Artist and Curator Bios
Born in Umlazi, Durban (South Africa) in 1972, Zanele Muholi lives and works in Johannesburg. She completed an Advanced Photography course at the Market Photo Workshop in Newtown, Johannesburg (2001-2003). In 2009, she received a Master of Fine Arts in Documentary Media from the School of Image Arts, Ryerson University, Toronto (Canada).
Dr. Gaelle Morel
Dr. Gaelle Morel is an art historian and Exhibitions Curator at the Ryerson Image Centre, Toronto, Canada. She received her PhD in the History of Contemporary Art from Universite Paris 1 – Pantheon-Sorbonne, France. Her research and recent work deal with the figure of the artist as author in French contemporary photography. She also works on the artistic and cultural recognition of the medium in the United States in the 1930s. She was, until 2013, a member of the board of the Societe francaise de photographie, and a member of the editorial committee of Etudes photographiques, a bilingual peer reviewed journal on the history of photography. She edited Les Derniers Tableaux. Photojournalisme et art contemporain (Paris: Editions des Archives Contemporaines, 2008) and co-wrote with Thierry Gervais La Photographie published by Editions Larousse in France (2008, 2011). She was a recipient of a Terra Foundation for American Art Travel Grant in 2007, for her work on the American art dealer Julien Levy who closely worked with Berenice Abbott in the 1920s and 1930s.
What It Means To Be Seen: Photography and Queer Visibility / Zanele Muholi: Faces and Phases
Curators: Sophie Hackett and Gaelle Morel
Research Assistant: Sol Legault
Within LGBTQ communities, the camera has historically served several critical functions. Journalists, artists, amateurs, and activists have used photography to build and sustain social bonds by sharing private experience, recording and preserving history, and celebrating sexuality and gender identities constrained by dominant social mores and legal prohibition - in other words, revealing what might otherwise be hidden from sight. By contrast, the medium has been used critically, and with aggression, as an instrument of identification and derogation by heteronormative media outlets and forces of state power. This publication, issued alongside the Ryerson Image Centre's Summer 2014 exhibition season on the occasion of WorldPride 2014 Toronto, explores significant aspects of photography's function within and without queer culture over the last seventy-five years.
A primary exhibition of the Scotiabank CONTACT Photography Festival