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May 22
, 
6:00 pm
 – 
9:00 pm

NEW! Developing Agents: Working in and with photographic archives

Gabrielle Moser

Photographic archives are unusual spaces where knowledge is ordered and histories are narrated. While many artists and writers work with archival materials, few of us have any formal training in information sciences or archival research. This workshop aims to develop a glossary of terms for working in the archive, integrating ideas taken from readings, case studies from local archives, and examples from contemporary photographic practice. Participants are encouraged to bring in-progress work and research questions to workshop with the group and as we collectively consider the strategies—both practical and theoretical—that we can deploy when engaging with archival materials. 

Image Credit: Morris Lum, PA-1599-114-22, 2018, from the series “Subtle Gestures” (2017-18). Archival Pigment Print, 30 inches by 30 inches, Original Image courtesy of the Glenbow Museum and the Calgary Herald.

Gabrielle Moser is a writer, educator and independent curator based in Toronto. As a curator, she has organized exhibitions for Access Gallery, Gallery TPW, the Morris and Helen Belkin Art Gallery, Oakville Galleries, Vtape and Gallery 44 (forthcoming in May 2019). Her writing appears in venues including Artforum, Art in America, Canadian Art, Fillip, Journal of Visual Culture, Photography & Culture, Prefix Photo and the edited volumes Photography and the Optical Unconscious (Duke UP, 2017) and Contemporary Citizenship, Art, and Visual Culture: Making and Being Made (Routledge 2017). She is the author of the book, Projecting Citizenship: photography and belonging in the British Empire (Penn State UP, 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 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.

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Gallery 44 acknowledges that it is situated on stolen land. On the ancestral and traditional territories of the Mississaugas of the Credit First Nation, the Haudenosaunee, the Anishinaabe and the Huron-Wendat, who are the original owners and custodians of this land that they continue to inhabit today.

Acknowledging the land on which we work and create is an important first step towards truth and reconciliation, however, much more needs to be done by settlers, by our government, and by us as arts practitioners to educate ourselves and others, and to endeavor to end ongoing colonial violence.

During this global pandemic, it is important to acknowledge that Indigenous communities in Canada continue to live under increasingly inequitable conditions.

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