Sophie Hackett is the Associate Curator, Photography, at the Art Gallery of Ontario and adjunct faculty in Ryerson University’s master’s program in Photographic Preservation and Collections Management. She has contributed to several Canadian art magazines, international journals and monographs, and she has curated or co-curated several exhibitions and public projects at the AGO, including Suzy Lake: Rhythm of a True Space (2008); Barbara Kruger: Untitled (It) (2010); “Where I was born…”: A Photograph, a Clue and the Discovery of Abel Boulineau (2011); Songs of the Future: Canadian Industrial Photographs, 1858 to Today (2011); Album: A Public Project (2012) and Light My Fire: Some Propositions about Portraits and Photography (2013-2014), a wide-ranging consideration of the photographic portrait, drawn from the AGO’s permanent collection. Upcoming projects include What It Means To be Seen: Photography and Queer Visibility and Fan the Flames: Queer Positions in Photography — both opening in June 2014. She is the lead juror for the 2014 AIMIA | AGO Photography Prize, a role she also held in 2010 and 2012.
Okwui Enwezor is a Nigerian-born, German-based scholar, curator, and writer and has been director of Haus der Kunst since October 2011. He was adjunct curator at International Center of Photography, New York, and previously adjunct curator of Contemporary Art, at the Art Institute of Chicago. Enwezor has served as the artistic director of several leading biennials and international exhibitions and in December 2013 he was appointed as director of the Visual Arts Sector of the 56th Biennale di Venezia. Enwezor’s curatorial credits include exhibitions presented in museums and venues across the U.S., Europe, Asia, Africa, and Latin America, including Guggenheim Museum, Tate Modern, Art Institute of Chicago, Museum of Contemporary Art Barcelona, Museo Tamayo, Mexico City, Palais des Beaux Arts, Brussels, PS1 / MoMA, New York and the National Gallery of Canada. Enwezor has received numerous awards and honors for his work including an honourary fellowship from the Royal College of Art, London (2010) and an award for Curatorial Excellence from Center for Curatorial Studies and Art in Contemporary Culture, Bard College (2009). He lives in Munich and New York.
Laurie Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies and costumed dancers as “living objects,” animating a dollhouse world suffused with nostalgia and colored by an adult’s memories, longings, and regrets. Simmons’ work blends psychological, political, and conceptual approaches to art-making, transforming photography’s propensity to objectify people, especially women, into a sustained critique of the medium. She has received many awards, including the Roy Lichtenstein Residency in the Visual Arts at the American Academy in Rome (2005), and fellowships from the John Simon Guggenheim Memorial Foundation (1997) and the National Endowment for the Arts (1984). She has had major exhibitions at the Museum of Modern Art, New York; Baltimore Museum of Art; San Jose Museum of Art, California; Walker Art Center, Minneapolis and she has participated in two Whitney Biennial exhibitions (1985, 1991) and was included in the 2013 Venice Biennial. Her work is represented in many noted collections including the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Art Institute of Chicago; the Solomon R. Guggenheim Museum; and the Whitney Museum of American Art, New York, among others.
Writer, curator, educator. Grant Arnold is currently Audain Curator of British Columbia Art at the Vancouver Art Gallery, where he contributes to the Gallery’s exhibition and collecting activities. Over the past twenty years he has organized more than fifty exhibitions of historical, modern, and contemporary art. Recent exhibition projects include Myfanwy MacLeod, Or There and Back Again (with Cassandra Getty); In Dialogue with Carr: Gareth Moore - Allochthonous Window; Traffic: Conceptual Art in Canada 1965-1980 (with Catherine Crowston, Barbara Fischer, Michèle Theriault and Vincent Bonin, and Jayne Wark); Rodney Graham: Canadian Humourist; SPIRITLANDS: (t)HERE: Marian Penner Bancroft Selected Photo Works 1975-2000; Ken Lum; Reece Terris: Ought Apartment; Mark Lewis: Modern Time; and Fred Herzog: Vancouver Photographs. Arnold has contributed essays and articles to exhibition catalogues and journals and has lectured on historical and contemporary art at a variety of conferences and institutions.
