Gabrielle Moser is a writer, educator and independent curator based in Toronto. As an independent curator, she has organized exhibitions for Access Gallery, Gallery TPW, The Morris and Helen Belkin Art Gallery, Oakville Galleries, Vtape, and Xpace. Her writing appears in venues including Artforum.com, Art in America, C Magazine, Canadian Art, Fillip, Journal of Visual Culture, Photography & Culture, Prefix Photo and in the book Photography and the Optical Unconscious (Sharon Sliwinski and Shawn Michelle Smith, eds., Duke University Press, 2017). Moser has held fellowships and residencies at the Paul Mellon Centre for the Study of British Art, Ryerson Image Centre, the Art Gallery of Ontario, the University of British Columbia and was a Fulbright Visiting Scholar in the department of Modern Culture and Media at Brown University in 2017. She is a founding member of EMILIA–AMALIA, a feminist working group that meets monthly in Toronto, and from 2012-2016, she organized No Looking After the Internet, a collaborative “looking group” that encouraged participants to engage in a form of slow looking. She holds a PhD from the art history and visual culture program at York University in Toronto, Canada and is an Assistant Professor in art history at OCAD University.
PhD 2014 Art History and Visual Culture, York University, Toronto, Canada.
MA 2009 Art History, Diploma in Curatorial Studies, York University, Toronto, Canada.
BA 2006 Art History and Nineteenth Century Studies, University of British Columbia, Vancouver, Canada.
2017 Fulbright Canada Visiting Scholar, Modern Culture and Media, Brown University
2017– Assistant Professor, Art History, Faculty of Liberal Arts and Sciences & School of Interdisciplinary Studies, OCAD University
2016-2017 Postdoctoral Fellow, Art History, University of British Columbia
2015–2016 Acting Chair, Visual & Critical Studies BA program, OCAD University
2014–2016 Lecturer, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University
2011–2013 Project Manager, The Photographic Situation Project, 3-year Social Sciences and Humanities Research Council of Canada (SSHRC)-funded partnership development grant, University of Toronto
2009–2014 Sessional Instructor, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University
2011–2013 Sessional Instructor, Visual Arts, York University
2007–2013 Teaching Assistant, Art History, York University
2007–2010 Assistant Editor, Canadian Art magazine
GRANTS, FELLOWSHIPS, AWARDS
2016–2018 Principal Investigator, Picturing Race and Citizenship: photography and belonging in Canada, 1900-1948, Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant, OCAD University, $41,000
2016–2018 Collaborator, Family Camera, Social Sciences and Humanities Research Council (SSHRC) Partnership Development Grant, Principal Investigator: Thy Phu, Western University
2017 Curatorial Writing Award (2000-5000 words category), 40th Annual Ontario Association of Art Galleries Awards, for “Analogical Thinking” in the catalogue Meryl McMaster: Confluence (Carleton University Art Gallery, 2016). Shared with cheyanne turions for her essay, “Close to Frostbite,” in the same publication.
2017 Fulbright Visiting Scholar Award, Brown University, $12,500
2016-17 Postdoctoral Fellowship, Social Sciences and Humanities Research Council (SSHRC), University of British Columbia, $40,500/year for two years
2016-18 Collaborator, Family Camera, Social Sciences and Humanities Research Council (SSHRC) Partnership Development Grant, Principal Investigator: Thy Phu, Western University
2016 Huntington Library Mayers Fellowship, $6,000
2016 Elaine Ling Research Fellowship, Ryerson Image Centre, $2,000
2015 Canada Council Travel Grants to Professionals in the Visual Arts, $1,500
2015 Nominee, Non-Tenured Award for Teaching Excellence, OCAD University
2014 Social Sciences and Humanities Research Council (SSHRC) Institutional Support Grant, OCAD University/Social Sciences and Humanities Research Council, $2,500
2014 Nominee, Dissertation Prize, Faculty of Graduate Studies, York University
2014 eLearning Curricular Innovation Grant, York University, $5,000
2013 Provost Dissertation Scholarship, York University, $23,000
2013 Junior Fellowship, the Paul Mellon Centre for Studies in British Art, $14,000
2013 St. George Society of Toronto Endowment for Graduate Student Award, $12,500 (awarded, not held)
2012 Canada Council Grant to Professional Independent Critics and Curators Program, Project grant for the exhibition Always Working, $7,000
2012 Zdenka Volovka Research Fellowship, York University, $6,000
2011 Zdenka Volovka Research Fellowship, York University, $6,000
2010 Michael Smith Foreign Study Supplement, Social Sciences and Humanities Research Council, $6,000
2009–2012 Canada Graduate Scholarships Program: Doctoral Scholarship, Social Sciences and Humanities Research Council, $35,000/year for three years
in press Book (peer-reviewed), Picturing imperial citizenship: photography and belonging in the British Empire (Penn State University Press).
