1.0 Capture Photography Festival Vancouver’s annual celebration of photography and lens-based art 01 Oct. to 15 Nov - 2013
capturephotofest.com
Contents
Introduction - 4 Sponsors - 4 Letter - 6 Acknowledgements - 7 Exhibitions - 8 / 97 Events - 96 / 101 Films - 102 / 107 Public Installations - 108 / 125 Capture in transit - 110 / 119 Capture in the community - 120 / 125 Map of Locations - 127 Partners + Contact - 128
Capture, Vancouver’s annual celebration of photography and lens-based art. Vancouver’s first annual city-wide photography festival launches October 1st, 2013. Capture, a not-for-profit festival, is dedicated to celebrating local and international lens-based art. The festival aims to foster emerging talent, encourage active community participation, and initiate public conversation about photography as an art-form, as a means of communication, and as a mode of cultural documentation and social reflection. Throughout the six week festival, Capture will feature over 50 exhibitions from Vancouver’s leading public and commercial galleries. Festival events include workshops, artist talks, curatorial tours, book signings, panel discussions and films on photography. Public installations include video installations, large scale photographs on Pattison billboards and at eight Canada Line stations.
Capture promotes Vancouver’s unique history of photo conceptualism while creating multiple platforms for showcasing local, international and emerging talents. The festival will provide momentum for Vancouver residents and visitors of all ages to celebrate and connect through the art of photography. Join Capture in inspiring creative engagement, celebrating the culture and practice of photography, and fostering a vibrant photographic community in Vancouver.
Supporting Sponsors
Contributing Sponsors
Donors
S P O N S OR S / 4
Media Sponsors
Letter
Welcome to Capture 1.0
It is with great pleasure that we launch the first Capture Photography Festival. Vancouver, a city regarded around the world for producing exceptional talent in the realm of photography, has long been deserving of such a celebration.
Bar, Langara Continuing Studies, Opus Art Supplies, Vancouver Airport Authority, Vancouver Photo Workshops, Fidels Art Prints and Denbigh Fine Art Services. A special thanks to our media sponsors, the Georgia Straight and Preview.
None of this would be possible without the generous support and encouragement of our partners, sponsors and donors and the hard work of our dedicated team and volunteers.
Finally, we are extremely grateful for the overwhelming support and generosity of our donors, Maquarie Private Wealth, the Audain Foundation, the Vancouver Association for Photographic Arts and all of our Founding Donors.
The foundation for the festival exhibitions is made possible through our partnerships with the Contemporary Art Gallery, the Museum of Vancouver, Presentation House Gallery, the Vancouver Art Gallery, the Satellite Gallery, the Gordon Smith Gallery of Canadian Art, Emily Carr University of Art and Design, AHVA Gallery at UBC, the Vancouver International Film Festival, and The Canada Line; as well as all of the commercial and artist run galleries that have presented outstanding work for Capture’s inaugural year. We are very appreciative for the financial and in-kind support of our sponsors: Fairmont Hotels and Resorts, Lamar Advertising, London Drugs, Pattison Outdoor, PWC, EJ Gallo Premium Brands, Fine Art Framing, Hy’s Steakhouse and Cocktail
LETTER / 6
Thank-you all for your generous support in helping us realize this ambitious photography festival. With your continued support, Capture will become a Vancouver legacy. We would like to dedicate this magazine in loving memory of Samantha J. Walker. With great appreciation,
Julie Lee
Kim Spencer-Nairn
Capture Photography
Acknowledgements
Festival Sincerely Thanks Our Supporters Festival Credits
Magazine / Advertising Collateral
Executive Director: Kim Spencer-Nairn Art Director: Simon Beach Director: Julie Lee Graphic Designer: Tora Hylands Festival Administrator / Events Coordinator: Gisele Fisher Festival Program / Publicity Manager: Meredith Carr Content Development / Website Art Direction: Mathew Arthur Website / Digital Solutions: Assembly Digital
