Photo of Gabrielle Moser
Photo of Gabrielle Moser
Gabrielle Moser
Adjunct Professor
Faculty of Liberal Arts and Sciences, Graduate Studies

Area(s) of Expertise

Art Criticism, Photography history and theory, Contemporary Art, Feminist & Queer Art, Postcolonial and Visual Culture Theory


Assistant Professor, Aesthetics and Art Education, Faculty of Education, York University
Adjunct Faculty, OCAD University

Gabrielle Moser is a writer and independent curator. Her writing has appeared in venues including Artforum, Art in America, ARTnews, Canadian Art, Fillip, Flash Art, Journal of Curatorial Studies, Journal of Visual Culture, n.paradoxa, Photography & Culture, photographies, 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 University Press, 2019). She has organized exhibitions for Access Gallery, Gallery 44, Gallery TPW, the Morris and Helen Belkin Art Gallery, Oakville Galleries and Vtape. 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. She holds a PhD in art history and visual culture from York University and is a founding member of the EMILIA-AMALIA feminist working group.


PhD, York University, Art History and Visual Culture, 2014

MA, York University, Art History, 2009

Graduate Diploma, York University, Curatorial Studies in Visual Culture, 2009

BA, University of British Columbia, major Art History, minor Nineteenth Century Studies, 2006

Professional Experience

Assistant Professor, Aesthetics and Art Education, Faculty of Education, York University, 2020–present

Assistant Professor, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University, 2017–2020

Fulbright Visiting Scholar, Modern Culture and Media, Brown University, Providence, RI, USA, 2017

Postdoctoral Fellow, Art History, University of British Columbia, 2016-2017

Adjunct Professor, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University, 2016–2017

Acting Chair, Visual & Critical Studies BA program, OCAD University, 2015-2016

Lecturer, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University, 2014–2016

Project Manager, The Photographic Situation Project, a three-year Social Sciences and Humanities Research Council of Canada (SSHRC)-funded partnership grant between the Toronto Photography Seminar (Toronto, ON), The Developing Room (Rutgers, NJ) and the Durham Centre for Advanced Photography Studies (Durham, UK), 2011–2013

Assistant Editor, Canadian Art magazine, Toronto, ON, 2007–2010

Selected Exhibitions

CuratorDeveloping Historical Negatives, Gallery 44 Centre for Contemporary Photography and Critical Distance, Toronto, ON, 2019

CuratorPropped, Oakville Galleries, Oakville, ON, 2017

Co-Curator (with Lorna Brown), Sites of Assembly, The Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, BC, 2017 

Director, No Looking After the Internet, an out-loud looking group that meets in Toronto, ON, London, UK and in Montreal, QC, 2012–present

Curator, in Residence, Coming to Encounter, series of panel discussions, screenings and publications at Gallery TPW, Toronto, ON, 2012–2013 

Curator, Always Working, group exhibition, Access Gallery, Vancouver, BC, 2012

Curator, This is uncomfortable, group exhibition (co-curated with Arpi Kovacs), Gallery TPW, Toronto, ON, 2010

Assistant Curator, The Leona Drive Project, group exhibition of public art installations curated by Janine Marchessault and Michael Prokopow, Toronto, ON, 2009

Curator, Term Projects, group exhibition, XPACE Cultural Centre, Toronto, ON, Aug 14-23, 2008

Curator, Animator Statement, curated screening as part of Vtape's Curatorial Incubator v. 5, VIDEO ANIMATION: –What's Up, Doc?–, V tape, Toronto, 2008

Curator, Sleepwalker Project 5 | Private Viewing, group exhibition (co-curated with Shaun Dacey), Sleepwalker Projects window gallery, Toronto, ON, 2007

Awards \ Grants

Principal Investigator, with co-investigator Carol Payne (Carleton University), Reparative Frames: Visual Culture After Reconciliation, Social Sciences and Humanities Research Council (SSHRC) Connection Grant, $25,000, 2019

Principal Investigator, with co-investigator Annie MacDonell (Ryerson University), Failure is an Option: Assessing challenges and identifying resources for feminist artist-run culture, Social Sciences and Humanities Research Council (SSHRC) Partnership Engage Grant with the Canadian Filmmakers Distribution Centre (CFMDC), $24,976, 2018-2019

Award for Excellence in Early Stage Research, Scholarship and Creative Activity, OCAD University, $1,500, 2018

Principal Investigator, Picturing race and citizenship: photography and belonging in Canada, 1900-1948, 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, 2016-2018

Curatorial Writing Award (2000-5000 words category), 40th Annual Ontario Association of Art Galleries (OAAG) Awards, 2017, for “Analogical Thinking” in the catalogue Meryl McMaster: Confluence (Carleton University Art Gallery, 2016).

