Jonathan Shaughnessy

Jonathan Shaughnessy is a Canadian curator in the field of contemporary art. He is an Associate Curator of Contemporary Art at the National Gallery of Canada. He is also an Adjunct Professor with the Department of Visual Arts at University of Ottawa.

Career

Jonathan Shaughnessy received his Bachelor of Fine Arts in Art History from Concordia University in 2001 and his Masters of Communications from Carleton University in 2004.[1]

Shaughnessy has worked with numerous Canadian and international artists. As Assistant Curator of Contemporary Art, he curated "One, Some, Many: 3 Shows by Carsten Höller" at Shawinigan Space in Shawinigan, Quebec in 2007. This was the artist's first solo exhibition in Canada.[2] In 2010, Shaughnessy was coordinating curator of the exhibition "Pop Life: Art in a Material World" for the National Gallery of Canada, organized by Tate Modern. [3]

Notable recent exhibitions include Vera Frenkel: Ways of Telling" at the Museum of Contemporary Canadian Art in 2014.[4] Shaughnessy was also organizing curator of "Builders," the Canadian contemporary art biennial, which was exhibited at the National Gallery of Canada from November 2011 to February 2012.[5][6] He also curated "Louise Bourgeois: 1911-2010", which was exhibited at the National Gallery of Canada and Museum of Contemporary Canadian Art in 2011-2013.[7] In 2013 and 2014, Shaughnessy co-curated "Misled by Nature: Contemporary Art and the Baroque" with Josée Drouin-Brisebois and Catherine Crowston for the Art Gallery of Alberta and Museum of Contemporary Canadian Art. The exhibition included work by Sarah Sze, Yinka Shonibare, Tricia Middleton, David Altmejd, Lee Bul and Bharti Kher.[8][9]

In addition to curatorial projects, Shaughnessy has written for numerous exhibition catalogues. In 2005, he contributed an essay to "The Elements of Nature" featuring the work of Michael Snow, Irene F. Whittome, Liz Magor, Martin Honert, Giuseppe Penone and others. He has also written for "Cai Guo-Qiang: Long Scroll," "Three Shows" by Carsten Höller, and "Art Metropole: The Top 100."[10]

gollark: So the idea is that *you* pick a value for your patent, and anyone who is willing to put up that much money can buy it off you.
gollark: One of them was to make it so you had to pay some % of your patent's value to keep it (probably an increasing-over-time amount). Now, you might say "hmm but how do you assess value", which is an entirely reasonable concern.
gollark: There are various interesting proposals for adjusting them.
gollark: I mean, we have patent laws for that, no? They could use tweaking too.
gollark: Yes, I am in favour of that sort of thing.

References
  1. http://arts.uottawa.ca/visualarts/people/shaughnessy-jonathan
  2. http://www.gallery.ca/en/about/354.php
  3. http://www.youraga.ca/towards-a-major-acquisition-the-clock-in-context/
  4. http://mocca.ca/exhibition/vera-frenkel/
  5. http://www.gallery.ca/builders/20.htm
  6. http://canadianart.ca/features/builders-biennial/
  7. http://www.ngcmagazine.ca/exhibitions/do-undo-redo-mantra-of-a-monolithic-artist
  8. http://mocca.ca/exhibition/misled-by-nature-contemporary-art-and-the-baroque/
  9. http://www.ngcmagazine.ca/exhibitions/misled-by-nature-arrives-in-toronto
  10. https://www.gallery.ca/documents/news/Biography_Jonathan_Shaughnessy.pdf
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