Claude Baillargeon

 



Claude Baillargeon
Associate Professor of Art History
Chief Academic Adviser
318 Wilson Hall
T 248.370.3388
F 248.370.3377
baillarg@oakland.edu



Education
PhD, University of California, Santa Barbara, 2002, Art History
MA, The School of the Art Institute of Chicago, 1989, Modern Art History, Theory, and Criticism
MFA, The School of the Art Institute of Chicago, 1988, Photography
BAA, Ryerson Polytechnical Institute (now Ryerson University), 1981, Still Photography Studies

Major Fields

Civil engineering and architectural photography, Haussmannization, visual representations of the nuclear experience, contemporary photo-based practices, environmental art, curatorial practices
 
Courses Taught

Art History
AH 1002 Western Art: Renaissance to Present
AH 2000 Critical Thinking and Writing in Art History
AH 3540 / LBS 5902 History of Photography I, 1825 to 1914
AH 3550 / LBS 5902 History of Photography II, 1914 to Present
AH 3710 / LBS 5902 Visual Representations and the Nuclear Experience
AH 3920 Readings in Art History
AH 3996 Independent Research in Art History
AH 4998-4999 Senior Thesis in Art History


Studio Art
ART 2000 Critical Theory and Practice in Art
SA 261 Photography I
SA 361 Advanced Photography
SA 382 Advanced Photography and New Media I
SA 392 / AH 390 Topics: Art, Immigration, and the Formation of Cultural Identity
SA 495 Independent Study in Studio Art

Honors College
HC 2010 Art: Imaging a Shattering Earth
HC 2010 Art: Nuclear Representations: From Trinity to Fukushima

Selected Awards

Finalist, Society for Photographic Education, Award for Excellence in Historical, Critical and Theoretical Writing, 2011
Faculty Research Grant, University Research Committee, Oakland University, 2009, 2011, 2014, 2015, and 2016
Ansel Adams Research Fellowship, Center for Creative Photography, Tucson, Arizona, 2008
Faculty Research Fellowship, University Research Committee, Oakland University, 2003 and 2008
Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada, 1995–97
Doctoral Scholarship, Canadian Centre for Architecture, Montreal, 1993–94
Full-Tuition Merit Scholarship, The School of the Art Institute of Chicago, 1986–89

Book Chapters
"Enchanting Reimaginings." In Sara Angelucci: Provenance Unknown, 33-41.  Toronto: Art Gallery of York University.

“Construction Photography in the Service of International Public Relations: The French Connections.” In Nineteenth-Century Photographs and Architecture: Documenting History, Charting Progress, and Exploring the World, ed. Micheline Nilsen, 139-53. Surrey, UK: Ashgate, 2013.

“Art Building Begets Building Art: Burtynsky’s AGA Commission.” In Art Gallery of Alberta: Randall Stout Architects, 147–53. Edmonton: Art Gallery of Alberta, 2011.

“Edward Burtynsky & Brent McIntosh: Affinity and Dialectic in Twice Removed.” In Edward Burtynsky & Brent McIntosh: Twice Removed, 5–13. Toronto: Nicholas Metivier Gallery, 2008.

“Vattemare and the Transatlantic Dissemination of Photographic Practices.” In The Extravagant Ambassador: The True Story of Alexandre Vattemare, the French Ventriloquist Who Changed the World, ed. Earle Havens and Pierre-Alain Tilliette, 206–15. Boston: Boston Public Library; Paris: Paris bibliothèques and Le Passage, 2007. Also published in French translation.

“Au service de la propagande du Sacré-Cœur: L’album de travail de Rohault de Fleury.” In L’album photographique: Histoire & conservation d’un objet, 77–94. Champs-sur-Marne, Seine-et-Marne: Section française de l’Institut international de conservation, 2000.

“L'apport de la photographie à la construction.” In Le Sacré-Coeur de Montmartre: Un voeu national, ed. Jacques Benoist, 147–55. Paris: Délégation à l'action artistique de la Ville de Paris, 1995.

Curated Exhibitions / Edited Catalogues
Shadows of the Invisible. Rochester, MI: Oakland University Art Gallery, 2014.

Revolutionizing Cultural Identity: Photography and the Changing Face of Immigration. Rochester, MI: Oakland University Art Gallery, 2008.

