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Cheryl Simon, Ph.D Cheryl Simon, Ph.D. 758, rue Lusignan, Montréal, Québec H3C 1Y9 514-932-3491/514-770-3491 _______________________________________________________ Research + Education 1998 – 2000 Post-Doctoral Research, SSHRC-funded, at the University of Rochester, Visual + Cultural Studies Program, directed by Janet Wolffe • Entitled, Following the Archival Turn: Photography, the Museum and the Archive, the research project considers the photographic archive in both its concrete and abstract manifestations, exploring the dynamic role it has played informing a range of twentieth century art, art historical, museological and photographic activities. Looking at specific historical and contemporary, artistic and theoretical, European and North American examples, the study addresses the various implications of an 'archival turn' for aesthetic, historical, social, cultural, institutional, and/or disciplinary discourses and practices. 1992 – 1998 Ph.D. in Humanities/Interdisciplinary Studies in Society and Culture (Communications, Cultural Studies of Popular Culture; Film Studies, Film Noir & Melodrama, Feminist Film Theory; Literary Theory), Concordia University, Montreal • Thesis: Gender, Genre and Globalization: Discourses of “Femininity” in the Popular Culture of the 1990s The dissertation considers the political scope of appropriation and pastiche practices in recent popular cultural narrative production. Specifically, it addresses crime narratives about women that revive historical genres and forms: feminist hard-boiled detective fiction, the film noir renaissance and tabloid journalism. 1992 Photography Program, The Banff Centre for the Arts, Banff, Alberta 1991 The Arts Journalism Program, The Banff Centre for the Arts, Banff, Alberta 1983 - 1988 M.F.A. Studio Arts/Photography, Concordia University, Montreal • Thesis Exhibition: impulse, an exhibition of enlarged, colour, photographic stills from 8mm home movies circa 1960. Single frames are recombined in idiosyncratic pairs, triptychs and series that address the family rituals through which a female child is socialized--photography being one of these ritual practices. • Thesis Research Paper: Rewriting the Rules of the Narrative Game: Narrative and Postmodernism examines the critical function of strategies of appropriation, installation and narrative montage in Canadian postmodern photography. 1977 - 1981 B.A.A. Photography/Media Studies, Ryerson Polytechnical Institute, Toronto 1976 Summer Workshops, The Visual Studies Workshop, Rochester, N.Y. Teaching 2013-2000 Faculty, Cinema & Communications Department, Dawson College, Montreal 2013-1994 Sessional Lecturer, M.F.A. Studio Program and Cinema Studies Dept. Concordia 1991-94 Sessional Lecturer, Visual Arts Dept. The University of Ottawa, Ottawa 1990 Sessional Appointment, Assistant Professor, Nova Scotia College of Art and Design 1988 Sessional Appointment, Nova Scotia College of Art and Design 1986-88 Lecturer Dawson College, Montreal/"The New School" 1985-86 Substitute Photography Instructor, Creative Arts Department., Champlain College, Longueil, Quebec 1985 Instructor/Continuing Education, The Protestant School Board of Greater Montreal; Instructor/Summer Series, Cinema and Photography Dept. Concordia University, 1 Teaching Areas: Media Arts: Issues and Practices; Media History and Theory; History Of Photography; Woman and Film/History and Theory; Film Noir, Melodrama; Cultural Studies, Studies of Popular Culture; Women’s Popular Culture; Interdisciplinary Studio; Photo-based Installation and Site Specific Art Practices; Foundation; Intermediate and Advanced Studio and Darkroom–Black and White and Colour; Digital Imaging; Documentary Photography; Introductory Video Production; Film Criticism & Theory; Writing for the Media; Interdisciplinary Studies—Studio; The Artist, The Museum, The Archive; Art + Globalism; The Cinematic; E-journaliksm Publications 2014 Vera Frenkel: The Endless Archive, CV Photo, upcoming Fall 2013 Romany Eveleigh: Pages, brochure essay, with Angela Grauerholz, Galerie Roger Bellemare 2012 “This is not a history of photography in Canada: Review of The Cultural Work of Photography in Canada,” CV 91 2011 “Living with Ghosts: Recent Work by Tricia Middleton,” brochure essay for Mercer Union 2010 Tricia Middleton (review) Canadian Art (Spring); “Subjects of Speculation: Pamela Landry’s Fixations” brochure essay, Circa Gallery; 2009 Tim Clark (review) CV 81 2008 Harun Farocki, (review), CV 78; Peter Piller (feature) CV 80; 2007 “Writing Poetry in The Bit-Stream,” in Cheryl Sourkes: Public Camera, exhibition catalogue CMCP/Southern Alberta Art Gallery/Tom Thompson Gallery; Killing Women (book review) Canadian Journal of Film; “Travels in Cyberspace,” C magazine (summer); 2005 Special Issue of CV