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), ,

• 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, 1985 Instructor/Continuing Education, The Protestant School Board of Greater Montreal; Instructor/Summer Series, Cinema and Photography Dept. Concordia University,

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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 : 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,

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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 Tabrizian)

Symposia Co-ordination 1995 Co-coordinator of the "Humanities Doctoral Program :Interdisciplinary Lectures and Symposia on Society and Culture" (speakers: Elizabeth Grosz; Susan Buck-Morss; Dominique LeCapra) 1991 Co-coordinator and panel moderator for Concordia University/Photo Dept. "Contesting the Spheres: Photography, Representation and Gender". (speakers: Raymonde April; Nina Levitt; Beth Seaton) 1989 Co-coordinator (with Richard Baillargeon) for "Voices/Voix: a symposium on photography and language” at The Banff Centre 1987 Coordinator for Optica's 15th anniversary project (symposium) "Towards the Photograph as a Vulgar Document " (symposium speakers: Guy Bellavance; Marta Braun; Phillipe Dubois, Regis Durand; Reesa Greenberg; Jeanne Randolph; Abigail Solomon- Godeau) 1981-2 Co-coordinator for "9 & 5" Lectures and Workshops on Contemporary Photography in collaboration with Photo Communique magazine (speakers: Jessica Bradley; John Brumfield;Robert Cumming; Micheal Lesy; John Pfahl; Eugene Richards; Martha Rosler; Katherine Tweedie; John Upton/ Workshop Facilitators: Michael Asch; Stan Bevington; Marta Braun; John Brumfield; A.D. Coleman; Bruce Elder; Gail Fisher-Taylor; Eldon Garnet; Byron Henderson; Hu Hohn; Michael Mitchell; Gary Winogrand) 1979-80 Co-ordinator of workshops in association with Ryerson Polytechnical Institute (visiting artists: Emmett Gowin; Berenice Abbott; Walter & Naomi Rosenblum)

Public Presentations: Lectures/Gallery Talks, Symposia/Panel Presentations 2014 “The Clock: Time in the 21st Century”, presentation at Concordia for The Body and the State 2012 Postmodernism, Appropriation, Women + Photography: Montreal in the 1980s, a collaborative presentation with Johanne Sloan, Concordia University Art History Department 2010 Presentation + Chair, “Matter with Memory: Archival Practices in Contemporary Art,” Archive and Everyday Life Conference, McMaster University, Hamilton, Ontario 2008 Presentation to faculty of Sheffield Hallam University, Creative Media Arts Department on Database Narrative and Aesthetics 2001 Panel Chair for Following the Archival Turn: Photography, the Museum and the Archive,

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College Art Association, Chicago; Panel co-chair and Presenter, Photography in the Digital Age, University Art Association of Canada; The Home Video in Contemporary Art, Concordia University SFAR (Interdisciplinary Studies Program) 1999 Nostalgia in Evidence: The Artist in the Museum Archive, University Art Association of Canada; Material Value: Class and Historical Culture, University Art Association of Canada; The Artist in the Archive/The Archive in the Museum, Emily Carr Institute for Art and Design; Artist’s Presentation, York University. 1996 The Special Thrill of the Long Lost Look: The Dialectic of Nostalgic Sentiment and Historical Reflection in Contemporary Art, University Art Association of Canada; 21+ Questions on Culture and Nation--Artist’s Presentation, McGill University; The Detective Story as Folktale:Holmes, 007, Miss Marple and Mrs. Peel, York University 1995 Disclosure: The Feminine as Free Agent, The Learned Society Conferences/Canadian Communications Association; 1994 Smart Women/Bad Shoppers ,The Learned Society Conferences/Canadian Communication Association/Canadian Film Studies Association, 1993 Pieces d'identites, Dazibao/La Centrale, MFA Seminar Presentation, Concordia University; Kiss and Kill: Gender.." The Learned Society Conferences/Canadian Communications Association; Social Studies/Still Lives, Maison de la Culture, Cotes des Neiges 1991 Contesting the Spheres: Photography, Representation and Gender,(panel moderator), Concordia University 1990 Artist’s Presentation, The Banff Centre, Banff, Alberta; The Zone of Conventional Practice and Other Real Stories: (Curator’s Presentation) Presentation House, ; Reading and Writing Female: Autobiography and Photography (seminar) The Nova Scotia College of Art and Design; Mutating Strategies: (Re)inventing the Documentary (panel presentation), The Photographer's Gallery, Saskatoon; (Curator’s Presentation)" The Zone of Conventional Practice, The Mendel Art Gallery, Saskatoon; (Co-chair and presentation) Voices/Voix: a symposium on photography and language, .The Banff Centre, Banff, Alberta; Artist’s Presentation, The University of , Vancouver, B.C.;(Curator’s Presentation), The Zone of Conventional Practice, A Space, Toronto; (Curator’s Presentation), The Zone of Conventional Practice Sheridan College, Oakville 1989 Artist’s Presentation, Toronto Photographer's Workshop, Toronto; (Curator’s Talk), The Zone of Conventional Practice..., University of Ottawa 1988 Artist’s Talk, .Dazibao, Montreal 1987 Post-modern Photography, Ryerson Polytechnical Institute, Toronto; Narrative Photography, Emily Carr College of Art and Design, Vancouver 1986 Post-modern Photography, Powerhouse, Montreal; Image/Text/Photography, Concordia University, Montreal 1985 Themes in Contemporary Photography, “The New School” at Dawson College, Montreal 1984 Canadian Topographical Photography, Champlain College, Longueil, Quebec

