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A panel discussion about pandemic and post-pandemic arts engagement hosted by the Criticism and Curatorial Practices graduate program at OCAD University with Allison Yearwood (Plug In ICA), Godfre Leung (The Bows), Tarah Hogue (Remai Modern) and Parker Kay (Pumice Raft). Moderated by Amish Morrell, Assistant Professor OCAD U .

May 26th, 3:30pm EST, ZOOM


ASL translation provided.


Tarah Hogue is a Curator (Indigenous Art) at Remai Modern. A citizen of the Métis Nation with settler ancestry, Hogue was raised on the border between Treaty 6 and 7 territories in Red Deer, Alberta. Her recent exhibitions include Adrian Stimson: Maanipokaa'iini (2022) and An apology, a pill, a ritual, a resistance (2021), co-curated with Aileen Burns and Johan Lundh at Remai Modern, and lineages and land bases (2020) and Transits and Returns (2019), co-curated with Freja Carmichael, Sarah Biscarra Dilley, Léuli Eshrāghi and Lana Lopesi at the Vancouver Art Gallery. In 2019, Hogue received the Hnatyshyn Foundation – TD Bank Group Award for Emerging Curator of Contemporary Canadian Art. She has authored catalogue essays for artists such as Maureen Gruben, Tania Willard, Henry Tsang and Jin-me Yoon, and her writing has been published in C Magazine, Canadian Art, The Capilano Review and elsewhere. Hogue is co-chair of the Indigenous Curatorial Collective’s board of directors and is a co-founder of Shushkitew Collective.

Parker Kay is a multidisciplinary artist and writer currently working in Toronto. Kay’s practice implements experiential research and qualitative mapping to explore how place-making permeates our lives and marks our landscapes. As an avid urban explorer Kay has led walking and cycling tours with the Jane’s Walk Festival and the Ontario Association of Architects (OAA); he also has worked on projects with the Blackwood Gallery and the Vancouver Biennale. Kay’s research and writing has been published in C Magazine, SITE, Cornelia, Peripheral Review; and he has exhibited at *QueenSpecific (2021), Modern Fuel (2020), Sibling (2019), Motel Brooklyn (2017), and TOWARDS (2016). In 2019 Kay founded Pumice Raft, a project space in Toronto’s west end, to explore curatorial projects. Kay is currently a researcher and collections manager at The Archive of Modern Conflict and on the board of directors at Art Metropole.

Godfre Leung is a critic and curator. His writing has appeared in ArtAsiaPacific, Art in America, C Magazine, Yishu: Journal of Contemporary Chinese Art, and publications by the Museum of Modern Art and Walker Art Center. His recent exhibitions include Pao Houa Her: Emplotment at Or Gallery (2020) and Guesthood and Alienhood: Sun Yung Shin, Jinny Yu, Republic of the Other at Hotam Press Gallery (2021), both in Vancouver, and he was on the curatorial team of the travelling Walker Art Center exhibition International Pop (2015). He is an uninvited guest in Mohkínstsis in Treaty 7 territory, lands also currently known as Calgary, where he is Artistic Director of The Bows.

Allison Yearwood is an alumnus of the University of Winnipeg, with a political science and business administration degree, and brings a fresh focus to the business of arts administration. Allison returns to her hometown, Winnipeg, from the Banff Centre, where she was Program Manager at the Indigenous Arts Department. Previously, Allison served as Art and Business Manager at Yamaji Art, an Aboriginal art centre in Australia, and was the General Manager of Collective of Black Artists in Toronto. Allison was the Programming and Events Coordinator at the Northern Life Museum & Cultural Centre in Fort Smith, North West Territories, and was the first non-Indigenous staff member at Urban Shaman Gallery in Winnipeg. Allison advocates for racialized and disenfranchised groups to decolonize institutions of power from the ground up. She is exceptionally skilled on issues of equity and a powerful and transformative voice for anti-racism action. Allison is a proponent of equity justice in media and digital production and has acted as program manager for digital art residencies at Banff Centre. Allison’s institutional critique articulates the creation of safe spaces for underserved communities within the institution. Currently sitting on the boards of aceartinc. and Spiderweb Show.