Matthew Brower

Lecturer, University of Toronto

Professor Brower teaches modern art and visual culture and the history of photography. In his research, Professor Brower works on the history of animal photography and the representation of animals in visual culture. He is currently working on a manuscript on early American animal photography for the University of Minnesota Press, a cultural history of butterflies for Reaktion Books, and a number of smaller projects including an essay on Muybridge’s Animal Locomotion. In 2005, he was awarded the Humane Society of the United States’s Outstanding New Course Award for “Envisioning Animals: Animals and Visual Culture.”

Selected Exhibitions and Publications

Co-author with David Liss and Bonnie Rubenstein, “Collective Identity │Occupied Spaces,” CONTACT Magazine, 32-59, 2012.

Co-curator with David Liss and Bonnie Rubenstein, Collective Identity│Occupied Spaces, two-venue primary exhibition for the 2012 Scotiabank CONTACT Photography Festival, University of Toronto Art Centre, May 1-June 30, and the Museum of Contemporary Canadian Art, April 28-June 3, 2012.

Co-curator with Carla Garnet, Suzy Lake: Political Poetics, primary exhibition for the Scotiabank CONTACT Photography Festival, University of Toronto Art
Centre, April 30 – June 25, 2011.

Developing Animals: Wildlife and Early American Photography (Minneapolis: University of Minnesota Press, 2010).

Co-curator with Bonnie Rubenstein, The Brothel without Walls, primary exhibition for the Scotiabank CONTACT Photography Festival, UTAC, April 29-May 29, 2010.

“A Rupture in the Field of Representation: Animals, Photography and Affect,” Photography and Culture 2.3 (November 2009): 317-325.

Curator, Figure, Form and Ground, University of Toronto Art Centre (UTAC), January 15–March 14, 2009.

“Photographic Emergences,” Emergence: Contemporary Canadian Photography, ed. Sarah Parsons, (Toronto: Gallery 44/Ryerson University Press, 2009): 24-33.

Guest editor, with Thy Phu, special issue of History of Photography 32.2 (Summer 2008).

“George Shiras and the Circulation of Wildlife Photography,” History of Photography, 32:2 (Summer 2008): 169-175.

‘Take Only Photographs’: Animal Photography’s Production of Nature Love,” Invisible Culture, 9 (2005). Reprinted in Antennae: the Journal of Nature in Visual Culture 5.2 (July 2005).

Trophy Shots: Early North American Non-Human Animal Photography and the Display of Masculine Prowess,” Society and Animals 13.1: 13-32.

Contact

Matthew Brower
Lecturer in Museum Studies
Faculty of Information
University of Toronto
140 St. George Street
Toronto, ON
M5S 3G6
matthew.brower@utoronto.ca