Media 1999 on Jeff Wall at the Musee d’art contemporain de Montréal, C.B.C, Saturday Spotlight 1995 on “Female Detective Fiction”, C.B.C, Saturday Spotlight; 1991 on "Women in Art, C.K.U.T.,Hersay; on "Autobiography and Photography", C.B.C. Saturday Spotlight 1989 on "Impulse", C.K.L.N., Art on Air 1986 on ”Post-modern Photography”, C.B.C., Brave New Waves, Montreal 1985 on "Feminism and Photography”, C.B.C., Brave New Waves, Montreal 1980 on "9 & 5 Lectures and Workshops on Photography", C.J.R.T., Toronto, Arts and Culture

Visual Arts: Exhibitions and Special Projects Solo Exhibitions 1990 Gravity, Nova Scotia Photo Co-op; Echo (commissioned installation), The Photography Gallery Harbourfront, Toronto 1989 Impulse, Gallery TPW, Toronto, Ontario; Queens & Subjects, Galerie III, Montreal, Quebec 1988 Impulse, Dazibao, Montreal;.Centre de l'exposition de Mont Laurier,Mont Laurier, Quebec 1980 Family & Models (slide/tape programmes); Ryerson Polytechnical Institute, Toronto

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Group Exhibitions 2001 The Portrait in Contemporary Art, The Leonard & Bina Ellen Art Gallery 2000 Nature Canada, (with Cheryl Sourkes and Vid Ingelevics), The Art Gallery of Hamilton 1999 Culture Slash Nation, Definitely Superior Artist’s Centre, Thunder Bay, Ontario; The Return of the Corpse (collaborative piece with Cheryl Sourkes, Vid Ingelevics), Presentation House Gallery; Redefining the Still Life, Leonard & Bina Ellen Art Gallery, Concordia University, Montreal. 1997 This Mortal Coil: Images of Death, Mourning and Loss, The Art Gallery of Peel, Brampton, Ontario; Nomenclature (2 person) Galerie Sans Nom, Moncton 1996 Found Missing: Archival Photographs and the New Historicity, Gallery 44, Toronto and Floating Gallery, Winnipeg 1995 Emprunts, Montreal, Galerie Vox, Montreal; Forming Memory/formations mnemoniques, Leonard & Bina Ellen Art Gallery, Concordia University, Montreal; Culture Slash Nation, Gallery, TPW, Toronto 1993 The Historic Female: Vision historique de la femme: Re-presentation de photographies d'archives, Galerie 3, Montreal; Pieces d'identites, Dazibao, Montreal 1992 A Decade of Collecting: A Selection of Recent Acquisitions, Galerie d'art Leonard & Bina Ellen Art Gallery, Montreal 1991 Memoir (Le Mois de la Photo), Maison de la Culture Mercier, Montrea 1990 Invitational Auction with Kitty Scott, Dazibao, Montreal; Streetsmart: an installation/public access project in Halifax, "Six Stories in the Presence of an Absence" (with Maja Swannie) 1989 Plural, Les Cours Mont-Royal, Montreal; Photomaton Articule, Montreal 1988 Art et Liberte, Liberty Factory, Candiac, Quebec 1986 Bonanza IV, 5354 Sherbrooke Ouest, Montreal 1985 Photographers/Photographes, Galerie Bourget, Montreal; The Nude and Sexuality Dazibao, Montreal, Galerie Sequence, Jonquiere, Quebec;Overture, Optica, Montreal; Art et Liberte, Liberty Factory, Brossard, Quebec 1982 Ryerson Alumni Exhibition, The Photography Gallery, Harbourfront, Toronto 1981 Landscapes (two person), Ryerson Polytechnical Institute, Toronto

Commissions/Special Projects 1992 Artist’s pagework, “Goddesses of Liberty Enlighting”, Incidences, Galerie Dazibao, Montreal 1990 Artist’s pagework, “The Death Sentence of Edith Thompson,” Canadian Journal of Women’s Studies, Summer Issue; Artist’s pagework and Installation, “Echo: A Reinterpretation”, for Public Access: One Decade (Anniversary exhibition and publication of The Toronto Photographer’s Workshop, Toronto 1983 Film Stills for animation in Scissere, a film by Peter Mettler, Mannheim Winter Festival, Mannheim Germany; Montreal Student Film Festival, (Norman McLaren Award)

