Laura González received her Ph.D. in Fine Arts from the University of Barcelona (1998). She also holds an MFA from the School of the Art Institute of Chicago (1990) and a Bachelor in Visual Arts from the National School of Fine Arts, National Autonomous University of Mexico (UNAM). In 1986 she received an award from the National Photography Biennale in Mexico, and in 1989, the grant for young photographers from the National Fund for Culture and the Arts. She is a member of the National Research System (SNI - 1999), the Advisory Board of the National Photographic Archive System (SINAFO- 2002) and of the Fundación Cultural Mariana Yampolsky, A.C. (2002).
She currently holds a full time tenure-track position as researcher and professor at the Institute for Aesthetic Research, National Autonomous University of Mexico (IIE - UNAM). Her current research project is Towards an Aesthetics for the 21st Century: The Artisticity of the New Image Technologies.
Author of the book Photography and Painting, Two Different Media?, published in Barcelona by Ed. Gustavo Gili (original version in Spanish). Along with José Falconi (Cultural Agents, Harvard University) Laura González is currently coordinating the seminar Visible Rights: Photography as Cultural and Artistic Agency.
Dot Tuer is a writer and cultural historian who specializes in Canadian and Latin American art and photography, with a focus on the contemporary and modern periods. She also has a scholarly interest in colonial Latin American history. Her research addresses the relationship of social memory to political agency and the theorization of mestizaje as a site of intercultural exchange between European and indigenous cultures.
Tuer holds a Ph.D. in history from the University of Toronto and is Professor of Art History and Humanities at OCAD University, where she has served as the Acting Dean of Liberal Studies, Chair of CRCP (the undergraduate program in curatorial and critical studies housed in the Faculty of Art), and Interim Director of the Graduate Program in Curatorial and Critical Practices.
Tuer is widely published in art magazines, peer-reviewed journals, and book anthologies. A collection of her essays on art, Mining the Media Archive, was published in 2006. She has received numerous awards for her writing on art and culture, including the Ontario Art Galleries Association Curatorial Writing Award, Toronto Arts Award, National Magazine Award, and Canada Council Senior Artist and Ontario Arts Council Literature grants.
Tuer also works in the curatorial field. Most recently she was the Guest Curator for the Art Gallery of Ontario’s exhibition on Mexican artists Frida Kahlo and Diego Rivera, Frida and Diego: Passion, Politics, and Painting (October 20, 2012-January 13, 2013).
Tuer has served as a board member for the Power Plant; the Toronto Arts Council; the Cinemateque Ontario; the Funnel Film Theatre; and Prefix Photo, Public, Fuse and C magazines. She also has served as a juror for all levels of government cultural funding, as well as for international festivals and museums including the Art Gallery of Ontario’s Grange Photography Prize when the partnering country was Mexico.
Museographer, researcher, writer and editor, Alfonso Morales graduated in social and political sciences as well as from the University Centre for Film Studies at UAM. He was part of the founding team for the Centre for Graphic Arts of the General National Archives. Morales Carrillo has held directorships of the departments of research and museology at the National Museum of Popular Culture. He has coordinated research and exhibitions, both national and international, on different subjects related to popular culture in Mexico: the review theatre, the circus, the comic strip, calendar images, games of fortune, music, radio and cinema. Morales Carrillo was curator of the exhibition Asamblea de Ciudades: Cultura y vida cotidiana en la ciudad de México, 1920–1950. He has contributed to the conservation and dissemination of various photographic, artistic and political archives, including that of photographer Manuel Ramos and caricaturist Abel Quezada. Morales is author of Los recursos de la nostalgia (essay), Parches y remiendos (short story), El Gran Lente (a historiography of José Bustamante’s photo studio), El teatro de los hechos (research into the career of Enrique Metinides, a yellow press/human interest journalist), Foto insurrecta (a survey of the works of photojournalist Rodrigo Moya), Iconofagia (essay) and Eternidad fugitiva (essay).
Morales Carrillo is co-author of Imaginarios y fotografía en México 1839–1970. He has written for theatre and cabaret, among them Atracciones Fénix, a play directed by Jesusa Rodríguez and invited for participation at the Mozart Festival in Vienna, Austria. Morales Carrillo was awarded an Ariel for his artistic direction of the movie La Leyenda de una mascara, directed by José Buil. Morales has published essays and articles on the history of photography in Mexico, and on the work of specific authors. He was chief of photography of Foto-Click and Zonas magazines. He is currently director of Luna Córnea magazine, published by Centro de la Imagen, as well as curator of the photography collection at Fundación Televisa. Morales’s most recent project was Gabriel Figueroa: Cinefotógrafo.
Maia-Mari Sutnik is the Curator of Photography at the Art Gallery of Ontario (Toronto), where she began developing the photography collection in 1979. She has contributed to many publications, including international editions of Contemporary Photographers and Contemporary Masterpieces, and more recently, Imaging a Shattering Earth: Contemporary Photography and the Environmental Debate. Major exhibitions curated include Gutmann, Michel Lambeth: Photographer, and Pop Photographica: Photography’s Objects in Everyday Life. Her last curatorial project, Eisenstaedt: Two Visions, was produced in conjunction with the Museum of Fine Arts (Boston) exhibition Ansel Adams. Her recent essay, Deuil: New Work by Spring Hurlbut appears in Prefix Photo 15: Prefix Institute of Contemporary Art, Toronto, 2007.