Logan MacDonald is a queer visual artist and curator from Newfoundland, Canada. He identifies as settler with European and Mi’kmaq ancestry. MacDonald holds a MFA from York University (2010) and a BFA from Concordia University (2006). His artwork has exhibited in galleries worldwide and has been featured in prominent publications. Throughout 2017 – 18, his newest body of artwork that examines contemporary settler and indigenous relationships and identities will tour across Canada. MacDonald currently resides in Toronto.

Visual artist Logan MacDonald maintains a dedicated art-practice that is primarily focused on the development and presentation of research oriented, interdisciplinary installation-based art project for public exhibition in artist run-centres and non-traditional spaces. Over the last decade his main area of research and scholarship has sought to investigate how different communities strategize against marginalization similarly: specifically with a focus on connections and disjunctures between Indigenous, queer, and economic communities in protest, often using his own experiences and vantage point as a reference within his work. MacDonald was part of The Third Leg collective (with collaborators Ginger Brooks-Takahashi and Onya Hogan-Finlay), which received international recognition for their queer empowered and humours art exhibits that were created as a means to combated homophobia. In 2013, MacDonald with support from the Aboriginal Curatorial Collective launched the online curatorial project Attesting Resistance, which showcases a selection of artists whose work explore notions of indigenous resistance. His recent body of work centers on exploring Canadian Indigenous and settler identity. Over the last year MacDonald has been visiting traditional territories, reservations, sites of interest, and historical sites of First Nations People’s across Canada to examine manipulated landscapes, structures, and signage used to assert boundaries against government and/or corporate encroachment.

MacDonald is part of a unique, yet growing community of Newfoundlander’s who identify as settler with Mi’kmaq ancestry, whose Indigenous identities have recently been acknowledged by the Canadian government – allowing for 20,000 Mi’kmaq to be federally recognized as part of the Indigenous population of Canada. His latest work draws upon this negotiation over race and federal authority and authenticity over Indigenous experience as an entry point in the development of his latest work. MacDonald’s work joins in on a nascent conversation happening in Canada, which centers on Indigenous empowerment, as well as heightened public scrutiny around issues of Indigenous authenticity, ethnic fraud, and appropriation. His work explores the tensions of ancestry, settler privilege, Indigenous homogenization, cultural assimilation and erasure, participation, documenting experience as art form, and navigating belonging.