Board Members Eric Savics Ian McGuffie Kim Spencer-Nairn (Chair) Mike Harris
Founding Donors Brian & Andrea Hill Bruce Wright Eric Savics & Kim SpencerNairn Hy’s of Canada LTD John and Nina Cassils Leonard Schein Michael O’Brian Family Foundation Mike and Sandra Harris The Radcliffe Foundation Ron Regan Samantha J Walker (in memory of) Stephen Carruthers Anonymous Anonymous
Thank You Alan Franey Albarosa Simonetti Anne Marie Comte Anne Terriss
Barbara Cole Barrie Jones Brian Howell Brian Kipp Bruce Wright Carla Stewart Cicely Nelson Cindy Richmond Chelsea Van Leeuwen Chris Stampe Christos Dikeakos Coleen Nemtin Daina Augaitis Daniel Poncelet Danny Singer Darcy Killeen David Aisenstat David Braun David Burdeny David Sinclair David Thorpe David Van Berckel Diana Klonek Diliana Momtchilova Dina Goldstein Edward Burtynsky Elaina Konoby Sinclair Elizabeth McGregor Emilie Davies Fred Herzog Gale Penhale Gerald Hartwig Gordon Smith
Greg Girard Greg Gorman Helga Pakasaar Ian Joyce Ian McGuffie Ian Wallace James Downey James Nizam James Welling Jane Nokes Janet Hoffar Janice Fairley Janice Whitehead Jim Balderston Jim Breukelman Joan Seidl Joanne Chan Joanne Duma Jodi Fisher John and Lucie Spencer-Nairn Julia McLeod Karin Bubas Kathleen Bartels Ken Flagel Kim Kawaquchie Laura Agnew Laura Moore Laurell Lincoln Clarkes Linda Banicevic Marc Koegel Margaux Burgess Mark Angus
Matt Hoffar Matthew Flowers Matthew Lane Max Zipursky Quartet Michael Audain Michael Batty Mike Aymong Mike Harris Myles Bigelow Duo Nancy Noble Neil Aisanstat Nicholas Metivier Nigel Prince Paris Forrer Paul Larocque Paul Taylor Peter Marshall Phuong Banh Reid Shier Richard Savage Rita Beiks Rober Heffel Robert Kenney Ronan Barrett Ross Henderson Shane O’Brien Stefan Berrill Stephanie and Michael Wesik Steven Yan Susan Almvud Todd Sharman Toma Savics Vanessa Bourget
Exhibitions
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Artist Credit: Lincoln Clarkes - Cyclists, 2013 (Opposite page) Mungo Thompson - Negative Space, 2008
An Evolutionary Look Into Vancouver Street Photography: Foncie Pulice into the 21st Century By Julie Lee and Katie Huisman
What: An Evolutionary Look into Vancouver Street Photography; Foncie Pulice to the 21st Century
Street photography is traditionally part of the ‘straight photography’ movement, priding itself in the unaltered photograph that, without bias, documents real life. Street photography has continued to fascinate us for more than a century, capturing people with absolute candor in public places and providing a clear view of humanity. The practice of street photography has become even more popular in the 21st century – favouring society’s increasing need to document, capture and share everyday life, snapshot by snapshot.
Lincoln Clarkes, Angela Fama, John Goldsmith, Brian Howell. Curated by Julie Lee & Katie Huisman When: 01 Oct. - 31 Jan. 2014 Opening: 01 Oct. 2013 - 7:30pm Where: Museum of Vancouver There are events associated with this exhibit. See the Events Listing for exact details.
Capture Curated Exhibition
Foncie Pulice, with his custom-built silver camera made of war surplus materials, could be found on Granville Street from the mid-1930’s through to 1979. He took thousands of photographs – capturing families, couples, and friends happily strutting through downtown Vancouver. A strong sense of wanderlust permeates Foncie’s Vancouver portraits. The excitement and energy captured in the faces of Foncie’s public are at odds with the face society would put forward to the 21st century photographer – a public now highly sensitized to photography, privacy-obsessed, and acutely aware of the disjunction between public and private realms. As our personal space in public areas decreases in all cities, we continue to have an increasing need and expectation of privacy. It is a violation of our Charter rights in Canada to stop anybody
“The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing.� Susan Sontag, On Photography, 1977.
