In Progress:

2020 “Romance ‘Between Friends’: Revisiting the National Film Board of Canada’s photobook of the Canada-U.S. Borderline,” in Les lieux des savoirs photographique : livre / Sites of Photographic Knowledge: Book. Montreal and Quebec: Artexte and Formes actuelles de l’expérience photographique (FAEP), in press.

2020 “The Future-Past, the Future-Present, the Future-Possible: The Chernobyl Exclusion Photographs of David McMillan.” In Through Post-Atomic Eyes. Edited by Claudette Lauzon and John O’Brian. Montreal; Kingston: McGill-Queen’s University Press, in press.

2020 “Review: Mark Cheetham, Landscape into Eco Art (2018).” RACAR, in press.

2020 “Re-Designing the Earth: Do we need more Architecture for the Environment? A Review of Rania Ghosn and El Hadi Jazairy’s Geostories: Another Architecture for the Environment (2018).” Science Fiction Studies, in editorial review.

2020 Eco-Photography: Justice, Nature, and the Global Environmental Imaginary, Montreal; Kingston: McGill-Queen’s University Press, under advanced contract.

Curated Exhibition and Essay:

2019 Inside/Outside : Images du TERRITOIRE dans la collection d’Artexte. Montréal, QC: Artexte, 2019. PDF en Français:

Refereed Book Chapters:

2018 “Above, Below, and Behind the Camera: the Perspective of Animals.” In From Ego to Eco. Mapping Shifts from Anthropocentrism to Ecocentrism. Edited by Tina Pusse and Sabine Müller. Amsterdam; New York: Brill Press, 201-214.

Peer-reviewed Journal Articles:

2017 “‘These Diminished Waters’: Conservation, Camera Hunting, and Settler/Indigenous Conflict in Lorene Squire’s Wildfowl Photographs of Northern Canada.” Journal of Canadian Art History, 36/2 (2015): 56-91.

2016Border Lines and Crossing Points: A Response to Andreas Rutkauskas’ Photographs of the Canadian-U.S. Border.” North x West, a special issue of Imaginations: Journal of Cross-Cultural Image Studies, 7/1, Web.

2016Cecil the Lion’s Networked Image: The Post-Photographic Media Ecology of Environmental Concern.” Special Issue of Captures. Figures, théories et pratiques de l’imaginaire 1/1 (Spring), Web.

2016 “Producing and Publishing ‘The Banff Purchase’: Nationalism, Pedagogy, and Professionalism in Contemporary Canadian Art Photography, 1979.” Networked Art History, a special issue of Journal of Canadian Art History, 36/1 (2015): 76-101.

2011 “Questionable Moral Geographies: The Human-Animal Landscapes of Gregory Colbert.”Psychogeographies, Autumn (2011). Web. PDF: McManus – 2011 – Questionable Moral Geographies

2011 “Objective Landscapes: The Mediated Evidence of Repeat Photography.” Edited by Suzanne Paquet, Intermédialités: histoire et théorie des artes, des lettres et des techniques 17/Printemps (2011): 105–118.  Web accessible through Érudit. PDF:

2009 “The Environment in the Museum: the Rhetoric of Photographic Landscapes in Imaging a Shattering Earth: Contemporary Photography and the Environmental Debate,” in Interculture: An Interdisciplinary Graduate Journal, Political Ecologies, 6/2 (Fall 2009): 136 – 148. PDF: McManus – 2009 – The Environment in the Museum

Group Authored Peer-reviewed Journal Articles:

2015 Martha Langford, Elizabeth Cavaliere, Phillipe Guillaume, Karla McManus, Sharon Murray, and Aurèle Parisien. “Imaged Communities: Putting Canadian Photographic History in its Place.” Journal of Canadian Studies 49/2 (2015): 296-354.

Exhibition Catalogue Essays:

2018 “How Anthropo-scenic! Concerns and Debates about the Age of the Anthropocene,” in Anthropocene: Burtynsky, Baichwal, De Pencier. Toronto, ON: Art Gallery of Ontario; Fredericton, NB: Goose Lane Editions, 45-56.

2013 “The Natural World That Remains to be Seen (and Experienced).” Exhibition catalogue text for Genviève Chevalier’s Orford: Territoire Insulaire/Orford: Insular Territory at Thames Art Gallery, Chatham, Ontario, January 24-March 9, 2014. PDF: McManus – 2014 – The Natural World That Remains to be Seen

See Geneviève Chevalier’s website for more about this project:

2013 “Revealing Landscape from Sea to Surface: the photography of Andreas Rutkauskas and Jessica Auer.” Exhibition catalogue text for Sea to Surface, at Evans Contemporary, Peterborough, Ontario, May 23 – June 30, 2013.!sea-to-surface—text/c164x

2008 “The Way of the Cross” and “The Art of the Woodblock,” in Black Against White: John J.A. Murphy, Master of the Modern Wood Engraving. Edited by Diana Nemiroff, 5-6; 10. Ottawa: Carleton University Art Gallery, 2008.


2015 “Eco-Photography: Picturing the Global Environmental Imaginary in Space and Time.” Dissertation. Concordia University.

MA Thesis:

2009 “Neutralized Landscapes and Critical Spaces: An Analysis of Contemporary Landscape Photography and Environmentalism in the Art Museum.” M.A. Thesis, Carleton University. Theses Canada abstract.

MA Exhibition

2008  Exhibition curated by Deborah Kirk, Katy Laird, Stephanie Martel, Katy MacIntyre, Karla McManus, Carly Riordan, Wendy Salisbury, and Curtis Wolfe. Black Against White: John J.A. Murphy, Master of the Modern Wood Engraving.Ottawa: Carleton University Art Gallery, 2008.