Andrea Kunard, Senior Curator, Photographs, National Gallery of Canada curates, researches and publishes on historical and contemporary photography. She earned her PhD in 2004 from Queen’s University, and taught survey and seminar courses on the history of photography, Canadian Art, and museology for over a decade at Carleton University, Queen’s University and Nova Scotia College of Art & Design University. As Senior Curator, Kunard explores the intersections of contemporary and historical issues in Canadian photography, focusing on cultural uses of the medium, and its capacity to challenge and reconfigure accepted understandings of the public and private, subjectivity, memory, and knowledge. Exhibitions include Before the Land: Behind the Camera (1998) Shifting Sites (2000), Susan McEachern: Structures of Meaning (2004), Scott McFarland: A Cultivated View (2009), Fred Herzog (2011), Clash: Conflict and Its Consequences (2012), Photography in Canada 1960-2000 (2017) and Marlene Creates – Places, Paths, and Pauses (2017), Anthropocene (2018) with Sophie Hackett and Urs Stahel; Moyra Davey: The Faithful (2020), Movement: Expressive Bodies in Art (2022), and Kan Azuma: A Matter of Place (2024) with Assistant Curator Euijung McGillis. Kunard has also curated exhibitions on historical Canadian photography such as “Early Exploration in Canada” (2013) and “Arctic Images from the Turn-of -the-Twentieth Century” (2013), in collaboration with Library and Archives Canada, as well as the pictorial photography component of the NGC exhibition and catalogue Artists, Architects and Artisans: Canadian Art 1890-1919 (2013-14), curated by Charles Hill. Other exhibitions investigate specific themes, such as Aboriginal representation, as seen in Steeling the Gaze: Portraits by Aboriginal Artists (2008-09) (co-curated with Steve Loft), Jeff Thomas: Scouting for Indians (2003), Shelley Niro: This Land is Mime Land (2003) and Peter Pitseolak (2001-2002). Her exhibition Michel Campeau: Icons of Obsolescence (2013) reflects on the analogue-digital shift in photography, and its effect on the medium, social practices, and the production, preservation and sharing images. As well, her essay published in Robert Burley’s The Disappearance of Darkness: Photography at the End of the Analogue Era (Princeton Architectural Press, Ryerson Image Centre, 2013) examines the social and cultural impact of changing technologies in the histories of photography. Kunard also co-curated the exhibition “Dominion Street” (2012) on the work of Moncton photographer Jaret Belliveau with Terry Graff for the Beaverbrook Gallery. Virtual exhibitions include Photostories Canada, a major web-based project focused on the National Film Board of Canada, Still Photography Division collection for Virtual Museums Canada in collaboration with the Library and Archives Canada. Published essays include “Stilll Moving: Fugitive and Unfolding. Jin-me Yoon and Photography,” Jin-me Yoon: Scotiabank Photography Award (Steidel 2023) and “James Nicholas and Sandra Semchuk: Photography and Collaboration,” Ithin-en-wuk—we place ourselves at the centre: James Nicholas and Sandra Semchuk (MacKenzie Art Gallery 2023). Co-editor of The Cultural Work of Photography in Canada (McGill Queen’s U.P. 2008), Kunard has written articles on contemporary and historical photography in The Journal of Canadian Art History, the International Journal of Canadian Studies, Early Popular Visual Culture, and the National Gallery of Canada Review, (University of Toronto Press).