Gabrielle Moser is a writer, educator and independent curator based in Toronto. As a curator, she has organized exhibitions for Access Gallery, Gallery 44: centre for contemporary photography, Gallery TPW, the Morris and Helen Belkin Art Gallery, Oakville Galleries and Vtape. Her writing appears in venues including Artforum, Art in America, C Magazine, Canadian Art, Fillip, Journal of Visual Culture, Photography & Culture, Prefix Photo and the edited volumes Photography and the Optical Unconscious (Duke 2017) and Contemporary Citizenship, Art, and Visual Culture: Making and Being Made (Routledge 2017). Her first book, Projecting Citizenship: photography and belonging in the British Empire, was published by Penn State University Press in 2019. Moser has held fellowships at the Paul Mellon Centre for the Study of British Art, Ryerson Image Centre, the University of British Columbia and was a Fulbright Visiting Scholar in the department of Modern Culture and Media at Brown University in 2017. A founding member of EMILIA-AMALIA, she holds a PhD in art history and visual culture from York University in Toronto, Canada, where she is an Associate Professor in Aesthetics and Art Education in the Faculty of Education.

Education
PhD     2014     Art History and Visual Culture, York University, Toronto, Canada.
MA       2009     Art History, York University, Toronto, Canada.
BA        2006     University of British Columbia, Vancouver, Canada.

Professional Experience

  • 2023–present, Associate Professor, Aesthetics and Art Education, Faculty of Education, York University
  • 2020–2023, Assistant Professor, Aesthetics and Art Education, Faculty of Education, York University
  • 2017–2020, Assistant Professor, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University
  • 2017, Fulbright Visiting Scholar, Modern Culture and Media, Brown University
  • 2016-2017, Postdoctoral Fellow, Art History, Visual Art & Theory, 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
  • 2007–2010, Assistant Editor, Canadian Art magazine

Selected Publications

Books

  • 2019, Book (peer-reviewed), Projecting Citizenship: Photography and Belonging in the British Empire (Penn State University Press)
  • 2018, Book chapter (peer-reviewed, with Bambitchell: Sharlene Bamboat and Alexis Mitchell), “Sounding Citizenship: An Ongoing Discussion on Art, Affect, and Belonging,” Contemporary Citizenship, Art, and Visual Culture: Making and Being Made, Corey Dzenko and Theresa Avila, eds. (New York: Routledge): 158-167.
  • 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): 100-123.
  • 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): 22-30.
  • 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 University).

Articles

  • 2022, Journal article (peer-reviewed), “When Photographs Fail, When Monuments Fall: Photography and Reparations in Canada,” Photography & Culture 15.1 (October), pp. 1-17.
  • 2022, Journal article (peer-reviewed), “Race, Climate Change and the Photographic Negative in Richard Mosse’s Heat Maps,” Third Text 36.4 (July), pp. 349-368.
  • 2021, Journal article, “On Looking at Difficult Images,” Canadian Art Teacher, vol. 18, no. 1.
  • 2021, Journal article (peer-reviewed), “Settler Colonialism’s Container Technologies: Photographing Crates in the Canadian Arctic (1926-1953),” Settler Colonial Studies: https://doi.org/10.1080/2201473X.2021.1884427.
  • 2020, Journal article (peer-reviewed), “Familial Ties and Citizen Claims: Photography and Early Civil Rights Activism in African–Canadian Newspapers,” Visual Studieshttps://doi.org/10.1080/1472586X.2020.1827973.
  • 2018, Journal article (peer-reviewed), “No Looking After the Internet: Curatorial experiments and pedagogical failures in engaging difficult images,” photographies 11(2-3): 313-327.
  • 2017, Journal article, “One Photograph: Object lessons—visualizing displacement in the Canadian Arctic,” Photography & Culture 11.1 (November): 91-95.
  • 2017, Journal article (peer-reviewed), “Photographing Imperial Citizenship,” Journal of Visual Culture 16.2 (August): 190-224.
  • 2016, Journal article (with Helena Reckitt), “Feminist Tactics of Citation, Annotation, and Translation: Curatorial Reflections on the Now You Can Go programme,” On.Curating 29 (May).
  • 2015, Journal article, “Chromophobia: race, colour and visual pleasure in Richard Mosse’s The Enclave,” Prefix Photo 32 (Winter): 16-33
  • 2011, Journal article, “Exhaustive Images: surveillance, sovereignty and subjectivity in Google Street View,” Fillip 15 (Fall): 20-31.
  • 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):  55–72.
  • 2011, Journal article, “Working-through public and private labour: Sophie Calle’s Prenez soin de vous,” n.paradoxa, 27 (January): 5-13.


