MA, BFA (Concordia)
Erin Silver is a historian of queer and feminist art, visual culture, performance, and activism. She obtained a PhD in Art History and Gender and Women’s studies from McGill University in 2013, and has taught at the University of Southern California, the University of Guelph, the University of Toronto, OCAD University, and Concordia University. She is the co-editor (with Amelia Jones) of Otherwise: Imagining Queer Feminist Art Histories (Manchester University Press, 2016), co-editor (with taisha paggett) of the winter 2017 issue of C Magazine, “Force,” on intersectional feminisms and movement culture, and author of the forthcoming Suzy Lake: Life & Work (Art Canada Institute, 2020). In 2016-2017, she was the Horizon Postdoctoral Fellow in the Histories of Photography in Canada at Concordia University. She has curated exhibitions at the FOFA Gallery (Concordia University, Montreal), the Canadian Lesbian and Gay Archives (Toronto), and the Doris McCarthy Gallery (University of Toronto Scarborough). Silver’s writing has appeared in C Magazine, CAA Reviews, Canadian Art, Ciel Variable, Prefix Photo, Fuse Magazine, Momus, Performance Matters, Visual Resources, and in the volume Narratives Unfolding: National Art Histories in an Unfinished World (ed. Martha Langford, McGill-Queen’s University Press, 2017), as well as in various exhibition catalogues in the areas of Canadian photography and queer and feminist art. She is an editor of RACAR (Revue d’art canadienne / Canadian Art Review) and sits on the editorial advisory committee of C Magazine. Her current book project explores understandings of “support” as not only a structural concept, but also a subject position, and the particular implications of this double-meaning for queer and BIPOC artists in making exhibitions and negotiating gallery space.
Otherwise: Imagining Queer Feminist Art Histories
Manchester University Press
Edited by Amelia Jones and Erin Silver
Otherwise: Imagining Queer Feminist Art Histories is the first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of “queer” to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by offering a range of essays by key North American and European scholars, both emerging and renowned, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach.