Faculty & Staff Profiles

The University of Lethbridge Art Department proudly counts practicing artists and researchers among their faculty and staff. This page collects examples of their continuing projects in all varieties of media. Click on the faculty or staff member's name to be taken to their full profile, and click on their artworks or research links for more details.

Annie Martin


Martin received her MFA in Art from Concordia University, Montreal, in 1994 and her BFA in 1989 from the same institution. Her works in installation, audio and video art and drawing have been exhibited widely in Canada, and also in Bulgaria, USA, and the UK. Since 2005, she has lived and worked in Lethbridge, Alberta.


Annie Martin's creative practice traverses installation, audio and video art, textiles, drawing and performative practices. Since 2004 she has conducted listening walks as a form of research and a contemplative performance practice. Annie’s research interests include considerations of the situated, embodied subject in art, inter-sensory aesthetics, feminism and anti-racist critiques, and questions of authorship and reading.


Ken Allan

Victoria Baster

Michael Campbell


Michael Campbell is interested in obsolete technologies, remote
landscapes, purposeless inventions, suburban boredom, bad sci-fi films, utopic schemes, adolescent fantasy sketchbooks and handmade tools. He has exhibited across Canada, as well as in Paris, the South of France, Japan and most recently in
Kathmandu. Michael Campbell completed his BFA at the University of Toronto and MFA at Concordia University Montreal.
He has taught in Montreal, Cape Dorset Nunavut, Inuvik N.W.T,
Dickinson North Dakota, Poitiers and Sauve France and has
been teaching at the University of Lethbridge since 1998.



Dagmar Dahle

Anne Dymond


Anne Dymond received her PhD in Art History from Queen’s University in 2000. She is currently a Teaching Fellow at the University of Lethbridge, and regularly teaches Art History and Museum studies courses including an overview of Western art from prehistory to the present, nineteenth century French art, and museum and curatorial studies.


Anne’s current research examines issues of representation and equity in the display of contemporary art in Canada. Previous projects have focused on the issue of visual culture, such as tourist posters and folk museums, to create and solidify a sense of cultural identity in France and Provence in the late nineteenth century. Her work on French anarchism and its imagining of Provence as the ideal location for a utopian future, revealed in the paintings of Neo-Impressionist Paul Signac, was published in The Art Bulletin. She has also published on issues of center and periphery as revealed in the display of women and fashion in the 1900 World's Fair, and on the development of tourism to Mediterranean France.

Denton Fredrickson


Denton Fredrickson was born in Drayton Valley, Alberta in 1977. Before completing a multidisciplinary BFA in 2001, Denton worked as a welder for Kananaskis Provincial Park, received his Trade Certificate of Lutherie (traditional acoustic instrument design and construction) from the province of Saskatchewan, and completed his Bachelor of Arts (Philosophy/Religious Studies/Anthropology) from the University of Lethbridge and University of Pune, India. Fredrickson received his Masters of Fine Arts (Sculpture and Media Art) from the Nova Scotia College of Art and Design in 2003. His work has been exhibited across Canada, in the U.S., the Netherlands, France, and Japan. He currently works out of Lethbridge, Alberta where he is an Assistant Professor (Sculpture and Media Art) in the Art Department of the University of Lethbridge.




Denton Fredrickson’s work invites experiential and contemplative interactions with sound, objects, and architectural space. The seductive lure of both old and new wonders, fantastic inventions, and absurd theories are familiar territories for Fredrickson. He has long been absorbed by their histories and representations in popular culture. His recent interest in intersecting traditional, material-based processes with electronics and digital fabrication has led him to explore open-ended narratives that awkwardly nestle speculative fiction within the psychology of the everyday.

Dreaming in Science Fiction

Don Gill

Mary Kavanagh


Mary Kavanagh is a visual artist and Associate Professor in the Department of Art. She served as Department Chair from 2006-2012 and is currently serving as MFA/MMus Program Chair, School of Graduate Studies. She teaches drawing, installation art, interdisciplinary practice, and critical theory at both undergraduate and graduate levels. She has an MFA from the University of Saskatchewan, an MA in Art History from the University of Western Ontario, and a BA in Fine Arts from the University of Guelph. In the Fall 2007 she was a Visiting Professor at Hokkai-Gakuen University in Sapporo, Japan.

Kavanagh's work in installation, photography, drawing and video has been exhibited widely in Canada and the U.S. and she has participated in numerous international artist residency programs.




Mary Kavanagh's art practice is indexical and spatial, encompassing object, image, video and sound installations. Engaging field research, performative action, collection and documentation, she examines the hidden components of industry, exposing rationalizations and mythologies underlying production and expansion. The places visited are often remote or inaccessible to a general public (missile testing ranges, military bases and facilities, ranching operations, mining operations, abattoirs), requiring special permissions to access, thus the work emerges from nativagating the divide between public and private zones of activity.




Glen MacKinnon

Mary-Anne McTrowe


Mary-Anne McTrowe was born and raised in Southern Alberta, where she earned her B.F.A. at the University of Lethbridge in 1998. In 2001 she received her M.F.A. in studio art from Concordia University, Montreal. As well as her solo practice, McTrowe collaborates with Daniel Wong as The Cedar Tavern Singers AKA Les Phonoréalistes.





How can things that are familiar to us be made unfamiliar? How can a change in context render something temporarily strange and perhaps even unrecognizable?

McTrowe’s areas of research and production include crochet as a carrier of information; conceptual textiles; Sasquatch; ukulele; the vegetable lamb; globsters; written and spoken text.

Josephine Mills


Josephine Mills is the Director/Curator of the University of Lethbridge Art Gallery and an Associate Professor in the Department of Art.

She has worked as a curator and public programmer in art galleries and artist-run centres in Saskatoon and Vancouver. Mills has a PhD in Communication Studies from Concordia University and is a graduate of the Museum Leadership Institute at the Getty Center. She is the current University Scholar representing the Faculty of Fine Arts.

Mills is the Past President of the Canadian Art Museum Directors’ Organization / Organisation des Directeurs des Musées d’Art du Canada and a past President of the University and College Art Gallery Association of Canada. Mills teaches museum studies courses and supervises undergraduate museum studies internships.


Mills’ research centres around her work with the U of L Art Gallery and thus involves curating exhibitions and producing gallery publications. As well, her interests focus on the relationship between art and concepts of public in Canada with specific attention to issues involved with public collections as well as with public engagement for art galleries and within artist’s practices.

Kevin Sehn