Catalogues

  • 2022, Catalogue essay, “Correspondences: Hajra Waheed,” Hajra Waheed: Hold Everything Dear (Toronto: The Power Plant)
  • 2021, Catalogue essay, “How Not to Be Seen,” Capture Festival (Vancouver).
  • 2020, Catalogue essay, “When Wooden Crates Become Ballot Boxes:  Photography and the Making and Un-Making of Inuit Citizens in Canada’s Arctic,” Crating the World, Jacqueline Hoàng Nguyễn and Rado Istok, eds. (Mexico City: Athénée Press).
  • 2018, Catalogue essay, “Unfinished Work,” Karen Kraven: Pins and Needles (Toronto: Toronto Sculpture Garden).
  • 2018, Catalogue essay, “Porous Sounds: frequencies of refusal in diasporic family photographs,” Jacqueline Hoàng Nguyễn: The Making of an Archive, (Vancouver: grunt gallery).
  • 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/CaliforniaCollege of the Arts).

Book Reviews

  • 2021, Book review, “School Photos in Liquid Time: Reframing Difference, by Marianne Hirsch and Leo Spitzer,” Photography and Culture 14.1 (Winter).
  • 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).

Selected Exhibition Reviews and Feature Articles

  • 2022, Review, “Swapnaa Tamhane,” Artforum.
  • 2021, Review, “Critics’ Pick: Esmaa Mohamoud,” Artforum.com.
  • 2021, Review, “The Unexpected Subject: 1978 Art and Feminism in Italy,” Femme Art Review.
  • 2021, Review, “Sameer Farooq,” Artforum print (May).
  • 2021, Review, “Mia Sandhu,” Canadian Art online (February).
  • 2020, Review, “Aaron Jones,” Artforum (December).
  • 2020, Review, “Native Art Department International,” Artforum (September).
  • 2020, Review, “Stephanie Temma Hier,” Artforum (June).
  • 2019, Review, “Hajra Waheed: Hold Everything Dear,” Artforum (December).
  • 2019, Op Ed, “Viola Desmond photograph — now on $10 bill — reminds us that her brave battle against prejudice went undepicted,” Toronto Star, November 15.
  • 2019, Feature, “Deanna Bowen,” CBC.ca, October 18.
  • 2019, Feature, “Meryl McMaster: As Immense as the Sky,” Canadian Art online, September 4.
  • 2019, Review, “Critics’ Picks: Pamila Matharu with Sister Co-resister,” Artforum.com
  • 2019, Review, “Critics’ Pick: Tim Whiten,” Artforum.com.
  • 2018, Review, “Rebecca Belmore: Facing the Monumental,” Artforum (November).
  • 2018, Review, “Helen Cho: You Remain Dismembered,” Flash Art (November)
  • 2017, Feature, “Classroom: Spectatorship, race and citizenship,” Art & Education, September 14.
  • 2017, Review, “Tau Lewis and Curtis Santiago,” Artforum.com.
  • 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, Editor, “Always Working” special section on art and labour, Fillip 18 (August 2013).
  • 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.

