The work of Stephen Andrews has long mediated the successive crises of the contemporary world, exploring conflict, social change, and identity. For more than a decade, Andrews confronted the AIDS epidemic personally and artistically. Later, his work registered the impact of the attacks of September 11, 2001, the subsequent "War on Terror," the financial crash of 2008, and a new wave of global protests, from those surrounding the 2010 G20 summit in Toronto to those associated with the Occupy movement and the Arab Spring. Embedding, layering, and erasing meaning, Andrews's work creates a triangle, where meaning resides between the process of painting (magical and sensuous), the represented image (a chronicle of fragility and resilence), and the invitation to the viewer (to look carefuly and engage).

Published to coincide with a major exhibition opening at the Art Gallery of Ontario, Stephen Andrews POV provides a comprehensive overview of the last fifteen years of Andrews's work, a time when painting has emerged as his primary area of inquiry alongside a multifaceted approach to production that has resulted in drawings, photographs, animations, videos, installations, ceramics, and ephemera.

Kitty Scott has held positions as Curator of Modern and Contemporary Art, Art Gallery of Ontario, Toronto; Director of Visual Arts, The Banff Centre, Banff; Chief Curator, the Serpentine Gallery, London, and Curator of Contemporary Art at the National Gallery of Canada, Ottawa. As an arts educator, she has been a visiting professor for the Curatorial Practice Program at the California College of the Arts, San Francisco; as well as an adjunct professor at York University, Toronto, and the University of British Columbia, Vancouver.
Scott has curated many significant exhibitions, and was an agent for dOCUMENTA (13) (2012), Kassel. She was the Canadian coordinator for the Seventh International Istanbul Biennial (2001), and also worked on the inaugural SITE Santa Fe Biennial (1995). She organized the curatorial symposium Are Curators Unprofessional? (2010) at The Banff Centre, and edited the resulting publication Raising Frankenstein: Curatorial Education and Its Discontents (2010). Scott has written extensively on contemporary art for catalogues and journals including Parachute, Parkett, Mousse, and Canadian Art. She has written texts for multiple monographic publications; and contributed to numerous books on curatorial studies, including the publication Creamier: Contemporary Art in Culture (2010).

Kitty Scott's profile page