Veronica Cordeiro is a Brazilian curator, writer and visual anthropologist based in Montevideo, Uruguay. Member of Independent Curators International (ICI, NY), where she furthered her concept of curating in context, she is currently curator of the Centro de Fotografía de Montevideo, where she has organized and commissioned new work by South American artists such as Rosângela Rennó, Dias&Riedweg, Martin Weber and Fredi Casco. Recent independent curatorships include Tamara Cubas: El día más hermoso at Museo Juan Manuel Blanes, Montevideo, 2012, Ernesto Vila: (S)obras de arte, Centro Cultural España, 2012 and two survey shows of Brazilian artist and filmmaker Cao Guimarães (Le monde atmosphère at Galerie Xippas, Paris, 2011 and Inmersión Sensoria, residency followed by exhibition in Montevideo, 2010). In 2013 she co-curated the Uruguay pavilion at the 55th Biennale di Venezia. Recent publications include an interview with Rosângela Rennó for BES Photo 2012 (Lisbon) and an essay on the collective alonso+craciun for Marcelina (2011, São Paulo). She writes regularly for exhibition catalogues and magazines including Art Nexus (Colombia), Arte y Parte (Valencia), trans>arts.cultures.media (NY), Trópico (SP), Marcelina (SP), among others. She studied Art History at Edinburgh University and has an MA in Visual Anthropology from Goldsmiths, University of London.
Moyra Davey is a photographer, filmmaker and writer. Investigations into psychoanalysis, the history of photography, and existential questions linked to reading, writing and literature underpin much of her production. In 2008 and 2010 her work was the subject of two survey exhibitions at the Harvard Art Museum in Cambridge and at the Kunsthalle in Basel. Currently, Davey has solo shows at MuMoK in Vienna and at Murray Guy in New York; in April she will open a survey show of recent work at Camden Arts Centre, London.
Davey has produced four narrative videos: My Saints, 2014 (30:00), Les Goddesses, 2011 (61:00), My Necropolis, 2009 (32:17) and Fifty Minutes, 2006 (50:00). She is the author of Burn the Diaries (Dancing Foxes/MuMok/ICA Philly, 2014), Long Life Cool White (Harvard/Yale, 2008) and The Problem of Reading (Documents Books, 2003), and editor of Mother Reader: Essential Writings on Motherhood (Seven Stories Press, 2001). Davey is a founding member of Orchard (2005-08); with Jason Simon co-hosted the One Minute Film Festival in Narrowsburg, NY from 2003-2012. She was a nominee for the Aimia | AGO Photography Prize in 2010 (then called The Grange Prize).
Jon Davies is a Montreal-born curator and writer based in Toronto. His writing has appeared in publications such as C Magazine, Canadian Art, Journal of Curatorial Studies, Fillip, Little Joe, No More Potlucks and Cinema Scope, as well as in many books and anthologies on artists such as Daniel Barrow, Candice Breitz, FASTWÜRMS, Luis Jacob and Andy Warhol. He has organized many artists' film and video screenings with the collective Pleasure Dome, and currently sits on the board of Gallery TPW. His curated contemporary art exhibitions include People Like Us: The Gossip of Colin Campbell (2008), Where I Lived, and What I Lived For (2012–13), Kelly Jazvac: PARK (2013) and Sonny Assu: Possession (2013–14) for Oakville Galleries, where he is Associate Curator, as well as Ryan Trecartin: Any Ever (2010, co-curator), To What Earth Does This Sweet Cold Belong? (2011) and Coming After (2011–12) for The Power Plant Contemporary Art Gallery, Toronto.