Conferences

  • 2022, College Art Association 110th Annual Conference, Chicago, USA. Paper: “Feminist Killjoys and Symbolic Mothers: Strategies for intergenerational collaboration in the arts”
  • 2022, College Art Association Annual Conference, online. Respondent: “Reparative Collectivities.”
  • 2021, Black Portraiture[s], Toronto, Canada, online. Paper: “Mis-registration: stereographic vision, racial difference and colonial mimicry in the work of Zinnia Naqvi and Deanna Bowen”
  • 2021, Universities Art Association of Canada, online. Paper: “Alongside but at a Distance: Feminist Approaches to Curating, Mentorship and Expertise”
  • 2021, American Studies Association, Puerto Rico. Paper: “Holes and How to Fill (Feel, Foil, Find, Fall Into) Them”
  • 2021, (invited) Photodemos, University of Central London, UK. Paper: “When photographs fail, when monuments fall: Photography and reparations in           Canada”
  • 2021, Association for Art Historians Annual Conference, Newcastle, UK
    Panel organizer and convenor: “Climates of Colonialism” with co-chair Julia Lum (Scripps College)
  • 2019 Reparative Frames: Visual Culture After Reconciliation, the Art Gallery of Ontario and OCAD University, Toronto. Convener and Organizer, with Carol Payne (Carleton University)
  • 2019 Black Portraiture[s] V: Memory and the Archive. Past/Present/Future, New York University, New York. Paper: “Surviving the End of the World: Colonialism and Climate Change in the work of Christina Battle and David Hartt”
  • 2019 Museum for Future Fossils, Toronto. Workshop Participant
  • 2019, College Art Association Annual Conference, New York. Paper (co-written with student researcher Maya Wilson Sanchez): “The Album as Archive: Margaret Corry’s souvenir photographs through the lens of Canadian citizenship (1946-63)”
  • 2018, Conflict, Commemoration and Displacement, Ryerson University, Toronto, ON. Paper: “Heat, Displacement, and the Right to Opacity in Richard Mosse’s Heat Maps
  • 2018, Black Portraitures IV: The Color of Silence, Harvard University, Cambridge, Mass. Panel chairperson and presenter: “Visual Cultures of Black (Un)Freedom in Canada”. Paper: “Listening to the Archive: Silence as Resistance”
  • 2018, Crating the World Roundtable Discussion, Haverford College, Penn. Paper: “From wooden crates to ballot boxes: Colonial object relations in Canada’s Arctic”
  • 2017, Reframing Family Photography, University of Toronto, Toronto, ON. Paper: “Familial ties and citizen claims: photography, race and citizenship in African-   Canadian newspapers”
  • 2017, Reframing Family Photography, University of Toronto, Toronto, ON. Panel chairperson: “Politicizing Family”
  • 2017, photographies journal: Critical Issues in Photography Today, University of Westminster, London, UK. Paper: “No Looking After the Internet: curatorial experiments and pedagogical failures in engaging difficult images”
  • 2017, Wayne State Center for Citizenship Studies 14th Annual Conference: Violence, Wayne State University, Detroit, MI. Paper: “Quiet and quotidian images: Family photography, race and violence in African- Canadian owned newspapers”
  • 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”

