Histoire et théorie de l'art | History & Theory of Art
Ciphers: Tension with Tradition in Contemporary Iranian Art, curated by Fitzpatrick at SAW Gallery, Ottawa, 2012. (Exhibition detail photo by Paul Galipeau courtesy SAW Gallery.)
Gender and Exposure in Contemporary Iranian Photography, curated by Fitzpatrick at Gallery 44 Centre for Contemporary Photography, Toronto, 2012. From left to right: Sadegh Tirafkan, Samira Eskandarfar (video), and Zeinab Salarvand. (Exhibition detail photo courtesy Gallery 44.)
Andrea D. Fitzpatrick completed a Ph.D. in contemporary art and critical theory from McGill University in 2005. Since joining the University of Ottawa in 2007, she has taught undergraduate and graduate courses on international art and visual culture through various theoretical lenses including gender theory, post-colonial theory, post-structuralism, and theories of globalization. The politics and ethics of representation are key points of interest, primarily in photographic art, performative practices, and documentary media responding to current wars and conflicts. Contemporary art from the Middle East, particularly Iranian photographic and video art, is her active research area. She has published articles in Art Journal, Mosaic, Art Tomorrow, Afterimage, RACAR, Border Crossings, Spectator, and One Hour Empire; and book chapters in Performing the Iranian State (2013), Gravity in Art (2012), Adaptation Studies: New Approaches (2010), and Matthias Herrmann: 8 x 10” (2004). In 2012, she curated two exhibitions of Iranian lens-based art at the artist-run centres SAW Gallery in Ottawa (Ciphers: Tension with Tradition) and Gallery 44 Centre for Contemporary Photography in Toronto (Gender and Exposure), which included the work of some of Iran’s most prestigious artists, namely Samira Eskandarfar, Amirali Ghassemi, Melika Shafahi, Arman Stepanian, Sadegh Tirafkan, and Zeinab Salarvand, as well as Montreal’s Raheleh Sanaei. At the University of Ottawa, she is a member of the research group A/EPI (A/Esthétiques et politiques de l’image) and the Institute of Women’s Studies.