Alicia Boutilier is Curator of Canadian Historical Art at the Agnes Etherington Art Centre, where she has produced numerous exhibitions on Canadian historical art, northern indigenous art and historical quilts. Before assuming her current position in 2008, she curated Canadian art exhibitions for several galleries across Ontario. Her exhibition publications include A Vital Force: The Canadian Group of Painters (2013); William Brymner: Artist, Teacher, Colleague (2010); Inspirational: The Collection of H.S. Southam (2009); Public Pictures/Private Homes: London's Lending Library of Canadian Art (1942–1975) (2007); An Intimate Circle: The F.B. Housser Memorial Collection(2005); and 4 Women Who Painted in the 1930s and 1940s: Rody Kenny Courtice, Bobs Cogill Haworth, Yvonne McKague Housser, and Isabel McLaughlin (1998). Alicia is currently co-developing an exhibition entitled The Artist Herself: Self-Portraits by Canadian Women Artists 1850–1950 (forthcoming 2015).
Industry Expertise (2)
Arts and Crafts
Areas of Expertise (3)
Canadian Art History
Canadian Art Collection
Carleton University: MA, Canadian Art History 1998
Media Appearances (6)
That '70s Kingston art scene
The Kingston Whig-Standard online
When Kingstonians think back to the 1970s, two big events likely spring to mind: the city's tercentenary [300th anniversary] in 1973, and the hosting of the summer Olympics' sailing competition in 1976. What also happened in Kingston at that time was the emergence of a new art scene in the city, as contemporary art was installed in public places, art programs were established at St. Lawrence College and Queen's University, and an artist-run art gallery took root.
Reproducing a public art project from Canada’s darker days
The Globe and Mail print
It was a public art project worthy of the name: Between 1942 and 1963, from the darkest days of the Second World War to the heat of the Cold War, the distinguished Toronto graphic-arts company Sampson-Matthews Ltd. produced tens of thousands of prints of archetypal Canadian scenes for installation in barracks, banks, embassies and mess halls, schools, libraries and government offices. Commissioned by the National Gallery of Canada, a total of 117 silkscreen images of works from more than 50 artists, including A.J. Casson, A.Y. Jackson, Emily Carr and Arthur Lismer, formed the basis of the patriotic enterprise.
Regina Haggo: In her own image
The Hamilton Spectator online
Women artists present themselves in their work. The senior curator of Canadian art at the Art Gallery of Hamilton has created many exhibitions. But The Artist Herself: Self-Portraits by Canadian Historical Women Artists is special.
Female artists' 'selfies' through the generations
Thanks to Facebook, people are more open-minded as to what constitutes a self-portrait, art expert Alicia Boutilier says. Boutilier is the co-curator of The Artist Herself: Self-portraits by Canadian Historical Women Artists — a new exhibit at the Art Gallery of Greater Victoria featuring the work of 41 female artists. Many items on display are not what most people consider “self-portraits.” There are conventional self-portrait paintings, of course. However, the exhibition also includes a vintage crazy quilt, an early 1900s sewing roll, a 19th-century sampler and an Inuit amauti (or parka)...
The Artist Herself at the Agnes Etherington Art Centre
National Gallery of Canada Magazine
A partnership between the Agnes Etherington Art Centre and the Art Gallery of Hamilton, The Artist Herself brings together some 55 works by over 40 artists in a variety of media — including paintings, photograph, film, and textiles such as Johnson’s garments. As co-curator Alicia Boutilier told NGC Magazine in an interview, the poet can be thought of as an early performance artist, one who evoked her dual cultural identity by wearing her “Indian Princess” buckskin dress for the first half of her shows, and a Victorian evening gown for the second half...
The Artist Herself: A New Take on Self-Portraits by Historical Canadian Women Artists
Curated by Alicia Boutilier of the Agnes Etherington Art Centre in Kingston and Tobi Bruce of the AGH, the show was conceived, in part, as an homage to their mentors, Dorothy Farr and Natalie Luckyj, who had created the first show ever to look at historical women’s art in Canada, the seminal From Women’s Eyes: Women Painters In Canada exhibit in 1975. Longtime collaborators and friends, Boutilier and Bruce wanted to do a new show to commemorate the 40th anniversary of the first...