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from photographing or filming in a public place, and in a private space where public is admitted, the photographer has full legal rights to publish those pictures and films. A police officer does not have the legal right to confiscate or delete any photographic material for any reason unless the person is breaking the law and the images are relevant to the situation. Social media and selfprofiling have become the norm; and through our own awareness of self-image we have a need to control how we are represented and identified in order to feel secure. The online personal profiles that we create often overlap our personal, professional and social worlds, and we have a hyper-awareness of ourselves virtually which creates a physical disconnect with our environment and each other. Four contemporary photographers, Lincoln Clarkes, Brian Howell, Angela Fama, and John Goldsmith have been invited to examine and respond to Foncie Pulice and his body of work. Lincoln Clarkes, directly influenced by Pulice, exhibits both a romantic and reverent orientation towards his subjects. His photographs, voyeuristic and unposed, capture the experience of an ordinary public and the myriad of social forces that shape their existence. Clarkes’ voyeuristic and romantic approach to street photography allows us to observe the candid expression between us and the street. “Clarkes views this series of photographs as ‘sexed-up, environmentalistic, fashionesque portraiture, which is a subtle protest against the petro-chemical and automobile industries.’ An overdose of advertising has been glamorizing cars for decades, convincing us of their must-have status, but this attitude feels tiresome and outdated in the light of the environmental situation that engulfs our planet today. These mundane vehicles and the false freedoms they seductively promote have led us to a dead end. By contrast, there is a new wave of cycling that
is of tsunami proportions, not just for leisure and pleasure, but for the need to be able to travel in a civilized and sensible way in the modern world.” Judith Tansley, May 2013 Brian Howell’s sociological examination of our technological codependence points towards a cultural obsession with smartphones and casts a light on the changing nature of street photography in an iPhone addicted landscape. John Goldsmith’s work examines the social aspects of people inhabiting the built environment; his photographs combine a theatrical mood with the aesthetic and cadence of contemporary street photography. Fostering a collaboration with each subject on the street is the basis of Angela Fama’s response to Foncie, her subject’s insecurities seem to slip away and they are able to become open to the experience with some sense of control and understanding. The willing collaborators only agree to become a part of the project when they feel like they understand that the experience will be safe. Angela Fama’s work investigates themes of memory, meaning, emotion and change. When the subject on the street is involved in the photograph and feels like they are in the know, they are more likely to become a willing participant. Foncie Pulice would photograph his subject(s) and then hand them a ticket so that they could then collect the photograph if they wanted to, giving control to the subject, removing feelings of exploitation and concern for their privacy because they were the ones giving permission and were provided with the information they needed to follow up. Over decades Foncie created a close bond with his public so that they eventually knew what to expect from him, allowing them to genuinely engage with the photographer. Human connection is a powerful tool for a photographer.
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Cyclists 2013
Artist Statement By Lincoln Clarkes To many people a photograph’s sentimental value is paramount if it involves love or family. In Ridley Scott’s cinematic masterpiece Blade Runner, the Repellents were programmed to feel deeply about their false collection of intimate images. The work of Foncie Pulice has an undeniable hot-wired connection to personal emotion. Not to mention the style of the times in full ‘The Sartorialist’ sense. His images were produced as a formula and presented directly to his photographed subjects as a gift with a price (of three for 50 cents in 1940). Being a photographer of people, I supply images to clients, magazines, media and the art world, but the real joy is directing pictures into the hands of the subjects personally so that they may share them with whom they choose. My early childhood was inun-
dated by old family photos in shoe boxes and vintage photo albums, learning the who’s who of generations past and their friends, many of which were photographed by Mr. Pulice on Granville St. as well as other street shooters of the time in Winnipeg. Photographs are valuable as auction houses demand top dollar for artist works, from Cindy Sherman to Man Ray and Jeff Wall. But an envelope of snaps coveted by ordinary folk of modest means is undeniably precious. From the time a photograph is taken it becomes an object for the future, a sliver of the past. These fragile moments are easily lost in various ways. If images are fortunate to survive the years or decades they become rare and hopefully fascinating.
