Photo: Wilson Reyes
Kevin Moore is a curator and writer based in New York. His work focuses on the history of photography, film/video, and contemporary art. He earned a Ph.D. in art history in 2002 from Princeton University and has worked in curatorial departments at the Metropolitan Museum of Art and the Fogg Art Museum, Harvard University. He is the Curator of the McEvoy Collection, San Francisco, and the Artistic Director and Curator of FotoFocus, Cincinnati.
Moore has curated museum exhibitions of the work of Tony Oursler (2022), Ian Strange (2022), Ellen Berkenblit and Sarah Braman (2019), Eugène Atget and Berenice Abbott (2018), Karin Mamma Andersson (2018), Philip-Lorca diCorcia and Constance DeJong (2018), Roe Ethridge (2016), Zanele Muholi (2016), Jackie Nickerson (2016), Taiyo Onoroato & Nico Krebs (2014), David Benjamin Sherry (2014), Vivian Maier (2014), as well as thematic surveys including After Industry (2016), New Slideshow (2016), Screenings (2014), Stills (2014), Panopticum (2014), Eve Plays Duchamp (2013), Alchemical (2013), Real to Real: Photographs from the Traina Collection (2012), and Starburst: Color Photography in America 1970-1980 (2010). Many of these exhibitions are accompanied by significant publications.
Moore has written extensively on modern and contemporary art. He is the author of On the Line: Documents of Risk and Faith (with Makeda Best, 2022), Old Paris and Changing New York: Photographs by Eugène Atget and Berenice Abbott (2019), Jacques Henri Lartigue: The Invention of an Artist (2004; French version, 2012; Polish version, 2015), and a contributing author to Ian Strange: Disturbed Home (2022), Tino: Nivola in America (2022), Lincoln Kirstein's Modern (2019), and Photography at MoMA 1920-1960 (2016). He is also a regular contributor to The Art Newspaper, Aperture, and The Guardian.