Collections The Canada Council Art Bank; Safeway Ltee.; Concordia University Art Gallery; The Toronto Photographer’s Workshop; The Art Gallery of Peel; Various private collections

Awards, Grants and Fellowships Ontario Arts Council, Short Term, B level, (Photography) 1981 Ontario Arts Council, Special Project, 1981 Canada Council, Special Project, 1983 Canada Council, Project Cost (Photography), 1983; 1988; 1990; 1994 Canada Council, Explorations : 1987; 1989 (extension) Canada Council, Long Term: (Photography) 1989; (Critics and Curators) 1998 Ministere des Affaires culturelles, Quebec, Ressource techniques: 1987; 1988 Ministere des Affaires culturelles, Quebec, Bourse de courte, type B: 1988 Ministere des Affaires culturelles, Quebec, Bourse de courte, type A: 1991; 1993;1996 Ministere des Affaires culturelles, Quebec, Le Secretariat aux affaires intergouvernementales canadiennes, 1991 The Banff Centres for the Arts, Summer Residency Scholarship, 1992 McLean-Hunter Fellowship in Arts Journalism, The Banff Centre for the Arts, 1991 Social Science and Humanities Research Council, Doctoral Fellowship, 1993; 1994; 1995 Concordia University External Grant Holders Scholarship, 1993; 1994; 1995 Social Science and Humanities Research Council, Postdoctoral Fellowship 1998-2000

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Concordia University Part-time Teachers Assocation, Professional Development Grant, 2000, 2010, 2012

Adjucation 1992 Canada Council Art Bank, Regional Jury Member 1991 Ontario Arts Council, "Project Cost" Jury Member 1990 Canada Council, "Project Cost" Jury Member

Associations 1980- Associate Member, Toronto Photographer's Workshop,Toronto 1986-1990 Board of Directors -Optica, Montreal; A.N.N.P.A.C. rep./ President 1986-1989 1990 Associate Member, Vu, Quebec, Quebec 1991 Association Internationale des Critiques d'Art 1993-95 Canadian Communications Association 1998- University Art Association of Canada 2000- College Art Association

Bibliography (Reviews; Photo Publications; Catalogues) AQUIN, Stephane, “Emprunts: Pret-a-porter”, Voir, 12-18 Janvier, 1995, p. 45 BRAUN, Marta, “Text and Narrative in ‘The Zone’ Catalogue,” Views, May 1990 CARLEVARIS, Anna, “forming memory/formations mnemoniques” (brochure essay) Montreal: Concordia, 1995 DION, Francois, “Claire de femme, “ Voir, 19-25 octobre, 1989 DION, Francois, “Emprunts”, (brochure essay), Montreal:Vox, 1995 DURAND, Regis, “Photography/Le Mois de la Photo a Montreal,” art press, 186, 1994 C Magazine, photo project with Reesa Greenberg, issue no. 8 Winter CRON, Marie-Michel, “Les souvenirs de las photographie,” Le Devoir, 28 et 29 Janvier, 1995, p. GAGNON, Lise, “Cheryl Simon,” Esse, no. 16 (automne) 1990 GRAVEL, Claire,."Le Mois de la Photo: Les trafiquants d'images ont aussi leur place", Le Devoir, 27 , 1989 GRAVEL,Claire, “Les pieges de la modernite", Le Devoir, 31 novembre, 1989 GRAVEL, Claire, , “Les pieges de la modernity,” Le Devoir, 31, novembre, 1989 JOHNSON, Lorraine, “The Zone of Conventional Practice and Other Real Stories: An Interview with Cheryl Simon,” Views, September, 1990 LAMARCHE, Lise, “Planche Contact,” Spirale, mai 1988 LAPOINTE, Louis-Marie, “La vision moderne d'une tradition" ,Progres-Dimanche, November 25, 1985 LATIMER, Johanne, ."Myself, My Art: Identity...,” The Montreal Mirror, Jan. 14, pg. 22, 1993 LEWIS, Allison, "Healing Hands: For the Women" Fuse, Summer 1990, pg. 43 LUPIEN, Jocelyn,."Representation narrative et mythologie personnelle a l'edifice Cooper", Spirale, December 1985 Parallelogramme, photo reproduced, Fall 1985 Pieces d'identites, Galerie Dazibao/La Central, Montreal (brochure essay) La Recherche photographique, ."Untitled/Hands","L'Ombre", Paris, Universite Paris VIII no. 11, 1992 SOURKES, Cheryl “Found Missing: Archival Photographs and the New Historicity” (brochure essay), Toronto, Gallery 44, 1996 SOURKES, Cheryl and Lorraine Johnson, “Culture/Slash/Nation”, Border/Lines, #38-39, 1996 WILKE, Bob, “Telling Pictures, Revealing Histories”, Afterimage (April), 1990 WOLLHEIM, Peter, ."Impulse", Views, Vol. 6, #

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