Biography

Miriam Jordan is an artist and writer who specializes in Modern and Contemporary art, with a particular emphasis on the convergence of film and video. Her current research focuses on the dialogic relationship between cultural identification and disidentification in contemporary visual practices, specifically the manner in which ideologies are embodied and challenged within art, video, and film practices. Miriam is well grounded in cultural and political theory, specializing in issues of Otherness, most prominently in relation to contemporary Native and postcolonial art. In addition, Miriam has exhibited internationally, including recent exhibitions at The Ottawa Art Gallery, Modern Fuel, and the Woodland Cultural Centre.

Exhibitions

2008, First Nations Art ’08, Woodland Cultural Centre (group).

2007, Through Women’s Eyes: Perspectives on the Land, curated by Melanie Fernandez, Woodland Cultural Centre (group).

2007, Oh, So Iroquois, curated by Ryan Rice, Ottawa Art Gallery (group).

2006, Suffering Contained, Modern Fuel Gallery [State of Flux Project Space] (solo).

Publications

“Carnivalesque and Grotesque Bodies in Stanley Kubrick's Eyes Wide Shut” in Stanley Kubrick: Essays on His Films and Legacy, edited by Gary Rhodes (Jefferson: McFarland and Company, 2007) [co-authored with J. Haladyn].

“The Ambivalent Translator: Freeplay in Janice Gurney’s Punctuation in Translation" in Topia: Canadian Journal of Cultural Studies 18 (Fall 2007).

“Watering the Seeds of Doubt in Jamelie Hassan’s Garden of Light” in On Site Review 17 (2007) [co-authored with J. Haladyn].

“The Hollow Men: Chris Marker” in Parachute 123, Para-Para 023 (2006) [co-authored with J. Haladyn].

Teaching

VAS 285: Introduction to Gallery Practices
VAH 284: History of the Moving Image