Gary Dufour, Adjunct Associate Professor at the University of Western Australia lives in Perth. From 1995 to 2013 he was Chief Curator | Deputy Director at the Art Gallery of Western Australia, and prior to that Senior Curator at the Vancouver Art Gallery from 1988 to 1995. He received an MFA in 1979 from NSCAD. Recent projects include: William Kentridge The Refusal of Time at the Perth Institute of Contemporary Art (2014); Jeff Wall Photographs at the Art Gallery of Western Australia, Perth, The National Gallery of Victoria, Melbourne and Museum of Contemporary Art Australia, Sydney (2012-13), and Van Gogh, Dalí and Beyond: The World Reimagined (2013). William Kentridge Shadow Quartet (2011).
Tamar Garb is Durning Lawrence Professor in the History of Art at University College London. She graduated from the Michaelis School of Fine Art, University of Cape Town with a BA (Art) in 1978. In 1980 she was awarded an MA in Art Education from the Institute of Education, University of London and in 1982 she graduated with a MA in Art History from the Courtauld Institute of Art. She completed her PhD at the Courtauld Institute which was awarded in 1991. Her research interests have focused on questions of gender and sexuality, the woman artist and the body in nineteenth and early twentieth century French art . Key publications include Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth Century Paris (Yale University Press, 1994); Bodies of Modernity: Figure and Flesh in Fin de Siecle France, (Thames & Hudson, 1998) and The Painted Face, Portraits of Women in France 1814 -1914 (Yale University Press, 2007). She has also published on questions of race and representation and in 1995 she collaborated with Linda Nochlin on a volume of essays entitled The Jew in the Text; Modernity and the Construction of Identity (T&H). Her interests have turned recently to post apartheid culture and art as well as the history of photographic practices in Southern Africa. In 2008 she curated an exhibition on Landscape and Language in South African Art entitled Land Marks/Home Lands; Contemporary Art from South Africa at Haunch of Venison Gallery in London. In April 2011, her exhibition Figures and Fictions: Contemporary South African Photography opened at the Victoria & Albert Museum, London. She is currently curating a series of exhibitions for the Walther Foundation, New York and Neu-Ulm Germany, entitled 'Distance and Desire: Encounters with the African Archive'.
Gauri Gill (b. 1970) received a BFA in Applied Art at the Delhi College of Art, New Delhi, a BFA in Photography at the Parsons School of Design, New York and an MFA in Art at Stanford University, California. Solo exhibitions include: 'Balika Mela', Nature Morte Gallery, New Delhi; 'What Remains' at Green Cardamom Gallery, London (2011); 'Notes from the Desert' at Nature Morte Gallery, New Delhi; Matthieu Foss Gallery, Mumbai; Focus Gallery, Chennai; Urmul Setu, Lunkaransar (2010-11); 'The Americans' at Nature Morte Gallery, New Delhi; Thomas Welton Art Gallery, Stanford University; the Chicago Cultural Center, Chicago; Bose Pacia Gallery, Kolkata and New York; Mississauga Central Library, Mississauga (2008-2011). Group exhibitions include: 'Lines of Control' at the Herbert F. Johnson Museum, Cornell University; Nasher Museum, Duke University (2012); The Grange Prize Exhibition' at the Art Gallery of Ontario, Toronto (2011); 'The Matter Within: New Contemporary Art of India' at the Yerba Buena Center for the Arts, San Francisco (2011); 'Generation in Transition', at the Zacheta National Gallery of Art, Warsaw; Contemporary Art Centre, Vilnius (2011); 'Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh', Whitechapel Gallery, London and Fotomuseum Winterthur, Switzerland (2010); 'The Self and the Other: Portraiture in Contemporary Indian Photography', Palau de la Virreina, Barcelona (2009); 'Shifting Shapes: Unstable Signs', Yale Art Gallery, Yale University, New Haven (2009); 'Public Places, Private Spaces', Newark Museum, New Jersey (2007); as well as two person shows with Tomoko Yoneda, Lucy Mackintosh Gallery, Lausanne (2009); and Sunil Gupta, IIC, New Delhi (2007). Gill received the Aimia | AGO Photography Prize in 2011, then called The Grange Prize. Her work is in the collections of the Smithsonian Institution, Washington DC; San Jose Museum of Art, San Jose; Royal Ontario Museum, Toronto; Fotomuseum, Winterthur and Devi Art Foundation, New Delhi. She will be a Creative Arts Fellow at the Rockefeller Foundation, Bellagio, 2013.
