Sequoia Miller is a curator, historian, and studio potter. He has a BA in Russian & Art History from Brandeis University, an MA in Decorative Arts, Design History, and Material Culture from the Bard Graduate Center in New York City, and a PhD in the History of Art from Yale University. His thesis analyzed the connections between ceramics and conceptual art practices on the East and West Coasts of the United States in the 1960s and ‘70s. Sequoia curated The Ceramic Presence in Modern Art at the Yale University Art Gallery and authored the accompanying award-winning catalogue. Before re-entering academia, he was a full-time studio potter for more than 10 years. Based in the Pacific Northwest, he made one-of-a-kind functional pots for daily use in domestic environments. Sequoia has exhibited widely and led workshops at craft schools, universities, and art centers in the U.S. and Canada.

Kelvin Browne joined the Gardiner Museum as Executive Director and CEO in 2013. Prior to this, he held several different positions at the Royal Ontario Museum (ROM), including Managing Director of the Institute of Contemporary Culture and Vice President of Marketing and Major Exhibitions. Kelvin is also well-known as a magazine and newspaper columnist on design, and authored the book Bold Visions (2007) about the architecture of the ROM.

Kelvin was born in Penticton, B.C., and graduated from St. John’s-Ravenscourt School in Winnipeg. He holds a Masters in Architecture from the University of Toronto.

Rachel Weiner joined the Gardiner Museum in 2015 as Communications and Volunteer Coordinator before taking on the role of Senior Manager, Marketing in 2017. Prior to the Gardiner, she worked in the Education and Marketing departments at the McMichael Canadian Art Collection in Kleinburg (2012 – 2015). Rachel holds a Bachelor of Arts degree with an Honours Specialization in History from the University of Western Ontario (2007), an MA in Art History (2010) from the University of Toronto, and a B.Ed (2012) from the Ontario Institute for Studies in Education (OISE) at the University of Toronto.

Nahed Mansour holds an MFA in Open Media from Concordia University and a BA joint Honours in Semiotics and Visual Studies from the University of Toronto. She currently serves as the Gardiner’s Senior Manager, Programs, leading the Museum’s public programming and Community Arts Space. She previously held the positions of Constituent Curator – Communities and Engagement at the Museum of Contemporary Art Toronto, Artistic Director at the South Asian Visual Art Centre (SAVAC), and Director at Mayworks Festival Toronto. The majority of her curatorial and programming work supports visual, media, and community-based artists from historically disenfranchised communities whose work responds to contemporary social, political, economic, and environmental issues.

In addition to her work in arts administration, Mansour is also an independent curator and artist who has shown her work at the Aga Khan Museum, Blackwood Gallery, Articule, Vtape, Kassel Documentary Film and Video Festival
, International Short Film Festival Oberhausen, and Medrar Cairo Film Festival, among others. Her multi-disciplinary research-based arts practice draws from archival images and found footage to investigate notions of race and power in popular culture. She has served on numerous boards and juries in the visual arts sector and was selected to participate in Toronto Arts Council Leaders’ Lab 2020 cohort.

Karine Tsoumis is a specialist of the Italian Renaissance with a focus on sixteenth-century Venetian art, maiolica and the material culture of the domestic space. She received her Masters’ Degree in Art History from McGill University (2005), and her Ph.D. from the University of Toronto (2013). She joined the Gardiner Museum in 2012 as the curator of the historical collection. Since joining the Gardiner, she has led research on the permanent collections; has been involved in the reinstallation of some of the Museum’s galleries; and curated two major exhibitions, Animal Stories: Friends, Foes, Fables and Fantasy (2013), and Janet Macpherson: A Canadian Bestiary (2017) (with an accompanying exhibition catalogue). In addition, she curated a range of thematic exhibitions including The Art of the Everyday: Faience in Seventeenth-and Eighteenth-Century France (2013), The Joy of Collecting (2014), Powder and Patches: Porcelain for the Boudoir in Eighteenth-Century Europe (2016), and A Brilliant Invention: Majolica from the Rosalie Wise Sharp Collection (2017). She was also co-editor and contributor to 30 Objects, 30 Insights (2014), a book of essays celebrating the Gardiner Museum’s collection. Her current research focuses on Renaissance maiolica considered in the context of trade in luxury objects in the fifteenth and sixteenth centuries, with a focus on the Venetian Republic. She is currently a Fellow at the Centre for Reformation and Renaissance Studies at Victoria University in the University of Toronto.

Meredith Chilton is an internationally renowned specialist in early European porcelain, dining, and social culture of the eighteenth century, as well as theatre history. Educated at the University of East Anglia and Manchester University, she first joined the Gardiner Museum in 1983. As Acting Director and Curator, she worked with the team responsible for opening the Museum. She subsequently became the museum’s curator, a role she retained for over twenty years.

In 2004, Meredith left the Gardiner Museum to produce a major three-volume monograph for the Melinda and Paul Sullivan Foundation: Fired by Passion, Vienna Baroque Porcelain of Claudius Innocentius Du Paquier. The English edition was launched with an exhibition she co-curated at the Metropolitan Museum of Art, New York in 2009. Meredith was the principal contributor to Daily Pleasures: French Ceramics from the MaryLou Boone Collection (Los Angeles County Museum of Art: 2012).

Meredith returned to the Gardiner as its Chief Curator from 2015 to 2017, leading the curatorial team and a major renovation and reinstallation of the European porcelain galleries.

Meredith has curated over twenty exhibitions, published approximately fifty articles and books, and has made four films with the CBC. Her 2001 publication, Harlequin Unmasked: The Commedia dell’Arte and Porcelain Sculpture was awarded three international awards for research and theatre history. Meredith teaches and lectures extensively in North America and Europe. She has sat on a variety of Boards and is the honorary member of three ceramics institutions. In 2005, she was honoured by the Gardiner Museum Volunteers, who named the Meredith Chilton Commedia dell’Arte Gallery in perpetuity at the Gardiner Museum.

In 2017, Meredith was appointed as a Member of the Order of Canada in recognition of her exceptional contribution to the ceramics world. The honour is awarded to celebrate outstanding achievement, dedication to the community and service to Canada.

Meredith was named Curator Emerita at the Gardiner Museum following her retirement at the end of 2017.