Artist Credit: (Opposite page) Lincoln Clarkes - Cyclists, 2013
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“Turn off, Tune out, Drop in” 2013
Artist Statement By Brian Howell
“There are too many images, too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art anymore. Maybe it never was.” Robert Frank, 2008. Frank, of course is referring to the extreme proliferation in imagery and the diminished value of life in photographs. The iPhone is the most widely used camera in the world. It is not uncommon for somebody to photograph their lunch or the design in their latte foam and quickly post it on Facebook. The images don’t often make it to print and they don’t need to. The picture is gone as fast as it is sent and is often viewed in the dimensions of a business card. Photography has changed. It is more popular than ever and in it’s widespread appeal and technical efficiency, it has managed to eat itself. My mother has an old photo
album. The kind with the black pages made of construction paper, the pictures carefully held in place by four little corners. Captions like “Mike and Bev’s wedding, 1965,” hand written in white grease pencil. Photographs from the earlier part of the century were typically shot in a studio. Pictures of my great grandparents, stiff, sharp and sepia toned eventually gave way to lifestyle pictures made with the popular Kodak Brownie and early Polaroid cameras. Birth, first communion, classroom pictures, the first old Ford, camping trips, the beach, parties and weddings were popular themes. A life carefully laid out and assembled for memory’s sake. Foncie’s photograph of my mother and father on Granville street appears early in the pages of the old photo album. They appear young, beautiful, well-dressed and happy at night in the city. The natural and iconic nature of this photograph makes it important and valuable as part of my personal family history.
in photography was with the Foncie picture of my parents. What is different or the same? What is happening now? Were meaningful images being made for generations of people to consider? Photography is different now. I decided to go to Granville street to observe contemporary city life and consider Foncie’s work in this context. I watched people and noticed that they/we exist in bubbles. I was amazed by the consistent posture of the cell phone stroll. Earbuds in, surroundings tuned out, elbow bent on 45 degree angle, phone held in right hand just above waist, talking, listening, looking straight ahead. A type of zombification as though nothing is as interesting as what is coming through the headphones. This isn’t the same place, not even close.
For this exhibition, I was asked to offer a contemporary take on Foncie/street photography. I paused and considered that one of my earliest experiences
Artist Credit: (Opposite page) Brian Howell - “Turn off, Tune out, Drop in”, 2013
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How Are You? 2013
Artist Statement By Angela Fama
Community. An ideal community has a history of coinciding with change and progression, a mix of age groups and cultures, friends, supporters, peers, mentors and collaborators. It has a mixture of people, nature and amenities that aid in feeling open, safe and comfortable to be as you are. I feel strength in the notion that a community can be built through the sharing
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of the truthful expression of one’s self. The street is an environment where an ideal community can thrive, but is becoming a place where it seems like random human connection between strangers is not necessarily forthcoming or even safe. To explore this notion I had to create a safe space to take people away from the chaos and people surrounding them yet keep them on the street.
When I think about Foncie’s body of work, I am met with the connection and community he built by giving people a piece of history with each snapshot he took. I use photography within the community to capture human connection and the exact moment where my subject allows their true self and vulnerability to show. As a response to Foncie’s photos of the citizens in Vancouver’s downtown districts, on Vancouver’s Car Free Day
(June 16th, 2013), I set up a pop-up photo-studio on Main street. Interested passersby were invited to remove their shoes, enter this serene environment and engage in this process. Three very intentional portraits were taken all within seconds, one passport style portrait, one with eyes closed, and the third and final portrait was taken after I asked the question, ‘How are you?’
Artist Credit: Angela Fama - How Are You 03 Kristen, 2013
We Are All in this Production 2013
Artist Statement By John Goldsmith
fixtures including Foncie and his camera are gone. The neon, too.
On the busiest of Vancouver streets, photographer Foncie Pulice spent four decades taking candid pictures of the Vancouver public.
Now more than ever, our city is documented. Not only by street photographers, but also by hordes of tourists, an abundance of hobbyists, and the ever present closed circuit TVs. Vancouver is bigger now. We’ve grown. More awkward, perhaps. Even a bit self conscious. Try as we may to define
Since those four decades and several more later, Granville Street was transformed. Vancouver was and continues to be a city of transition. The
Artist Credit: John Goldsmith - We Are All In This Production, 2013
ourselves with Expo 86 and the 2010 Winter Olympics, we are still searching for an identity beyond that of a destination city. Granville Street, like the City of Vancouver, is on the world stage. We are all in this production.