Postdoctoral Fellowship, Social Sciences and Humanities Research Council (SSHRC), University of British Columbia, $40,500/year for two years, 2016-2017

Fulbright Canada Visiting Scholar Award, $12,500, 2017

Elaine Ling Research Fellowship, Ryerson Image Centre, $2,000, 2016

Canada Council Travel Grants to Professionals in the Visual Arts, $1,500, 2015

Nominee, Non-Tenured Award for Teaching Excellence, OCAD University, 2015

Institutional Support Grant, Social Sciences and Humanities Research Council (SSHRC), 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, 2014

Provost Dissertation Scholarship, York University, $23,000, 2014

Junior Fellowship, the Paul Mellon Centre for Studies in British Art, to support a three-month research stay in the United Kingdom, £7,500, 2013

St. George Society of Toronto Endowment Fund, York University and the St. George Society, $12,500, 2013 (awarded but not held)

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/year, 2011/2012

Michael Smith Foreign Study Supplement, Social Sciences and Humanities Research Council, $6,000, 2010

Canada Graduate Scholarships Program Doctoral Scholarship, Social Sciences and Humanities Research Council, $35,000/year for three years, 2009–2012

Selected Publications

Book manuscript (in progress, under contract with McGill-Queens University Press), Citizen Subjects: Photography and Sovereignty in Post-War Canada.

Book, Projecting Citizenship: photography and belonging in the British Empire (Penn State University Press, 2019)

Book chapter (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, 2018): 158-167.

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, 2017)

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, 2016)

Book chapter, “Literary Supplement: a Brief and Incomplete Atlas of Drawn & Quarterly’s Petits Livres,” Drawn & Quarterly’s 25th Anniversary Publication, (Montreal: Drawn & Quarterly, 2015)

Book chapter, “Photographic Traces of Presents Past,” Emergence: Contemporary Canadian Photography, Sarah Parsons, ed. (Toronto: Gallery 44/Ryerson University, 2009)


Journal article (peer-reviewed), “No Looking After the Internet: Curatorial experiments and pedagogical failures in engaging difficult images,” photographies 11.2-3 (Summer 2018): 313-327.

Journal article, “One Photograph: Object lessons—visualizing displacement in the Canadian Arctic,” Photography & Culture 11.1 (November 2017): 91-95.

Journal article (peer-reviewed), “Photographing Imperial Citizenship,” Journal of Visual Culture 16.2 (August 2017): 190-224.

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 2016)

Journal article, "Chromophobia: race, colour and visual pleasure in Richard Mosse's The Enclave,"Prefix Photo 32 (Winter 2015)

Journal article, "Exhaustive Images: surveillance, sovereignty and subjectivity in Google Street View," commissioned as part of the series "Photography in the Age of Biopolitics: Apparatus, Capture, Trace," Fillip, 15 (Fall 2011)

Journal article (peer-reviewed), "Phantasmagoric places: local and global tensions in the circulation of Stan Douglas's '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 2011)


Review (forthcoming), "The Unexpected Subject: 1978 Art and Feminism in Italy," Women & Performance.

Review, “Stephanie Temma Hier,” Artforum print (June 2020)

Review, “Hajra Waheed,” Artforum print (December 2019)

Feature, “Deanna Bowen,”, October 18, 2019,

Feature, “Meryl McMaster: As Immense as the Sky,” Canadian Art online, September 4, 2019,

Review, "Pamila Matharu and Sister Co-Resister," (March 2019)

Review, “Rebecca Belmore: Facing the Monumental,” Artforum (November 2018)

Review, “Helen Cho: You Remain Dismembered,” Flash Art (November 2018)

Feature, “Classroom: Spectatorship, race and citizenship,” Art & Education, September 14, 2017.

Review, “Tau Lewis and Curtis Santiago,”, 2017.

Feature, "Abbas Akhavan: Every artwork is a trap," Canadian Art (Winter 2016)

Feature, “The Pedagogies of Looking: An Interview with Kim Simon and Gabrielle Moser,” C Magazine 131 (Autumn 2016).

Event review, "The Flood of Rights,"Journal of Visual Culture 13.2 (August 2014): 236-240

Review, "Critics"Pick: CounterIntelligence,", Feb 2014

Book review, "'Raising Frankenstein: Curatorial Education and its Discontents' and 'Curating and the Educational Turn,'" Journal of Curatorial Studies, 1:1 (Spring 2012)

Book review, "Kenneth Hayes's 'Milk and Melancholy,'" Invisible Culture: An Electronic Journal for Visual Culture, University of Rochester, NY (Winter 2010)

Professional Affiliations / Boards / Juries

Editorial Advisory CommitteeCanadian Art, 2017–present

National Advisory BoardC magazine, 2016–present

Board of Directors, Mercer Union, 2016-2017

Advisor, Publications, Gallery 44, Toronto, 2014–2016

Selection Committee, Faculty & Curriculum Development Centre Inspired Teaching Awards, OCAD University, 2015

Juror, Aimia | AGO Photography Scholarship, Art Gallery of Ontario, 2015

Juror, Scotiabank CONTACT Photography Festival, BMW Exhibition Prize 2009–2014

Member, International Association of Art Critics (AICA), 2014

Member, Toronto Photography Seminar, 2012–2019

Board of Directors, C magazine, 2012-2016

Mentor, Supporting Our Youth (SOY)'s Click One-on-One mentoring program, 2011–present

Member, College Art Association, 2010–present

Member, Universities Art Association of Canada (UAAC), 2008–present