G MoserGabrielle 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


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).

Book Reviews
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    CuratorPropped, 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


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