In Conversation:
Lucy Raven & Stuart Comer

The conversation will focus on Raven’s new work Murderers Bar, on view at The Power Plant. Lucy Raven’s practice combines an interdisciplinary inquiry into the moving image – whether animated, digital, mechanical, or cinematic – with an ongoing interest in the landscapes, labour, and myths surrounding the American West. Set against the backdrop of the largest dam removal project in North American history, Murderers Bar marks the final installment of The Drumfire series (2021-25), which examines photographic and moving image technologies used in the surveying, seizure, exploitation, and promotion of the so-called “Western frontier.”

This event is free and open to the public. Please RSVP here.

Lucy Raven (b. 1977, Tucson, Arizona) lives and works in New York City. She received a BFA in Studio Art and a BA in Art History from the University of Arizona, Tucson, in 2000, and an MFA from Bard College’s Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York, in 2008. Her work has been exhibited in solo presentations at the Vancouver Art Gallery (2025); Neue Nationalgalerie, Berlin (2024); Remai Modern, Saskatoon (2023–24); Wiels, Brussels (2022); Dia Chelsea, New York (2021); Serpentine Galleries, London (2016–17); Columbus Museum of Art, Ohio (2016); VOX centre de l’image contemporaine, Montreal (2015); Yerba Buena Center for the Arts, San Francisco (2014); Portikus, Frankfurt (2014); Hammer Museum, Los Angeles (2012); and Nevada Museum of Art, Reno (2010). Raven’s work was included in the 2024 Gwangju Biennale, 2022 and 2012 Whitney Biennial, New York; 2018 Dhaka Art Summit, Bangladesh; and 2016 Montreal Biennial. With Vic Brooks and Evan Calder Williams, she is a founding member of 13BC, a moving image research and production collective. Raven teaches at the Cooper Union School of Art in New York.

Stuart Comer is the Lonti Ebers Chief Curator of Media and Performance at The Museum of Modern Art, New York. In addition to his role in the core team reimagining the Museum’s collection galleries, he has curated or co-curated the exhibitions Stephen Prina: A Lick and a Promise (2025), Rosa Barba: The Ocean of One’s Pause (2025), Video After Video: The Critical Media of CAMP (2025), Christian Marclay: The Clock (2024), Leslie Thorton’s HANDMADE (2023), Signals: How Video Transformed the World (2023), Adam Pendleton: Who Is Queen? (2021), member: Pope.L, 1978–2001 (2019), Haegue Yang: Handles (2019), Tania Bruguera: Untitled (Havana, 2000) (2018), Mark Leckey: Containers and Their Drivers(2016), BRUCE CONNER: IT’S ALL TRUE (2016), Bouchra Khalili: The Mapping Journey Project (2016), Transmissions: Art in Eastern Europe and Latin America, 1960–1980 (2015), and Cut to Swipe (2014). At MoMA, he also leads the Marie-Josée and Henry Kravis Studio and is currently overseeing the Contemporary and Modern Art Perspectives (C-MAP) Southeast Asia research group and the Fund for the Twenty-First Century. Prior to joining MoMA, Comer served as the first Curator of Film at Tate Modern, London, and co-curated the 2014 Whitney Biennial.

Presented in partnership with The Vega Foundation, OCAD University Faculty of Arts & Sciences, and The Power Plant Contemporary Art Gallery.

Murderers Bar is on view at The Power Plant from 7 November 2025 through 22 March 2026. The exhibition is organized and developed by The Vega Foundation and The Power Plant Contemporary Art Gallery. Curated by Julia Paoli, Director & Curator, The Vega Foundation, with Kate Whiteway, Assistant Curator, The Vega Foundation, developed in dialogue with the curatorial team at The Power Plant.