Photo: “Still Moving” (guest editor) CV 67 (June); “Between Heaven and Earth, the Loci and the Cosmos: The Reading Room for the Working Artist,” CV 66, (forthcoming) 2004 Photos, Fakery + Canadian Identity: A review of Faking Death: Canadian Art Photography and the Canadian Imagination,” Topia: Canadian Journal of Cultural Studies ; 2003 “Moving Things: The Collections of Barbara Layne,” Portfolio: Barbara Layne, London: Telos Press 2002 “Suspended Conversations,” (review), CV Magazine (Fall) 2001 “The Archival Turn: Photography, the Archive & the Museum,” introductory essay (guest editor) Visual Resources: An International journal Of Documentation 1999 “1998 Montreal Biennale,” (review) C Magazine, (Winter); “Prosthetic Culture” (review), Journal of Communication Inquiry; “Crimes of Evidence” (review); Make (Summer) 1998 “Raymonde April”, (review), C Magazine (Winter); Gisele Amantea, (review), Canadian Art, (Summer); “Oval & Oval Again,” Lorraine Simms, Galerie Optica; 1997 “Big Disney is Watching You“ (review) Border Crossings, (Fall/Winter) 1996 “The Photographic Activity of Visual Culture”, CV Magazine 37, (Winter);"Lessons in Words and their Bodily Affects: The Photographic Installations of Laurel Woodcock", Blackflash (Winter) 1995 "Witness" (review) , C 46 (Summer); ."Strategies for Survival in a Disappearing World" (catalogue essay), Corps-machine, Montreal: Galerie La Centrale 1994 "The City Within" (book review), Parachute 73, (Winter). 1993 "Kiss and Kill: Gender, Sexuality and the Female Crime, Interpersonal Violence, Health and Gender Politics, ed. Stanley French, Montreal: Wm. C. Brown; "Domestic Subversion: The Photographic Work of Susan McEachern" in Frame of Mind: Viewpoints on Photography in Contemporary Canadian Art. Banff: The Walter Phillips Gallery”: “Social Studies/Still Lives” (catalogue essay), Social Studies/Still Lives, Montreal: Vox Populi 1992 "Shelagh Alexander” (review), M5V Magazine, Vol 1 # 2; ."A short story apropos a levitation: on the work of Nicole Jolicoeur" Harbour Magazine, Vol. 1, no. 4; .Blair Robins (review), Parachute 67, (July, August, Sept.); "In Excess of Representation" (catalogue essay), Sylvie Readman, Montreal:Galerie Samuel Lallouz 1991 “Alison Rossiter” (review), Canadian Art, (Winter); "Another Way of Seeing: Ron Benner"(review), Canadian Art, (Summer); “ Carolyn White” (review), Canadian Art,(Fall); “The News: The Zone of Conventional Practice”, Views, Boston 1990 "The Liontamer" in Mirabile visu, Quebec: Vu; "Signifying Nothing" Angela Grauerholz (catalogue essay), Mercer Union: Toronto 1989 The Zone of Conventional Practice and Other Real Stories, editor.Montreal: Optica 1988 "Portraits of the Human Spirit: the photographs of Shelia Spence and Angela Grauerholz" Blackflash, (April); "Dichotomies and Doublings--Desirs Idees", ( brochure essay) John Di Stefano, Rome: The Canadian Cultural Centre in Rome; "Occupied Territory by Lynne Cohen" (book review) Views, 2 Vol. 5 no. 4 November 1988; "Le Mois de la Photo", Views, Vol 6, # 8. 1987 "One Against the Other" (review) C, 13; Gilbert Boyer/Louise Viger (review) C, 13; "Telling Stories: Raymonde April's Chansons Formidables", Photo Communique, (summer);.Randy Saharuni (review) Views, Vol. 3, no. 3 1986 "The Deja vu of Angela Grauerholz" Vanguard, (April) 1985 “Serge Tousignant” (review), Vanguard, (January);“Barbara Kruger” (review), Vanguard, (February); “Robert Mapplethorpe” (review) Vanguard, (March);“Holly King” (review), Vanguard, (April); “George Legrady” (review), Vanguard, (Summer) 1984 “Jayce Salloum” (review), Vanguard, (February); "Images Fabrique" (review), Vanguard, (March); “Robert Boffa” (review), Vanguard, (April); “Sherrie Levine” (review), Vanguard, (September) 1982 “Fern Helfand” (review), Artmagazine, 60, (Sept/Oct.) “Brian Condron” (review), Vanguard, (Summer) Curatorial Projects 1993 Social Studies/Still Lives, Le Mois de la photo a Montreal, September, (artists: Kati Campbell; Anne Ramsden; Arthur Renwick; Carolyn White ) 1989 The Zone of Conventional Practice and Other Real Stories, (Traveling exhibition and book) Optica, Montreal, (artists: Raymonde April, Michel Campeau, Sorel Cohen, Blake Fitzpatrick, EldonGarnet, Angela Grauerholz, Arni Haraldsson, Jamelie Hassan, Nicole Jolicoeur, Nina Levitt, Susan McEachern, Robert Moore, Sylvie Readman, Cheryl Sourkes; writers: Serge Berard, Jean-Pierre Denis, Lisa McCoy, Peter Wollheim) 1988 Towards the Photograph as a Vulgar Document: 15th Anniversary Exhibition, Book and Symposium Optica, Montreal (co-curated with Sorel Cohen, Lorne Falk, Dominique Guillaumant; artists: Raymonde April et Charles Guilbert; Bob Burley; Tim Clark; Eileen Cowin; Lee Friedlander; Michel Gaboury; Suzy Lake; Luci Lefebvre; George Legrady; SherrieLevine; Laurie Simmons; Mitra
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