Richard William Hill is a curator, critic and Associate Professor of art history at York University. His research focuses primarily, but not exclusively, on historical and contemporary art created by Indigenous North American artists. As a curator at the Art Gallery of Ontario, he oversaw the museum’s first substantial effort to include Indigenous North American art and ideas in permanent collection galleries. He also curated Kazuo Nakamura: A Human Measure at the Art Gallery of Ontario in 2004, co-curated, with Jimmie Durham, The American West at Compton Verney, UK in 2005 and, beginning in 2006, The World Upside Down, which originated at the Walter Philips Gallery at the Banff Centre in 2006 and toured across Canada.
Professor Hill’s essays on art have appeared in numerous books, exhibition catalogues and periodicals. He has a long association with the art magazine FUSE, where he was a member of the board and editorial committee for many years and now writes a regular column reviewing recent art exhibitions. He is currently revising a book on the problem of agency in the art of Jimmie Durham, the subject of his PhD thesis.
“Kent Monkman’s Constitutional Amendments: Time and Uncanny Objects,” Interpellations: Three Essays on Kent Monkman, Michèle Thériault, ed. Montreal: Leonard & Bina Ellen Art Gallery, Concordia University, 2012. pp. 49-83.
“The Malice and Benevolence of Inanimate Objects: Jimmie Durham’s Anti-Architecture,” A Matter of Life and Death and Singing: Jimmie Durham, Antwerp: MuHKA; jrp/ringier, 2012. pp. 73-83.
“Jimmie Durham’s Poles to Mark the Centre of the World,” (essay) and “After the Dance” (short story) Close Encounters: the Next 500 Years, Winnipeg: Plug In ICA, 2011. pp. 32-38 & 54-62.
“Carl Beam: The Poetics of Being,” exhibition review, C Magazine, Winter, 2011. pp. 57-58.
“After Authenticity: a Post-Mortem on the Racialized Indian Body,” Hide, New York: Smithsonian National Museum of the American Indian, 2010. pp. 97-107.
“James Luna: Mimesis and Ritual,” The Turtle/Television Island Project, Portland, Maine: Art Gallery of the University of Southern Maine, 2010. pp. 16-26.
“Too Silent To Be Real,” Expanding Horizons, Montreal: Montreal Museum of Fine Arts, 2009). pp. 98-103.
World Upside Down (Banff: Walter Phillips Gallery and Banff Centre Press, 2008). 177pp.
“Essay on The One Thousand Year Old Egg, or Notes on the Prison House of Posterity” & “Essay on The Dangers of Petrification, or the Work of Art and the Ages of Mineral Reproduction,” Tempo ao tempo / Taking Time. Vigo, Spain: Museo de Arte Contemporáneo de Vigo [MARCO], 2008. pp. 110-119, 329-331.
“Graveyard and Gift Shop: Fighting Over the McMichael Canadian Art Collection,” Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art, John O’Brian & Peter White, eds. Montreal: McGill-Queen’s University Press, 2007. pp. 210-215.
“Built on Running Water: Rebecca Belmore’s Fountain,” FUSE Magazine, Vol. 29, No. 1, 2006.
“Cowboy Justice: an American Trip,” The American West, Warwickshire, UK: Compton Verney, 2005.
“Meeting Ground: The Reinstallation of the AGO’S McLaughlin Gallery,” Making a Noise: Aboriginal Perspectives on Art, Art History, Critical Writing and Community, Lee Ann Martin, ed., Banff: Walter Phillips Gallery/Banff Centre Press, 2004.
Kazuo Nakamura: A Human Measure, Toronto: Art Gallery of Ontario, 2004.
“Getting Un-Pinned: Collecting Aboriginal Art and the Potential for Hybrid Public Discourse in Art Museums,” Obsession Compulsion, Collection: On Objects, Display Culture and Interpretation, Anthony Kiendl, ed., Banff: Walter Phillips Gallery / Banff Centre Press, 2004.
“And Also,” On Aboriginal Representation in the Gallery, Mercury Series, Canadian Ethnography Service Paper 135, Lynda Jessup with Shannon Bagg, eds., Hull: Canadian Museum of Civilization, 2002.
“The Unreadable Present: Nadia Myre and Kent Monkman,” C Magazine, Issue 75, Fall, 2002.