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Capture Presented Exhibition
What: Ensuing Pictures: The Peer-to-Peer Exhibition Marten Elder, Ali Bosworth, Peter Holzhauer, Laura Dutton, Marion Tampon-Lajarriette Curated by Emmy Lee When: 05 Oct. - 27 Oct. 2013 Opening: 04 Oct. 2013 - 6pm Where: Concourse Gallery, Emily Carr University of Art + Design There is an event associated with this exhibit. See the Events Listing for exact details.
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Artist Credit: Marion Tampon-Lajarriette - Metamorphic Rocks (Severan period, ca. A.D. 222-235), 2013
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For Capture’s inaugural year, we are fortunate to have five established contemporary artists participate in the festival Ensuing Pictures: The Peer-to-Peer Exhibition By Emmy Lee Edited by Cindy Richmond For Capture’s inaugural year, we are fortunate to have five established contemporary artists participate in the festival by nominating promising, emerging artists for inclusion in Ensuing Pictures: The Peer-to-Peer Exhibition. Vikky Alexander, Jim Breukelman, Mark Lewis, Mark Ruwedel and Jeff Wall are all artists that have engaged with the medium of photography for decades, and as artists either currently or previously based in Vancouver, each of them is keenly aware of the intense dialogue around photography in the city. We sought these artists’ recommendations - conscious of the diversity of their practices - with the idea that their suggestions would result in an equally varied group of nominees. In collaboration with these five renowned artists, Capture welcomes to Vancouver Ali Bosworth, Laura Dutton, Marten Elder, Peter Holzhauer and Marion Tampon-Lajarriette for this exhibition. Each of these five emerging artists, ranging in age from 28 to 34, possess a captivating body of work that demonstrates a consistent line of inquiry, while offering excellent examples of the unique and remarkably diverse directions in contemporary, photo-based art today. Jim Breukelman has been a humble but important force in establishing photography as an art form in Vancouver. In 1967, he founded the photography department at The Vancouver School of Art (now Emily Carr University of Art + Design) where he continued to teach until 2000, influencing countless students in the process. His documentary-style imagery cataloguing the range of vernacular architecture in Vancouver in his Hot Properties series (1987), or the splattered grounds of a paintball warzone in his Paintball Landscape series (2008), evidences his commitment to studying his subject matter closely, turning his lens on the same topic repeatedly to extract layers of information with his precise eye. The results are, by turns, dramatic, curious and beautiful. Breukelman was immediately drawn to Ali Bosworth’s poetic, diaristic imagery for inclusion in this project. Bosworth is based in Victoria, British Columbia; while he pursued a number of classes at the University of British Columbia in photography, sculpture and drawing, he considers himself a self-taught pho-
tographer and started shooting in earnest around 2006. Bosworth doesn’t necessarily set out to take particular photographs. Rather, he stumbles upon the scenes he shoots and despite this element of chance, there is a formal strength and thoughtful nature about his practice. The result of this working method is a candidness that offers a fresh counterpoint to the careful composition and performative quality of his works, specifically those featuring his girlfriend who is his primary human subject. Bosworth has a voracious appetite for images, shooting hundreds of photographs a year. He turns his lens on everyday objects, spaces, structures, landscapes and his girlfriend—in essence his life and the people and elements within it. They are intimate but strangely familiar because we have experienced similar scenes ourselves. The artist captures his own presence by virtue of his shadow cast across a sidewalk or reflected in a window, confirming the very personal nature of this work. The range of Bosworth’s subjects create what Breukelman describes as a “visual journey”: forming a loose narrative, the viewer wonders who the steaming cups of tea are for, where the van is headed ahead of us, whose towel hangs from the shelf, where the woman in the field is headed, and to whose front door the red path and steps leads us towards. Laura Dutton received her MFA from the University of Victoria where she met Vikky Alexander, a professor at the university since 1992. Alexander’s highly inventive practice extends across a variety of media including photography, sculpture, collage, drawing and installation, to explore the ongoing tension between nature and culture. While recent bodies of work like Island (2011), her black and white series shot in Kew Gardens, are highly detailed examples of “straight” photography, for years Alexander has pushed the boundaries of the media, engaged in early examples of appropriation to question authenticity and authorship, as well as creating photo-based installations extending photography into the three-dimensional world. Prior to Dutton’s arrival at the University of