Katrina Sluis is an educator, writer and researcher who was appointed the first Curator of Digital Programmes at The Photographers’ Gallery, London in 2012. Her exhibition projects have broadly addressed photography’s diffusion in computational culture, from the politics and aesthetics of cat photography to CGI and synthetic imaging; she has also commissioned new work by artists James Bridle, Erica Scourti and Alan Warburton. Katrina combined her curatorial role with the post of Senior Lecturer at London South Bank University where she has taught photography and digital media since 2005. Prior to this, she lectured in Photomedia at the University of New South Wales and the Sydney Gallery School and worked in systems administration. With an Honours degree in Fine Arts from the College of Fine Arts, University of New South Wales and a Masters of Fine Arts from Central Saint Martins College, University of the Arts London, she is presently undertaking her PhD at the Centre for Cultural Studies, Goldsmiths. Her writing has appeared in Photographies, Philosophy of Photography, Aperture, Photoworks, Source, ArteEast and she has given recent talks on art, media and technology at Whitechapel Gallery, Tate, FOAM, Haus der Kulturen der Welt, ICA, Sotheby’s Institute and Parsons School of Design. Katrina Sluis is currently a Senior Lecturer at the School of Art and Design, Australian National University.
From 1st December 2018, Katrina Sluis will be undertaking a Swiss National Science Foundation funded research project “Curating Photography in the Networked Image Photography” in collaboration with Dr Wolfgang Brückle, Lucerne University of Applied Arts and Sciences, Fotomuseum Winterthur, Fotocolectania and The Photographers’ Gallery. The central objective of the research is to generate new academic, professional and public knowledge and understanding of how the networked image economy is transforming established models of curating photography and the production and location of cultural value. In doing so, it proposes to bring the largely disconnected fields of museum curating, social media curation and computational photography into productive dialogue.