2017 Book chapter (peer-reviewed), “Developing Historical Negatives: the Colonial Photographic Archive as Optical Unconscious,” Photography and the Optical Unconscious, Sharon Sliwinski and Shawn Michelle Smith, eds. (Durham, NC: Duke University Press).
2015 Book chapter, “Exhaustive Images: surveillance, sovereignty and subjectivity in Jon Rafman’s The Nine Eyes of Google Street View,” Jon Rafman: Nine Eyes, Kate Steinmann, ed. (Los Angeles: New Documents).
2015 Book chapter, “Literary Supplement: a Brief and Incomplete Atlas of Drawn & Quarterly’s Petits Livres,” Drawn & Quarterly’s 25th Anniversary Publication, (Montreal: Drawn & Quarterly).
2009 Book chapter, “Photographic Traces of Presents Past,” Emergence: Contemporary Canadian Photography, Sarah Parsons, ed. (Toronto: Gallery 44/Ryerson Uni Press).
2017 Journal article, “Object lessons: visualizing displacement in the Canadian Arctic,” Photography & Culture 11.1 (November 2017).
2017 Journal article (peer-reviewed), “Photographing imperial citizenship: the Colonial Office Visual Instruction Committee, 1907–45,” Journal of Visual Culture 16.1 (August).
2016 Journal article (co-authored with Helena Reckitt), “Feminist Tactics of Citation, Annotation, and Translation: Curatorial Reflections on the Now You Can Go programme,” On.Curating 27 (May).
2015 Journal article, “Chromophobia: race, colour and visual pleasure in Richard Mosse’s The Enclave,” Prefix Photo 32 (Winter).
2011 Journal article, “Exhaustive Images: surveillance, sovereignty and subjectivity in Google Street View,” Fillip 15 (Fall).
2011 Journal article (peer-reviewed), “Phantasmagoric places: local and global tensions in the circulation of Stan Douglas’ Every Building on 100 West Hastings,” Photography & Culture, 4:1 (March).
2011 Journal article, “Working-through public and private labour: Sophie Calle’s Prenez soin de vous,” n.paradoxa, 27 (January).
2016 Catalogue essay, “Analogical Thinking,” Meryl McMaster: Confluence (Ottawa: Carleton University Art Gallery).
2016 Catalogue essay, “Photographic Doubt: Sanaz Mazinani,” Reflections & Refractions (Toronto and London: Gallery 44 Centre for Contemporary Photography/Black Dog Press).
2015 Catalogue essay, “Beauty is both inevitable and irrelevant: a conversation with Jessica Eaton,” are you experienced? (Hamilton and London: Art Gallery of Hamilton/Black Dog Press).
2015 Exhibition essay, “Hajra Waheed: Asylum in the Sea,” Darling Foundry, Montreal.
2015 Exhibition essay, “Krista Belle Stewart,” Toronto: Mercer Union, a centre for contemporary art, Toronto.
2015 Catalogue essay, “In Another Place, at the Same Time,” In Another Place, and Here (Victoria: Art Gallery of Greater Victoria).