Victoria she was engaged in “pure photography”, as she describes it, but while studying there her work shifted; influenced by Alexander and other professors such as sculptor Robert Youds, Dutton’s latest creations are hybrids that borrow from photography, painting and sculpture to create something entirely new. To create the works in her Quietly at the Window series (2012), Dutton used a digital camera to take pictures of apartments during Vancouver’s annual Celebration of Light festival. Attracted to the multitude of colours emanating from the windows, she cropped the images and printed the photographs on translucent paper similar to negatives; she then scanned the images and blew them up eventually increasing their dimensions so that their final size is comparable to traditional painting. In this process of translation, much of the original information is lost so that the imagery hovers between representation and abstraction - the
viewer barely able to discern faint outlines of objects on the windowsills, or ambiguous blurred masses within these private spaces. In their final form, these translucent photographs are converted into light boxes, consolidating her interest in light both as subject and object. They emit a warm, coloured glow throughout the space in which they are installed, mimicking the windows they represent. The use of a light box to display a photograph immediately recalls the work of Jeff Wall, who has historically used this commercial display technique to create large-scale colour works, but, when wall-mounted, Dutton’s light boxes actually seem more allied with a Mark Rothko painting in its vibrating, transcendent abstraction. She also installs her light boxes directly on the ground, giving them a physical presence akin to sculpture. While working with light, the photographer’s primary medium, Dutton draws upon both painting and sculpture to create a unique dialogue between these traditionally distinct disciplines. Since the late 1970s, Jeff Wall’s expansive approach to photography has resulted in arresting photographs that “paint modern life.” He does not discriminate between constructed and documentary photographs, having worked between these two arenas for decades; in fact, his works are often hybrid creations that he refers to as “near documentary,” reflecting real or imagined scenes he fastidiously reconstructs with staged sets and actors. Given Wall’s international prominence, Marten Elder was certainly aware of Wall’s work before the two met, and before being selected for this project. Wall first encountered Elder’s work in 2012 at another young artist’s recommendation and paid him a studio visit while in Los Angeles. While originally from Rehoboth Beach, Delaware, Elder is now based in LA, having recently graduated from the MFA program at the University of California, Los Angeles. Prior to his studies at UCLA, he received his BA from Bard College, Annandale-on-Hudson, where he studied with Stephen Shore; Elder credits Shore with attuning his eye to colour, and teaching him how to translate the three-dimensional world into a two-dimensional image. Elder’s early work evidences Shore’s influence in its meticulous composition and his experimentation with picture planes and depth of field. While Elder’s recent Untitled (2013) photographs in Ensuing Pictures with their vivid, trippy colours initially appear wildly different from his earlier, more traditional images, they demonstrate the artist’s continued commitment to composition and a deep rigour in looking at the world around him. When Wall first suggested Elder’s work, a visit to his website revealed a series of vibrant images that were difficult to understand as photographs. Their striking hues and denial of traditional depth of field made them difficult to “read”, giving them the appearance of abstracted watercolours. Although Elder’s photographs are of urban Los Angeles - its structures, sidewalks and stairways - he uses this subject matter purely for its formal qualities, which he then manipulates and controls. While one initially assumes Elder “paints” the colours into his images,
what he actually does is simply enhance that which is already captured in the initial photograph. A camera takes in more colour and detail than the human eye can absorb and process; Elder makes this range of shades and textures visible, downplaying some elements and highlighting others, while also playing with perspectival compression. The result is something both of this world and beyond it. According to Elder, “It is easy to take a photograph, but it is difficult to make a picture.” Looking at Peter Holzhauer’s sweeping black and white landscapes or his quiet, studied portraits of structures such as a house or apartment by night, it is easy to see why Mark Ruwedel appreciates his work. Ruwedel first met Holzhauer at UCLA when he was conducting studio visits for the graduate program where Holzhauer received an MFA in 2007; he was struck by one of Holzhauer’s images of Signal Hill, a site well known to fans of Robert Adam’s work. Ruwedel, like Adams, is a photographer associated with New Topographics and the study of landscape - the narratives contained within the land and