Exhibition traveled to Canadian Museum of Immigration at Pier 21, Halifax, NS, 2011. Curatorial essay also published in French translation as insert to catalogue.

Imaging a Shattering Earth: Contemporary Photography and the Environmental Debate. Rochester, MI: Meadow Brook Art Gallery, College of Arts and Sciences, Oakland University; Toronto: CONTACT Toronto Photography Festival, 2005. Exhibition traveled to CONTACT Toronto Photography Festival at the Museum of Contemporary Canadian Art (MOCCA), 2006; Dalhousie Art Gallery, Dalhousie University, Halifax, NS, 2007; Canadian Museum of Contemporary Photography, National Gallery of Canada, Ottawa, 2008 (podcast of gallery tour, http://www.gallery.ca/en/learn/claude-baillargeon.php); and Brunnier Art Museum, Iowa State University, Ames, IA, 2008–09. Curatorial essay also published in French translation as insert to catalogue. Exhibition website at www2.oakland.edu/shatteringearth

Dickensian London and the Photographic Imagination. Rochester, MI: Meadow Brook Art Gallery, Oakland University, 2003.

Architects of the Image: Photography in the Heroic Age of Construction / Architectes de l’image: Les photographes à l’âge héroïque des grands travaux. With bilingual interactive digital catalogue, Montréal: Canadian Centre for Architecture/Centre Canadien d’Architecture, 1995.

Recent Articles
"Ishiuchi Miyako. Stills of the Wounded: A North American Emergence / À la lumière des blessures: l'émergence nord-américaine," <I>Ciel variable</I> (Montréal), no. 103 (spring/summer 2016): 48–55.

“Construction Photography and the Rhetoric of Fundraising: The Maison Durandelle Sacré-Coeur Commission,” Visual Resources 27, no. 2 (June 2011): 113–28. Also available online at http://www.tandfonline.com/eprint/vD6CdtVchQpZjgF64748/full.

“Doina Popescu: Envisioning the Ryerson Gallery and Research Centre / Doina Popescu présente sa vision de la galerie et du centre de recherche Ryerson,” Ciel variable (Montreal), no. 88 (summer 2011): 56–63.

“La collection Malcolmson: Une passion pour la photographie / The Malcolmson Collection: A Passion for Photography,” Ciel variable (Montréal), no. 85 (summer 2010): 80–82.

“Témoignages de rivalité industrielle: La France et les photographies de grands travaux d’origine étrangère.” Études photographiques, no. 17 (November 2005): 16–43.  Also available online at http://etudesphotographiques.revues.org/index750.html.

“Surveying the Megacity: Toronto Photographers and the New Urban Identity.” In Toronto Grid Works, 3. Toronto: Harbourfront Centre, York Quay Gallery, 2003.

Book Reviews

Far East, Far West by Benoit Aquin (Montréal: Éditions du Passage, 2009) in Ciel variable (Montreal), no. 86 (fall 2010): 92.  Also available online at http://cielvariable.ca/en/benoit-aquin-far-east-far-west-claude-baillargeon/.

1945—Hiroshima: Les images sources by Michael Lucken (Paris: Hermann, 2008) in Études photographiques (Paris), published on line, 9 November 2010, http://etudesphotographiques.revues.org/index2891.html.

Time Stands Still: Muybridge and the Instantaneous Photography Movement, by Phillip Prodger (New York: Oxford University Press, 2003) in Études photographiques (Paris), no. 15 (November 2004): 152–55.  Also available online at http://etudesphotographiques.revues.org/index411.html.

La Mission héliographique: Cinq photographes parcourent la France en 1851 by Anne de Mondenard (Paris: Monum, Éditions du patrimoine, 2002) in Études photographiques (Paris), no. 13 (July 2003): 171–73.  Also available online at http://etudesphotographiques.revues.org/index343.html.

Professional conferences

Session chair. "Shadows of the Invisible," with Michael Flomen, Susan kae Grant, and Marie-Jeanne Musiol. "The Inventions of Light / Les inventions de la lumière," conference co-sponsored by Ryerson University, the Université du Québec à Montréal, and Le Fresnoy, studio national des arts contemporains (Lille, France). School of Image Arts, Ryerson University, 26 February 2016.

“Classified Casualties and Exposed Trauma: The Photographic Portrayal of Hibakusha.” “Intimacy and Voyeurism,” Society for Photographic Education National Conference, Hyatt Regency, San Francisco, CA, 23 March 2012.