2013 Response, Reading/Feeling, Tanja Baudoin, Frédérique Bergholtz and Vivian Ziherl, eds. (Amsterdam: If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution).
2012 Catalogue essay, “All Apologies,” On Apology (San Francisco: CCA Wattis/California College of the Arts).
2014 Event review, “The Flood of Rights,” Journal of Visual Culture 13.2 (August): 236-240.
2012 Book review, “Raising Frankenstein: Curatorial Education and its Discontents and Curating and the Educational Turn,” Journal of Curatorial Studies, 1:1 (Spring).
2010 Book review, “Kenneth Hayes’ Milk and Melancholy,” Invisible Culture: An Electronic Journal for Visual Culture, University of Rochester (Winter).
2009 Book review, “James Elkins’ Artists with PhDs: On the New Doctoral Degree in Studio Art,” C Magazine, 102 (Fall).
2017 Curator, Propped, Oakville Galleries, Oakville, ON.
2017 Curator (with Lorna Brown), Sites of Assembly, The Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, BC.
2013– Director, No Looking After the Internet, a monthly “looking group” that meets regularly in Toronto, ON, and occasionally in Vancouver, BC, Montreal, QC, and London, UK.
2012 Curator, Jason Lazarus: THTK, Gallery TPW, Toronto, ON.
2012 Curator in Residence, Coming to Encounter, Gallery TPW, Toronto, ON.
2012 Curator, Always Working, group exhibition, Access Gallery, Vancouver, BC.
2010 Curator (with Arpi Kovacs), This is uncomfortable, group exhibition, Gallery TPW, Toronto, ON.
2009 Assistant Curator, The Leona Drive Project, group exhibition of public art installations by 25 Canadian artists, curated by Janine Marchessault and Michael Prokopow, Toronto, ON.
2008 Curator, Term Projects, group exhibition, XPACE Cultural Centre, Toronto, ON.
2017 Reframing Family Photography
University of Toronto, Toronto, ON
Paper: “Familial Ties and Citizen Claims: Photography, Race and Citizenship in African–Canadian Newspapers”
2017 photographies: Critical issues in photography today
University of Westminster, London, UK
Paper: “No Looking After the Internet: pedagogical experiments and dialogical failures”
2016 FOCUS: YYZ
University of Toronto, Toronto, ON
Panel participant: “Studying photographs: content, form, objects”
2015 Now You Can Go: On Feminist Generations, Affective Withdrawal, and Social Reproduction, The Showroom Gallery, Raven Row, and the Institute for Contemporary Arts, London, UK.
Panel chairperson: “In or Out?: On Leaving the Art World and Other Systems”
2015 Universities Art Association of Canada annual conference, NSCAD, Halifax, Nova Scotia
Panel Chairperson: “Photography and race in Canada”
2015 American Studies Association annual meeting, Toronto, Ontario
Panel Chairperson: “Cold War Camera and the Cultural Politics of Visuality”
2015 Photography and Migration, Colby College, Waterville, Maine
Paper: “Circulating Imperial Citizens: The Colonial Office Visual Instruction Committee’s Photographic Lantern Slides, 1900-45”
2015 Photography Historians: A New Generation?, Ryerson Image Centre, Toronto, Ontario
Paper: “Picturing Citizenship: the Colonial Office Visual Instruction Committee’s photographic lantern slides, 1900-45”
2013 Art, Anxiety, and Protest in the Edwardian Belle Époque, Yale Center for British Art, New Haven, Connecticut
Paper: “Projecting Crisis: Anxieties about Imperial Belonging in the Colonial Office Visual Instruction Committee’s Photographs, 1902-14”
2013 College Art Association’s 101st Annual Conference, New York
Paper: “Picturing Imperial Citizens: Race and Sovereignty in the Colonial Office Visual Instruction Committee’s Photographs, 1902-45”