Guest lectures and public talks

  • 2021, Public talk, “Art Connects,” with Simranpreet Anand and Harleen Kaur, Vancouver Art Gallery, August 10.
  • 2021, Public talk, “Failure in feminist public pedagogy: Holes and How to Fall Into Them,” Building Research Connections: A Spotlight on New Faculty and Postdoctoral Fellows, Faculty of Education, York University, June 3.
  • 2021, Lecture (invited), “The Album as Archive: Margaret Corry’s Souvenir Photographs through the Lens of Canadian Citizenship (1946–63),” 13th Annual Goldfarb Summer Institute, Photography: In and Out of the Archive, Visual Art & Art History, York University, Toronto, Canada.
  • 2020, Moderator, “Acts of Erasure: Fatma Bucak and Krista Belle Stewart,” Museum of Contemporary Art, Toronto, October 23.
  • 2020 Public lecture (invited), “Magic Lanterns and Colonial Instruction: Spaces of Civic Education in the British Empire,” Université libre de Bruxelles (ULB), Brussels, Belgium, January 24.
  • 2020 Public lecture (invited), “The North, the South and the Gelatin Silver: Photography and Transnational Citizenship,” Konstfack University of Arts, Crafts and Design, Stockholm, Sweden, January 29.
  • 2019 Public talk, “Artists in the Archive” with Pamila Matharu, Art Gallery of Ontario, Toronto, ON, November 20.
  • 2019 Public lecture, “Archival Reconstructions: On Looking Disobediently in the Colonial Archive,” Media History Research Centre new book roundtable, Concordia University, Montreal, QC, March 19.
  • 2019 Moderator, “Artistic Ethics in an Age of Social Consciousness,” Hart House Debates and Dialogues Committee, University of Toronto, ON, March 18.
  • 2019 Public lecture and book launch, “Archival Reconstructions: On Looking Disobediently in the Colonial Archive,” OCAD University, Toronto, ON, March 12.
  • 2019, Lecture, “Contemporary Art and Cultural Diversity,” Toronto Friends of the Visual Arts, Women’s Art Centre, Toronto, ON, November 6.
  • 2017, Public talk, “Citizen Subjects: photography, race and belonging in Canada,” Research Rendezvous, OCAD University, Toronto, ON, November 27.
  • 2017, Public conversation with Deanna Bowen, Mercer Union, Toronto, ON, November 1.
  • 2017, Public talk and exhibition tour, “Sites of Assembly,” The Morris and Helen Belkin Art   Gallery, University of British Columbia, Vancouver, BC, June 28.
  • 2017, Public talk, “How to be Unruly,” Walrus Talks Canada 150: We Desire a Better Country,  Carlu, Toronto, ON, May 31.
  • 2017, Public talk, “Exhaustive images: looking at photographs in a post-Internet age,” Black Water Middle School, Conway, SC, April 21.
  • 2017, Public lecture, “When Wooden Crates Become Ballot Boxes: Photography and the Making and Un-Making of Citizens in Canada,” Coastal Carolina University, Conway, SC, April 21.
  • 2017, Public lecture, “Quiet and quotidian images: Family photography, race and violence in African-Canadian–owned newspapers,” Coastal Carolina University, Myrtle Beach, SC, April 24.
  • 2017, Guest lecture, “Visuality and Displacement,” Displacement Seminar, Middle Eastern Studies, Brown University, April 6.
  • 2017, Guest lecture, ENGL 2901F: Around 1948: Interdisciplinary Approaches to Global Transformation, Brown University, March 22.
  • 2017, Public lecture, “Quiet and quotidian images: Family photography, race and violence in African-Canadian–owned newspapers,” Pembroke Center, Brown University, Providence, RI, March 16.
  • 2017, Guest lecture, “Wounds of Empire,” AMST 729: Visual Kinship: Seeing, Feeling, Touching and Telling Family Photographs in Context,” Yale University, Feb. 14.
  • 2016, Guest lecture, “Walter Benjamin, the optical unconscious and the role of photography in art history,” ARTH 300: Methods in Art History, University of British Columbia, Oct. 3.
  • 2016, Public lecture, “From imperial to Canadian citizenship: photography, race and belonging in the former British Empire, 1900-1948,” Art History, Visual Art and Theory department, University of British Columbia, Vancouver, BC, Sept. 28.
  • 2016, Moderator, “This Must Be the Place” artists’ panel and performance symposium, CAFKA festival and the University of Waterloo, Kitchener, ON, June 4.
  • 2016, Moderator, “To keep (something) in position: props in contemporary photographic practice,” panel discussion, Gladstone Hotel and Gallery 44, Toronto, ON, May 14.
  • 2016, Public talk with Jason Gowans, “The Sinister in Photography,” Capture Photography Festival, Inform Interiors, April 12.
  • 2016, Guest lecture, “No Looking After the Internet,” CRIT 525: Making and Curating Art: Pedagogy and Praxis, Roski School of the Arts, MA program in Curating and the Public    Sphere, University of Southern California, Los Angeles, Feb. 17.
  • 2015, Guest lecture, “Beauty, Sublimity & the Abstract,” Ryerson University, Nov. 19.
  • 2015, Guest lecture, “Fashion and Postcolonial Studies,” Ryerson University, Sept. 30.
  • 2015, Facilitator, “Abstractions in Photography,” workshop at Gallery 44, June 9.
  • 2015, Public talk, “Feedback talk: Krista Belle Stewart,” Contemporary Art Gallery, Vancouver, BC, Jan 26.
  • 2015, Panel discussion and moderator, “In Another Place, and Here,” Art Gallery of Greater Victoria, Victoria, BC, Jan 24.
  • 2014, Guest examiner, MFA thesis critiques, Guelph University, Dec 8.
  • 2014, Public talk, “The idea of abstraction in contemporary photography,” Feature Art Fair, Oct 26.
  • 2014, Public talk, “Photography and Self-Fashioning,” Kitchener Waterloo Art Gallery, Oct 16.
  • 2014, Public talk, “Evolutions in Art Writing,” Canadian Art Gallery Hop, Sept. 10.
  • 2014, Public talk, “Open Sesame Critics Forum,” LUFF, April 26.
  • 2013, Public talk, “My Favourite Photograph,” The Photographers’ Gallery, London, UK, Nov 29.
  • 2013, Public talk, “Shary Boyle’s interventions into the AGO collection,” Art Gallery of Ontario, June 4.
  • 2013, Moderator and Panelist, “The Atlantic Symposium: New Directions for Art Writing” organized by C Magazine and Visual Arts Nova Scotia, NSCAD University, April 19-20.
  • 2013, Public talk and exhibition tour, “Althea Thauberger, Sade Marat Bohnice,” The Power Plant, Feb 5.