“Representing the Unrepresentable: The Photography of Nuclear Affliction in Postwar Japan,” part of the session “Out of Rubble,” College Arts Association National Conference, Los Angeles Convention Center, CA, 24 February 2012.

“Construction Photography, International Public Relations, and Building Ingenuity.” “Documenting History, Documenting Progress: Nineteenth Century Photographs of Architecture” symposium co-sponsored by the University of Notre-Dame and Indiana University, South Bend, IN, 3 October 2010.

“White Light, Flash Burns, and ‘the Atomic Plague’: Early Casualty Studies of Hibakusha.” “Time for Light,” Society for Photographic Education Midwest Conference, Frostic School of Art, Western Michigan University, Kalamazoo, MI, 2 October 2010.

Session chair, “Representing Diversity: Art, Immigration, and the Affirmation of Cultural Identity,” with Sara Angelucci, Rafael Goldchain, and Christina Leslie. “Facing Diversity: Leveling the Playing Field in the Photographic Arts,” Society for Photographic Education National Conference, Philadelphia Marriott Downtown, PA, 6 March 2010.

“Mimesis, Memorialization, and the Photographic Representation of Hibakusha,” part of the session “Visual Witnessing: Photography and World War II,” “Feeling Photography” conference co-sponsored by The Centre for the Study of the United States, University of Toronto and the Toronto Photography Seminar. Munk Centre for International Studies, University of Toronto, 17 October 2009.

“Building Sacré-Coeur: Construction Photography and the Rhetoric of Fund-Raising,” part of the session “Photography and Architecture: Shaping a New Dialogue,” College Arts Association National Conference, Los Angeles Convention Center, CA, 26 February 2009.

Session chair, “Beauty and Terror in Traumatic Landscapes and Poisoned Ecologies,” with John Ganis, David Maisel, and David McMillan. “Agents of Change: Art and Advocacy,” Society for Photographic Education National Conference, Adam’s Mark Hotel, Denver, CO, 14 March 2008.

“Poisoned Ecologies: Imaging Reckless Stewardship and Collateral Damage,” part of the session “Visualizing Environmentalism,” “Global Photographies: Histories, Theories, Practices” conference. Institute of Art, Design & Technology, Dun Laoghaire, Co. Dublin, Ireland, 27 June 2007.

“Au service de la propagande du Sacré-Coeur: L’album de travail de Rohault de Fleury,” part of session “Histoire d’album,” “L’album photographique: Histoire et conservation d’un objet,” Journées d’études du groupe Photographie de la Section Française de l’Institut International de Conservation, Muséum national d’histoire naturelle, Paris, 27 November 1998.

Selected Guest Lectures
“The Photography of Poisoned Ecologies.” Part of the “Sustaining the Earth” lecture series sponsored by the Center for Excellence in the Arts and Humanities, Iowa State University, Ames, IA, 9 November 2008.

“Le Londres de Charles Dickens et l’imaginaire photographique.” Monthly seminar “Les discours du photographique” led by André Gunthert (EHESS) and Michel Poivert (Paris I Panthéon-Sorbonne). École des Hautes Études en Sciences Sociales, Paris, 17 May 2004.

“Envisioning Paris, London, and New York: Photographic Art and the Urban Experience.” A three-part lecture series sponsored by The Toronto Friends of the Visual Arts. Held at The Women’s Art Association of Canada, Toronto, 19 April, 26 April, and 3 May 2004.

“Paris, Capital of the Nineteenth-Century: A City and Its Photographers in Search of Modern Identities.” Lecture tour sponsored by the Délégation Générale de l’Alliance Française, Washington, D.C.

  • Alliance Française, Minneapolis/St. Paul, MN, 4 March 2003 (in English)
  • The University of Montana, Missoula, MT, 3 March 2003 (in English)
  • Chapman University, Orange, CA, 1 March 2003 (in French)
  • The University of Tulsa, Tulsa, OK, 28 February 2003 (in English)
  • St. Agnes Academy, Memphis, TN, 26 February 2003 (in French)
  • High Museum of Art, Atlanta, GA, 25 February 2003 (in English)
“American Photographic Modernism and Its Pictorialist Antecedents.” Art Gallery of Hamilton, 10 April 2002.