Camille Turner
Hometown Queen
“Blackness has been systematically ‘disappeared’ from the Canadian nation. . . . I explore various mechanisms through which this disappearance has been achieved, ranging from historical omissions to social exclusion as well as literally burying evidence of Canada’s Black past.” — Camille Turner
Camille Turner: Hometown Queen offers the first in-depth retrospective of Turner’s nearly 30-year career. Born in Jamaica and raised in Hamilton, Ontario, Turner has developed a formidable body of work in performance, installation, photography, video, and sculpture. Her practice powerfully addresses racial and social politics, offering a critical analysis of the enduring systems of injustice, confronting histories marked by erasure, deliberate burying, and systemic silencing while actively forging a hopeful path forward. Turner’s art creates spaces of contemplation and imaginative possibility, inviting reflection on what might emerge — for herself, for her father and family, and for generations still to come.
This handsome volume contains over 70 images of Turner’s work and essays by artists, curators, and scholars. The works featured range from foundational works such as the eponymous Hometown Queen and Miss Canadiana to recent large-scale video installations, including Worthy, a new immersive multi-media installation that explores her father’s childhood experience of growing up on the grounds of one of Jamaica’s most profitable businesses, formerly a slave plantation.
Camille Turner is an artist and scholar whose practice spans a variety of media, including social practice, performance, video, photography, installation, and sculpture. Grounded in Afrofuturism and historical research, she reimagines colonial archives and confronts the entanglement of what is now Canada in the transatlantic trade of Africans, envisioning liberated futures shaped by Black knowledge, memory, and imagination.
Born in Jamaica in 1960, Turner was raised in Hamilton and currently lives and works in Los Angeles. She was the Provost’s Postdoctoral Research Fellow at the University of Toronto and completed a PhD at York University with a research-creation project closely connected to her artistic practice. In 2025, Turner was featured in the São Paulo Biennial and was Artist-in-Residence at the Fine Arts Center of University of Massachusetts Amherst in partnership with Slavery North.
Turner has held solo and group exhibitions nationally and internationally and is the recipient of the 2025 Exhibition of the Year award for Otherworld (Art Museum at the University of Toronto) from Galeries Ontario / Ontario Galleries (GOG) and the 2022 Artist Prize from the Toronto Biennial of Art. Her work is held in major public and private collections, including the National Gallery of Canada, Art Gallery of Hamilton, Art Gallery of Nova Scotia, Art Museum at the University of Toronto, Canada Council Art Bank, Royal Bank of Canada, Museum London, McMichael Canadian Art Collection, Wedge Collection, and The Rooms. She is represented in Canada by Central Art Garage.
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Melissa Bennett is Senior Curator of Contemporary Art at the Art Gallery of Hamilton, Ontario. Her recent curatorial work includes the internationally touring retrospective Shelley Niro: 500 Year Itch. She has written or edited more than fifteen exhibition catalogues and has received multiple awards from Galeries Ontario/Ontario Galleries (GOG). Most recently, her work on Shelley Niro: 500 Year Itch earned the 2024 awards for Exhibition of the Year, Art Publication, and Major Curatorial Writing.
David Diviney is the Chief Curator at the Art Gallery of Nova Scotia. His interest in the expanded histories and legacies of conceptual art has led to several exhibitions, such as David Askevold: Once Upon a Time in the East (2011), The Last Art College: Nova Scotia College of Art and Design, 1968–1978 (2016), and Teresa Hubbard / Alexander Birchler: No More Boring Art (2025). His writing on the art of the 1960s and ‘70s, contemporary art, and visual culture has been published widely in journals and catalogues.
Born in Mumbai, Srimoyee Mitra began her career as an arts writer in India for publications such as Art India and Time Out Mumbai before moving to Canada in 2008 to pursue an MA in art history at York University. She became Curator of Contemporary Art at the Art Gallery of Windsor in 2011, where she developed an award winning exhibition program, including the celebrated Wafaa Bilal: 168:01 Her writing has appeared in numerous catalogues and journals and in her books, Border Cultures (2015), Heidi Kumao (2021), and Stephanie Dinkins: On Love & Data (2024). Since 2017, she has been the Director of Stamps Gallery at the University of Michigan.