Marie-Josée Jean heads VOX Contemporary Image Centre and teaches art history at Université du Québec à Montréal. For the past ten years, her research has focused on the theory and practice of images and conceptual art. In 1999, she acted as artistic director of the Mois de la Photo à Montréal and organized a series of exhibitions, as well as a publication entitled Le Souci du document (Concern for the document) that examined the "attitudes" in contemporary documentary photography. Preoccupied by the relationship between the artistic image and the media, she also directed a second edition of the Mois de la Photo à Montréal in 2001 that questioned The Power of the Image. She then went on to run VOX, Contemporary Image Centre and organize numerous exhibitions such as John Baldessari: 1970s Film and Video Work (2010), Walking into the Vanishing Point. Conceptual Works of Bill Vazan (2007), Marcel Duchamp. La Boîte verte and À l'infinitif. La Boîte blanche (2008), Maria Eichorn : Film, video et œuvres sonores (2006), N.E. Thing Co. (2005). She also curated the exhibitions Time as Activity (2009) that offered different aesthetic experiences of time and Road Runners (2009) in which literary, artistic and filmic conceptual practices created "on the road" were presented. Her exhibitions have also been shown in European venues such as the Santa Monica Art Centre, Barcelona, Nederlands Foto Institute, Rotterdam, Contemporary Art Centre Tinglado, Tarragona, Neuer Berliner Kunstverein, Berlin, and Centre d'art contemporain de la Villa Arson, Nice. Jean has also undertaken a doctorate project in order to explore the meaning and function of repetition in artistic practices. She is currently preparing the inaugural exhibition for VOX's new gallery space entitled Retrospective Future, as well as Image Cabinet: Art on Art, an exhibition for which she is guest curator at the Musée national des beaux-arts du Québec.
Mami Kataoka has been the Chief Curator at the Mori Art Museum (MAM) in Tokyo since 2003, where she curated number of exhibitions including Ozawa Tsuyoshi (2004), All About Laughter: Humor in Contemporary Art (2007), Ai Weiwei: According to What? (2009), Sensing Nature: Perception of Nature in Japan (2010), Lee Bul (2012), Aida Makoto (2012), and most recently co-curated Roppongi Crossing 2013: Out of Doubt (2013). Meanwhile she is extending her curatorial practice in many international projects including 9th Gwangju Biennale (2012) in South Korea as Co-Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as guest curator, and Ai Weiwei: According to What? (2012) at Hirshhorn Museum and Sculpture Garden in Washington DC, Art Gallery of Ontario and other North American venues. She was the International Curator at the Hayward Gallery in London between 2007 and 2009. Prior to these, she was Chief Curator at Tokyo Opera City Art Gallery from 1998 to 2002. Kataoka also frequently writes and gives lecture on contemporary art in Asia.
Beatrix Ruf was appointed Director/Curator of the Kunsthalle Zürich in 2001. Previously, she had been Director/Curator of the Kunsthaus Glarus, and curator at the Kunstmuseum of the Canton of Thurgau between 1994 and 1998. She has organised exhibitions, written essays and published catalogues on artists such as Jenny Holzer, Marina Abramovic, Peter Land, Liam Gillick, Urs Fischer, Emmanuelle Antille, Angela Bulloch, Ugo Rondinone, Richard Prince, Keith Tyson, Elmgreen & Dragset, Monica Bonvicini, Eija-Liisa Ahtila, Pierre Huyghe/Philippe Parreno: ‘No Ghost just a Shell’, Rodney Graham, Isa Genzken, Doug Aitken, Wilhelm Sasnal, de Rijke / de Rooij, Rebecca Warren, Carol Bove, Oliver Payne & Nick Relph, Dominique Gonzalez-Foerster, Sean Landers and many others.
