Cherie McNair, educated in Melbourne, holds an MA in Gallery and Museum Studies, together with a Post Grad Dip in Art History and Film Studies and a BA in Media Arts. McNair has over fifteen years’ experience in the visual arts sector in Australia and internationally and has delivered major photography exhibitions with institutions and photographers throughout her career. She is currently the Director and CEO of the Australian Centre for Photography in Sydney, Australia. Previous roles have included Head of Exhibitions and Creative Services at the Queensland Museum Network, Head of Exhibitions and Design, National Museums Scotland, Edinburgh, Project Manager, National and International Partnerships Tate, London, Director of Exhibitions Museum of Architecture (London Festival 2012), Curator/Exhibitions Manager Anthony d’Offay, London, and Project Manager, Contemporary Victoria and Albert Museum, London, and Senior Exhibitions Coordinator National Gallery of Victoria, Melbourne.
About The Australian Centre for Photography (ACP)
ACP is the leading institution in Australia dedicated to the art of photography and photo media. Since 1974, the ACP has been a creative force in the cultural life of Australia, presenting the work of our most dynamic and diverse artists. The ACP presented the first major retrospectives of photographs by Max Dupain, Olive Cotton and Mervyn Bishop as well as the early exhibitions of works by Bill Henson, William Yang, Tracey Moffatt and Trent Parke.
ACP holds at its core the vital contribution of artists and photographers in distilling and reflecting upon society, displaying a pluralism of perspectives and a breadth of artistic practice. Our exhibitions, education and community programs provide opportunities for audiences and peers to engage in a dynamic conversation about the significance of images, both past and present, within contemporary culture.
During 2016, ACP embarked on an exciting transition to become a more agile and responsive organisation that actively courts new creative partnerships and avenues for audience engagement both from within and outside the traditional infrastructure for art. This transitional phase has been strongly focused on refining, and redefining, how we operate as a cultural leader within multiple communities and different contexts.