Curated Exhibitions and Programming

  • 2016–present, Founding member and organizer, EMILIA-AMALIA, a feminist working group that holds monthly public sessions examining feminist modes of thinking, writing and intergenerational knowledge transmission. The group has programmed talks, reading groups, workshops and screenings at the Art Gallery of Ontario, Art Metropole, the Canadian Filmmakers’ Distribution Centre (CFMDC), Gallery 44, and Mercer Union, Toronto, ON; articule, Montreal, and [space] studios, London, UK.
  • 2019, Curator, Developing Historical Negatives, group exhibition, Gallery 44 Centre for Contemporary Photography, Toronto, ON, May 3–June 1.
  • 2017, Curator, Propped, group exhibition featuring work by 18 contemporary Canadian artists, Oakville Galleries, ON, June 25–September 2.
  • 2017, Co-curator (with Lorna Brown), Sites of Assembly, The Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, BC, June 23–August 13.
  • 2012–16, Director, No Looking After the Internet, a monthly “looking group” that met regularly  in Toronto, ON, and occasionally in Vancouver, BC, Montreal, QC, Los Angeles, USA and London, UK.
  • 2012, Curator, Jason Lazarus: Too Hard To Keep, Gallery TPW, Toronto, ON.
  • 2011–12, Curator in Residence, Coming to Encounter, Gallery TPW, Toronto, ON.
  • 2012, Curator, Always Working, group exhibition, Access Gallery, Vancouver, BC.
  • 2010, Curator (with Arpad 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.
  • 2008, CuratorAnimator’s Statement, screening, Vtape Curatorial Incubator, February 8-21. 

Service and Volunteering

  • 2021–2024, Senate Appeals Committee, York University (elected).
  • 2021–2022, Graduate Council Executive, Faculty of Education, York University.
  • 2021–2022, Tenure Stream Appointments Committee, Faculty of Education, York University.
  • 2020–present, Prisoner Correspondence Project Toronto, volunteer pen pal
  • 2016–present, National Advisory Board, C magazine
  • 2021, Committee on Faculty Research, Awards, and Grants, Faculty of Education, York University (elected).
  • 2020–2021, Committee on Undergraduate Admissions, Awards and Academic Standards, Faculty of Education, York University.
  • 2019–2021, National Editorial Advisory Committee, Canadian Art magazine
  • 2019, Juror, SSHRC Connection Grant, May 2019 competition.
  • 2011–2020, Mentor, Click! One on One Mentoring Program, Supporting Our Youth (SOY) and the Sherbourne Health Centre
  • 2017–2020, Criticism and Curatorial Practice Graduate Program Committee, OCAD University
  • 2017–2020, Contemporary Art, Design and New Media Art Histories Graduate Program Committee, OCAD University
  • 2017–2020, Graduate Studies Curriculum Committee, OCAD University
  • 2017–2020, Criticism and Curatorial Practice (MFA) Curriculum Committee, OCAD University
  • 2014–2019, Visual and Critical Studies (BA) Committee, OCAD University
  • 2016–2017, Board of Directors, Mercer Union
  • 2015–2016, Teaching and Learning Committee, OCAD University
  • 2015–2016, Faculty of Liberal Arts and Sciences Curriculum Committee, OCAD University
  • 2015–2016, Member of Senate, OCAD University
  • 2014–2016, Advisor, Publications, Gallery 44 Centre for Contemporary Photography
  • 2012–2016, Board of Directors (Secretary, member of auction committee, education/programming committee), C Magazine/C the Visual Arts Foundation
  • 2015, Juror, Shelley Peterson Student Exhibition Prize, University of Toronto Art Centre
  • 2015, Juror, Aimia | AGO Photography Scholarship, Art Gallery of Ontario
  • 2014–2015, Juror, North-Sur Norte-South Photo Exchange project, Gallery 44 Centre for Contemporary Photography, OCAD University and the Pan Am Games
  • 2014, Juror, Scotiabank CONTACT Photography Festival, BMW Exhibition Prize
  • 2008–2010, Board of Directors and programming collective, Pleasure Dome

Professional Affiliations
2010–present     College Art Association
2008–present     Universities Art Association of Canada (UAAC)
2009–2020     International Association of Art Critics (AICA)
2012–2019         Toronto Photography Seminar