Jonathan Shaughnessy is Associate Curator, Contemporary Art at the National Gallery of Canada. His most recent exhibitions include Builders: Canadian Biennial 2012 2 (November 2012 – 20 January 2013) at the National Gallery, Ottawa, as well as Misled by Nature: Contemporary Art and the Baroque co-curated with Josée Drouin-Brisebois and Catherine Crowston at the Art Gallery of Alberta (AGA), Edmonton (15 September 2012 – 6 January 2013), and traveling to the Museum of Contemporary Canadian Art, Toronto in 2013. His homage Louise Bourgeois 1911-2010 to the iconic late artist debuted at the NGC in 2011 and was on view at the AGA 2 June – 23 September 2012. Other exhibitions include Real Life: Ron Mueck and Guy Ben-Ner which traveled to venues across Canada between 2008-2010; One Some Many: Three Shows by Carsten Höller (2007);and Art Metropole: The Top 100 with former NGC Curator of Contemporary Art, Kitty Scott, that also traveled extensively throughout Canada. In 2010, Shaughnessy was coordinating curator at the NGC for the exhibition Pop Life: Art in a Material World organized by Tate Modern, London. He has written for numerous exhibition catalogues including The Elements of Nature featuring the work of Michael Snow, Irene Whittome, Liz Magor, Martin Honert, Guiseppe Penone and other artists; Cai Guo-Qiang: Long Scroll;Three Shows by Carsten Höller with essays by NY-based writer Matthew Levy and Berlin-based art critic Jennifer Allen, and Art Metropole: The Top 100 with Kitty Scott, featuring essays by prominent Canadian art writer Peggy Gale and artist AA Bronson, founding member of General Idea. He is currently working on an exhibition of the work of Vera Frenkel opening at MOCCA, Toronto in November 2014
Brian Sholis is Associate Curator of Photography at the Cincinnati Art Museum. His writing on photography, landscapes, and American history has appeared in Artforum, Art in America, Frieze, Aperture, the Village Voice, and other periodicals; in books published by MIT Press, Phaidon, the Museum of Modern Art, the Whitney Museum of American Art, the Moderna Museet, and others; and in numerous artist books. He received a BA from Boston University and an MA in American History from the CUNY Graduate Center, has taught at Parsons the New School for Design, New York University, and the Pratt Institute, and has been visiting critic at more than two dozen universities and art schools across North America.
Kim Simon has been active as an arts writer and curator for over 15 years, she is currently curator at Gallery TPW in Toronto. Founded in 1980 as a non-profit venue for photographic practices, TPW is committed to a media-specific but expanded mandate, addressing the vital role that images play in contemporary culture and exploring the exchange between photography, new technologies and time-based media. Within the context of TPW, for the last few years Simon’s particular curatorial research investigates an ethics of viewing in relation to the aesthetics of troubling images, within the context of pedagogical and journalistic turns in contemporary art. Alongside exhibitions at TPW, Simon continues to develop two extended programs, “You Had To Be There” — an event and performance series looking at the relation between liveness and images, and “This is Not a Blog” — an intimate series of discussions on culture. In addition to TPW, Simon writes and curates independently for other institutions. Recent work includes the presentation of a performative, community-based, public site work by Canadian artist and activist Reena Katz, and publishing on the work of Quebec artists Diane Landry and Karilee Fuglem. In 2006, Simon also curated a section of the inaugural Nuit Blanche Toronto, a city-wide 12 hour public art event.