the evidence of time and human intervention left on its soil - has been his primary project for years. Like Ruwedel, Holzhauer’s practice encompasses landscape but also includes portraiture, still life and urban-street scenes that capture the accidental, as well as the everyday objects and structures that we all encounter but do not necessarily see. Holzhauer is intuitive about his subject matter, photographing what he feels will make a relevant image. He shoots prolifically, producing as many as thirty-five contact sheets in a two-to-threeweek period; editing these, he sometimes only prints a work years after it was originally taken. His range of imagery is varied and comprises a portrait of his sister titled, Window Light (2012) (suggesting the work is in fact a study of light rather that the seated figure), an extreme close-up of a well-worn head of a snare drum bearing its history in the form of strike marks, and a landscape titled, Dam (2012), which is part of Ensuing Pictures. Dam is an image of a dry river bed in the San Bernardino Valley, outside of Los Angeles; its upper quarter is occupied by the hills of a mountain range and the sky, but the central expanse of the picture is dominated by rocks and rubble, each stone and pebble captured in precise detail. Holzhauer’s exacting eye is evident in works such as Dust Cover (2012), PV Rock (2011), Sign Scrawl (2013)and Ice Stream (2013), each one a cropped, close up of its titular subject—they are studies capturing the folds of plastic, packing material, the intricately cracked face of a rock, the scrawled graffiti on a sign and the beautiful ice crystals on a stream’s surface. Holzhauer’s work is difficult to categorize and Ruwedel acknowledges and celebrates this ambiguity in the artist’s work stating that, “It is this ‘in-between-ness’ that most interests me.” Despite the disparity in the subject matter, what unites Holzhauer’s images is a steady gaze, sense of scrutiny and an intensity in the artist’s powers of observation. Mark Lewis initially focused on photography but started working
in film in the mid-1990s while teaching at the University of British Columbia, eventually relocating to London in 1997. His work draws attention to the structures and tropes embedded throughout the history of film, deconstructing them to make them apparent to his viewers. Lewis’ films are often projected directly onto gallery walls to deliberately evoke cinema, photography and painting simultaneously. Like Lewis, his nominee Marion Tampon-Lajarriette moves deftly between photography and film, aware of and evoking the histories of both. Lewis first discovered the younger artist’s work in Toulouse in 2008, when they were exhibiting together in the Printemps de Septembre festival. Tampon-Lajarriette was already familiar with, and admired Lewis’ practice. Tampon-Lajarriette is based between Paris and Geneva, where she earned her Masters in Art and New Media from the Haute École d’Art et de Design in 2008, and she is the only artist in Ensuing Pictures based in Europe, where her exhibition history is concentrated. Tampon-Lajarriette’s work creates a tension between the real and the imagined. Selections from her evocative Metamorphic Rock series (2013), which are included in Ensuing Pictures, were created while on a recent residency in New York. Three of these works are black-and-white photographs that conjure planetary landscapes, their textured surfaces suggesting a rough, worn terrain; a fourth work is rendered in muted earth tones and Artist Credit: Marten Elder - non-objective color 10, 2013
also seems otherworldly but has the added effect of a glowing sunset on the horizon. These images were shot by the artist in the Metropolitan Museum of Art’s Greek and Roman antiquity rooms where she translated the surfaces of ancient relics into topography by playing with framing, focusing in tightly on the slope of a figure’s head and the mass of curls depicted, or a worn eye socket that resembles the site of a crater’s impact. Shooting across one sculpture’s surface and into a museum spotlight created the effect of a sunset for her picture Metamorphic Rocks (Venus Genetrix) (2013). No one would describe these images as documentary, although the artist has, in effect, simply photographed artefacts and though these faces and bodies are made to recall landscapes, they are, in fact, representations of the human form. Her use of proximity and cropping obscures as much information as it magnifies, giving a detailed but biased representation of her subjects. The distorted reality of these works is a testament to the powerful ability of the artist to conceal and reveal. Tampon-Lajarriette further heightens the surreal, astronomic quality of some of this imagery by applying a stereoscopic effect; the slight blurring and red-green visual treatment associated with three-dimensional vision and science fiction films such as It Came From Outer Space. With these images, Tampon-Lajarriette equates the mysterious nature of these antiquities to the unknowable nature of the universe itself. The distinction between taking a photograph and making a picture is an important one. While each of the emerging artists in this