2013 Doing Photography, Durham Centre for Advanced Photography Studies, Durham, United Kingdom, Respondent.
2012 The Madness of Photography, the Savannah College of Art and Design’s Fourth Biennial Art History Symposium, Savannah, Georgia
Paper: “Epistemic Anxieties in the Photographic Archive: The Colonial Office Visual Instruction Committee’s Slide Lecture Series”
2010 Traffic: Conceptualism in Canada, University of Toronto, Toronto, Ontario
Paper: “From ‘Non-site’ to ‘Non-place’: Challenging myths of placelessness in Vancouver photoconceptualism,”
2016–2017 Board of Directors, Mercer Union
2012–2016 Board of Directors (Secretary) C Magazine
2014–2016 BA Committee, OCAD University
2015–2016 Teaching and Learning Committee, OCAD University
2015–2016 Curriculum Committee, OCAD University
2015–2016 Member of Senate, OCAD University
2015 Selection Committee, Faculty & Curriculum Development Centre Inspired Teaching Awards, OCAD University
2015 Reviewer, Asian Diasporic Visual Cultures and the Americas
2015 Juror, Aimia | AGO Photography Scholarship, Art Gallery of Ontario
2014 Reviewer, Photography & Culture
2014 Juror, Scotiabank CONTACT Photography Festival, BMW Exhibition Prize
SELECTED EXHIBITION REVIEWS AND FEATURE ARTICLES
2016 Feature, “The Pedagogies of Looking: An Interview with Kim Simon and Gabrielle Moser,” C Magazine 131 (Autumn).
2016 Review, “Working Conditions,” Canadian Art (Fall).
2016 Review, “Critics’ Pick: Annie MacDonell,” Artforum.com
2016 Review, “This is Why We Can’t Have Nice Things: What ‘Showroom’ Gets Wrong about Toronto’s Art Scene,” Canadian Art online.
2016 Feature, “Abbas Akhavan: Every artwork is a trap,” Canadian Art (Winter).
2015 Review, “Play on Words: ‘Stopping the Sun in its Course’ Review,” Canadian Art online.
2015 Feature, “Synaesthetics: Aleesa Cohene Fuses the Senses,” Canadian Art (Winter).
2014 Review, “Jason de Haan: Free and Easy Wanderer,” Art in America (December).
2014 Review, “Critics’ Pick: Karen Kraven,” Artforum.com.
2014 Review, “Critics’ Pick: CounterIntelligence,” Artforum.com.
2013 Review, “Venice – The 55th International Art Exhibition, Venice Biennale, The Encyclopedic Palace,” esse 79 (Fall).
2013 Review, “Critics’ Pick: Elizabeth Zvonar,” Artforum.com.
2013 Review, “Critics’ Pick: David Askevold,” Artforum.com.
2013 Review, “Critics’ Pick: Jon Sasaki,” Artforum.com.
2012 Feature, “Lenscraft: Jessica Eaton asks us to think about how we see,” Canadian Art (Winter).
2012 Review, “Critics’ Pick: Jason de Haan,” Artforum.com.
2012 Review, “Critics’ Pick: Valérie Blass,” Artforum.com.
2012 Review, “Critics’ Pick: Coming After,” Artforum.com.
2011 Review, “Critics’ Pick: Didier Courbot,” Artforum.com.
2011 Review, “Critics’ Pick: Barbara Astman,” Artforum.com.
2011 Review, “Geoffrey Farmer: Playing Stateside,” Canadian Art online.
2010 Reviews, “‘Site Exercises,’ Morden Yolles, ‘The Storyteller’,” ARTnews (October).
2010 Review, “Exhibition Making with Ghosts: The 1984 Miss General Idea Pavilion at the Art Gallery of York University,” Fillip, 11 (April).
2009 Feature, “Amy Lockhart mines the subconscious,” No More Potlucks, 5 (October).
2012–present Toronto Photography Seminar
2010–present College Art Association
2008–present Universities Art Association of Canada (UAAC)
2009–2013 International Association of Art Critics (AICA)
English: read, spoken, written
French: read, spoken