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Curatorial Panel 2009

Liz Wylie
has been curator of the Kelowna Art Gallery since 2007. Previously she held the position of University of Toronto Art Curator for eleven years. As well as her work as a curator, she has been writing reviews and articles on contemporary and historical Canadian art since 1977. At the Kelowna Art Gallery she has recently launched a series of solo temporary commissions entitled Dysfunctional Chairs. In addition to the gallery’s exhibitions and collection, she is also responsible for the programming of the newly created satellite gallery space at the Kelowna Airport. Wylie holds an MFA in art history from Concordia University in Montreal. She is a past president of the Ontario Association of Art Galleries. Some of her major publications include Richard Gorman: Pure Painting (Ottawa Art Gallery, 1996); In the Wilds: Canoeing and Canadian Art (McMichael Canadian Art Collection , 1998); Geoffrey James: Past, Present, Future (University of Toronto Art Centre, 2003); and Nexus: Histories and Communities (catalogue for an exhibition marking the 30th anniversary of the Kelowna Art Gallery, 2007).
    
                    
Kitty Scott is director of Visual Arts at The Banff Centre. Previously she was chief curator at the Serpentine Gallery, London, and curator of contemporary art at The National Gallery of Canada, Ottawa. Scott has curated numerous exhibitions including To Touch: An Installation by Janet Cardiff (1993), Edmonton Art Gallery; Browser (1997), Roundhouse, Vancouver; Francis Alÿs: Le temps du sommeil (1998), Contemporary Art Gallery, Vancouver; Bankside Browser (1999), Tate Modern, London; Peter Doig (2001), Morris and Helen Belkin Art Gallery, Vancouver; Art Metropole: The Top 100 (2006), The National Gallery of Canada, Ottawa; Sound and Vision (2006), Montreal Museum of Fine Arts, Montreal; and Paul Chan: 7 Lights (2007), Serpentine Gallery, London. She has written extensively on contemporary art for catalogues and journals including Parachute, Parkett, and Canadian Art. Most recently, Scott has contributed to monographic publications on the work of Peter Doig, Brian Jungen, Daniel Richter, and Matthew Barney. She is visiting professor at the California College of the Arts, San Francisco, and adjunct professor at York University, Toronto; University of British Columbia, Vancouver; and University of Ottawa.
                            

Ivan Jurakic is the Curator at Cambridge Galleries in Cambridge, Ontario. He has an Honours BA from the University of Guelph and MFA from the State University of New York at Buffalo. Since 1999 he has curated numerous exhibitions including; Kelly Mark: Messages, David Acheson: Doomsday, Zone 6B: Art in the Environment, Goth[narcot]ic: The Art of Floria Sigismondi, Group of Seven Revisited, Colleen Wolstenholme: Iconophobia, Sara Angelucci: Somewhere In Between, Passages: Lisa Klapstock | Andrew Wright, Site Visits and has played a central role in facilitating several prominent multi-venue exhibition projects such as Emblems of the Enigma: The Art of Vessna Perunovich and James Carl: Do You Know What. As a practicing artist, his installations have been exhibited in both Canada and the United States, and he is a founding member of TH&B, an autonomous artist collective that generates sitebased projects. His writing has appeared in numerous exhibition catalogues for Hamilton Artists Inc., the Art Gallery of Hamilton, McIntosh Gallery, Tree Museum and Cambridge Galleries, and his reviews have been published in C Magazine, Espace Sculpture and Fuse. He lives in Hamilton, Ontario.


Louise Déry holds a doctorate in art history and has been the director of the Galerie de l’UQAM (Université du Québec à Montréal) since 1997. An exhibition curator and essayist, she also teaches museology and art history, and has served as curator of contemporary art at the Musée national des beaux-arts du Québec, Quebec City, and the Montreal Museum of Fine Arts. She has also been the director of the Musée regional de Rimouski. As an exhibition curator, she has realized many projects in Canada and USA as well as in Europe and Asia, featuring individual contemporary artists (Sarkis, Nancy Spero, David Altmejd, Dominique Blain, Raphaëlle de Groot, Jana Sterbak, etc.). In organizing group exhibitions, she focuses on the relationship between body and language, the question of artistic engagement, public art, the international dissemination of Quebec art and an examination of the “conversation” that takes place between works when they are displayed together. She is the author of more than fifty exhibition catalogues and many articles for specialized journals. She was the commissioner for Canada at the 52nd Venice Biennale, with an exhibition dedicated to David Altmejd. In 2007, she has received the first Hnatyshyn Foundation award for curatorial excellence.

                    
Terry Graff currently holds the position of Curator and Deputy Director at the Beaverbrook Art Gallery, Fredericton, NB. Over the course of his extensive career in the visual arts, he has served as Executive Director of three public art galleries in three different provinces: the Mendel Art Gallery, Saskatoon, SK; Rodman Hall Arts Centre, St. Catharines, ON.; and Confederation Centre Art Gallery & Museum, Charlottetown, PEI. He has served as Curator of Contemporary Art at Confederation Centre Art Gallery & Museum; Director of the artist-run Struts Gallery, Sackville, NB; Education Curator for the Art Gallery of Windsor, Windsor, ON; and drawing and sculpture instructor for the Department of Fine Arts at Mount Allison University, Sackville, NB. Over the past twenty years, Graff has curated a myriad of contemporary and historical exhibitions, and has written numerous articles, catalogues and books on a diverse range of art and artists. He was the first recipient of the Christina Sabat Award for Art Criticism in Atlantic Canada, sponsored by the Sheila Hugh MacKay Foundation. Finally, Graff is an accomplished visual artist and the recipient of major public sculpture commissions. His work has been featured in numerous one-person and group exhibitions, and is included in many public and private collections across the country.