Tarah Hogue

Tarah Hogue is a curator, writer, and cultural worker based in Treaty 6 and 7 territories and the Métis homeland. 

Hogue’s practice is grounded in relational geographies—attending to how people and artworks shape and are shaped by the territories they belong to and move through. She approaches curating as a form of generative inquiry and connection, where otherwise ways of being in the world emerge through encounters between artworks, spaces, and publics. She is committed to advancing Indigenous self-determination in the arts through initiatives that support institutional change, catalyze public engagement, and center cultural resurgence.

Hogue is currently Adjunct Curator at Remai Modern, where she previously served as the institution’s inaugural Curator (Indigenous Art). Her past roles include curatorial fellowships at the Vancouver Art Gallery and the Art Gallery of Greater Victoria, a visiting curatorship at the Institute of Modern Art in Brisbane, and a curator-in-residence position at grunt gallery in Vancouver. She has also curated independently since 2009, developing exhibitions and projects across a range of venues and collaborations.

Recent curatorial projects include Dyani White Hawk: Love Language, co-curated with Siri Engberg, which opens at the Walker Art Center in October 2025 and at Remai Modern in April 2026, before touring; and Meryl McMaster: Bloodline, co-curated with Sarah Milroy, which opened at the McMichael Canadian Art Collection in 2022 and subsequently at Remai Modern, launching its North American tour. Her exhibition Storied Objects: Métis Art in Relation (2022), curated with advisor Sherry Farrell Racette, received an AAMC Award for Excellence. In 2019, Hogue was awarded the Hnatyshyn Foundation–TD Bank Group Award for Emerging Curator of Contemporary Canadian Art.

Hogue has edited several exhibition catalogue, artist books, and monographs, including Adrian Stimson: Maanipokaa’iini (Remai Modern, 2022) and Ayumi Goto and Peter Morin: how do you carry the land (Vancouver Art Gallery, 2018). She is currently co-editing Creative Conciliations with Jennifer Robinson, a forthcoming volume to be published digitally by the Indigenous Curatorial Collective and in print by Wilfrid Laurier University Press. Hogue has also authored catalogue texts for artists such as Maureen Gruben, Henry Tsang, Tania Willard, Judy Watson, and Jin-me Yoon. Her critical writing has appeared in C Magazine, Canadian Art, The Capilano Review, and elsewhere.

She holds a master's degree in Critical and Curatorial Studies from the University of British Columbia and a bachelor of arts in Art History from Queen’s University.

Raised alongside wâwâskêsiw sîpiy in central Alberta, Hogue is of Michif and Euro-Canadian ancestry. She is a citizen of the Métis Nation of Alberta, with relatives from the Red River communities of St. Charles and St. François Xavier in Manitoba.

She can be reached at hogue.tarah at gmail dot com