2012

Canada
Annie MacDonell is a Toronto-based visual artist working in a variety of media. Moving between appropriation, re-animation and deconstruction, her practice includes photography, film, installation, sculpture, and sound. She studied photography at Ryerson's School of Image Arts, followed by an MFA at Le Fresnoy, Studio National des Arts Contemporains, in France. Her photos have been shown at the Art Gallery of Windsor, the AGO, The Power Plant, and Le Grand Palais in Paris.

Annie MacDonell, The present is the future of the past and the past of the future (The Fortune Teller) (detail), 2012, 16" x 12", chromogenic print.

Canada
Emmanuelle Léonard was born in Montréal. A graduate from the Université du Québec à Montréal, she has exhibited widely at the Musée d'art contemporain de Montréal, Kunsthaus Dresden and Neuer Berliner Kuntsverein in Germany, and Mercer Union in Toronto. Her works tackle the persuasive nature of the photographic image, questioning such tenets as artistic and legal authority, the nature of evidence, and perceptions of beauty. In 2005, she was the recipient of the Pierre-Ayot Award, presented by the city of Montréal for excellence in visual arts.

Emmanuelle Léonard, Citizens, protest, March 15, 2009, # 5137, 2009. inkjet print, 102 cm x 90 cm

UK
Jason Evans was born in Holyhead, Wales. His wide ranging photographic practice includes fashion editorial, art photography, online projects, and collaborations with musicians including Caribou, Four Tet, and Radiohead. His online project The Daily Nice features one image per day that makes him smile, with no archive. Evans’ series Strictly, featuring portraits of highly styled young men on the suburban streets of the U.K., is part of the collection of the Tate.

Jason Evans, Untitled from The Daily Nice, 2004-ongoing, online project, one picture per day, unarchived

Sara Knelman, a writer and curator based in London, UK. She is a PhD candidate at the Courtauld Institute of Art, where she researches photographic exhibition in mainstream art institutions in recent decades, working with Julian Stallabrass. Between 2006 and 2009 she was curator of contemporary art at the Art Gallery of Hamilton, Ontario.

Charlotte Cotton is a curator and writer. Her cultural roles have included creative director of the Media Space, a partnership between the Science Museum and the National Media Museum that will open in London in 2013. Previously, she was Curator and Department Head of Photography at the Los Angeles County Museum of Art (2007-2009), the Curator of Photographs at the Victoria and Albert Museum (1992-2004), and Head of Programming at The Photographers' Gallery in London (2004-5). She was a visiting professor at Yale University (2005) and visiting critic at SVA, Bard, CCA and Cranbrook (2005-7). She is the author and editor of several books, including Imperfect Beauty (2000), Then Things Went Quiet (2003), Guy Bourdin (2003) and The Photograph as Contemporary Art (2004), and is the founder of Words Without Pictures.

Adam Broomberg and Oliver Chanarin are artists living and working in London. Their latest book War Primer 2 is published by MACK (2011). Broomberg and Chanarin teach at the School of Visual Arts in New York and are Visiting Fellows at the University of the Arts London. Their work is represented in major public and private collections including Tate Modern, Victoria and Albert Museum, International Center of Photography, Musee de l’Elysee, the Stedelijk Museum, Shpilman Institute for Photography and Saatchi Gallery.

Sophie Hackett is the Curator, Photography, at the Art Gallery of Ontario (AGO) and adjunct faculty in Ryerson University’s master’s program in Film and Photography Preservation and Collections Management. She continues to write for art magazines, international journals and artist monographs, including “Queer Looking: Joan E. Biren’s Slide Shows” in Aperture (spring 2015) and “Encounters in the Museum: The Experience of Photographic Objects” in the edited volume The “Public” Life of Photographs (Ryerson Image Centre and MIT Press, 2016). Hackett’s curatorial projects during her tenure at the AGO include Barbara Kruger: Untitled (It) (2010); Songs of the Future: Canadian Industrial Photographs, 1858 to Today (2011); Max Dean: Album, A Public Project (2012); What It Means To be Seen: Photography and Queer Visibility and Fan the Flames: Queer Positions in Photography (2014); Introducing Suzy Lake (2014); and Outsiders: American Photography and Film, 1950s–1980s (2016). In 2017, she was a Fellow with the Center for Curatorial Leadership. She is the lead juror for the 2017 Aimia | AGO Photography Prize, a role she also held in 2014, 2010 and 2012.