BA (UBC), PhD (York)

Gabrielle Moser is currently a Social Sciences and Humanities Research Council of Canada (SSHRC) postdoctoral fellow in art history at the University of British Columbia and is a Fulbright Visiting Scholar in the department of Modern Culture and Media at Brown University in Winter 2017. She holds a PhD from the art history and visual culture program at York University and is an Adjunct Professor in art history at OCAD University.

Moser’s research analyzes the historical conditions that allowed citizenship to emerge as a photographable subject in the British Empire at the beginning of the twentieth century, focusing on how subjects have used the camera to make claims for political recognition, immigration rights and social equality. She has held fellowships at the Paul Mellon Centre for the Study of British Art, Ryerson Image Centre, and the Huntington Library (forthcoming) and is the Principal Investigator for the two-year, SSHRC-funded project “Picturing race and citizenship: photography and belonging in Canada, 1900-48” which examines the presence of racialized citizens in the Canadian photographic archive.

As an independent curator, she has organized exhibitions for Access Gallery, Gallery TPW, Vtape, and Xpace and is currently preparing an exhibition about the use of props in contemporary artistic practice for Oakville Galleries. Her writing appears in venues including, Art in America, C Magazine, Canadian Art, Fillip, Journal of Visual Culture, Photography & Culture, Prefix Photo and in the forthcoming edited volume, Photography and the Optical Unconscious (Duke University Press, 2017). A founding member of EMILIA-AMALIA, a feminist working group that meets monthly in Toronto, she also serves on the board of directors at Mercer Union and regularly convenes No Looking After the Internet, a collaborative “looking group” that encourages participants to engage in a form of slow looking.

2017    Book chapter (peer-reviewed, in press), “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).

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).