bouckley Collection at Robert McLaughlin Gallery, 2016. Portrait # 3. A Lapsed Jesuit by Carol Barbour
Whimsical Architecture at University of Guelph at Humber College Art Gallery, 2006 More
Pilgrimage at John P. Robarts Library at University of Toronto, 2002
Paintings of Places Known and Beyond at AWOL Gallery, 2000
A Thin Black Line at Artword Gallery, 2000
Windbags at The Music Gallery, 1997
Away at OO Gallery, 1995
Paintings (1993); Towers and Bridges (1996); Ingresso (1998) at Red Head Gallery.
Bookworks at Harbourfront Gallery, 1993
Bookworks, AKA Artists’ Centre, Saskatoon, SK, 1993
Red Head Light at Grunt Gallery, 1993
View: Paintings and Books at Samuel J. Zacks Gallery at York University, 1993
Small Press Centre Book Fair at the Mechanics Institute, New York City, 1991
Learn to Read Art: Art Metropole at Basel Art Print Fair, 1991
Kaläzh: Carol Barbour and Cynthia Lorenz at Alma Gallery, 1990
Mixed Media at Cambridge Galleries, 1990
What Strange Weather we are Having Lately… at the Goëthe Institute, 1988
Paintings: Carol Barbour and Sheilagh Buck at Kozak Art Gallery, 1986
Five Women Painters at Studio 620, 1984
Painting Beyond the Zone at Art Resource Centre, 1984
Edifice, Orifice at Chromozone Gallery, 1981
Sacristy at Gallery 76, Ontario College of Art, 1980
Student Exhibition, Royal Bank of Canada, 1980.
Gallery and Exhibits Curator, TD Gallery, Special Collections, Toronto Reference Library. 2004-2018. Review of the Circus Comes to Town
Guest Curator, Cambridge Galleries, Cambridge, ON. Reading the Face: Portraits, 2000
Renaissance Society of America, Sixteenth Century Society, Italian Art Society, ICOM, Toronto Renaissance and Reformation Colloquium, The Society for Emblem Studies, Historians of Netherlandish Art, Association of Print Scholars, League of Canadian Poets.
Former member of the collectives: Red Head Gallery, Toronto Small Press Group, Work Seen/Artword (Editorial), and Matriart (Editorial).