exhibition starts with a camera in hand, where they end up is radically different: Ali Bosworth’s personal photographs transform the quotidian into the metaphoric; Laura Dutton’s glowing light boxes extend photography into the sculptural and painterly; Marten Elder’s manipulations of his photographs make apparent the ability of the artist to present the existing world in an entirely different light; Peter Holzhauer captures the minute details of the world around him, drawing attention to that which may commonly be overlooked; and Marion TamponLajariette demonstrates that under her lens, earthly objects can become otherworldly. What unites these emerging artists is their desire to create pictures - works that realize a particular point of view - rather than simply photographs. Artist Credit: Ali Bosworth - Untitled (Sinead), 2012
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On the work of Marten Elder By Jeff Wall I first encountered Marten Elder’s work through friends and colleagues in Los Angeles, where he has been living for two years while working toward a fine art degree from UCLA. He’s part of a group of young artists from there who are exploring what the transformation of photographic imaging by digital technology means, for our ideas of the art of picture making. One of the most common approaches to this up to now has been to use digital equipment as a more practical and up-to-date substitute for traditional film cameras and therefore to create images that are—or that appear to be—structured the way analogue camera images are structured. But, the equipment and the technology are different and the differences are now becoming more evident after a decade or more of intense work in this area. Elder and others are exploring the material ways in which digital equipment provides visual information, and they are finding significant differences from film images. So, for him, there is no compelling reason to restrict the capture of data to a single exposure; there is no reason to accept the kind of visual averaging that we have become used to in areas like colour, focus and depth of field. These basics are changing their character as artists delve deeper into their nature. There is a parallel here with the way a hundred years ago painters broke down that art form into its component parts and reconstructed it according to what they discovered in that analysis—Cubism, for example, and abstract art. Elder’s images in this show are of simple spatial situations—staircases, low retaining walls abutting on sidewalks, walkways and ramps—which have been photographed and processed to permit the ambient colours to become more evident, and to eliminate any variation in the sharpness of the rendering, the way there would be in a conventional photograph. The pictures show us an existing, factual world, the way photography always has. But that world seen again, afresh, by new eyes, by new people wrapped up in their relation with new machines.
Artist Credit: Marten Elder - non-objective color 8, 2013
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On the work of Ali Bosworth By Jim Breukelman Ali Bosworth doesn’t just look at his surroundings. He examines them with eyes attuned through his on-going, prolific output of images. His approach is simple and direct, relying on his practiced vision and curious mind to reveal and imbue his subjects with qualities most people would neither see nor even imagine when experiencing them first-hand. While each and every one of Bosworth’s images is a jewel and can be savoured as such, it would be a mistake to only view them in this manner. From one image to the next, there is consistency in his inventive compositions, his particular feeling for light, his sense of colour, and his ability to monumentalize moments. This consistency allows his images to work together visually as a larger, cohesive body of work that is speaking about something overarching. They can be seen as an intensely personal and vivid autobiography. Nevertheless, this is not an autobiography that is transparent or easily read. It is full of ambiguity, questions to ponder and allegorical potential to be discovered and considered. Also, in spite of the fact that this is Bosworth’s own visual journal, one cannot escape being reminded of one’s own life and story when looking at it. Towards that end, this work brims with a raw beauty that serves to hold your attention long enough to begin unpacking its secrets and its meaning. But, what Bosworth presents you with is so varied and complex, it requires much more than one viewing. To be able to see into an isolated moment in time is a magical thing. To be able to create work that makes that magic visible for others is both rare and important.
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Artist Credit: Ali Bosworth - Untitled (ground), 2013
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Artist Credit: Laura Dutton - Untitled (from Quietly at the Window series), 2012
On the work of Laura Dutton By Vikky Alexander All of Laura Dutton’s work encapsulates, for me, a sensitive musing on the subjects of light and time and how she finds them being manifested in the quotidian. The first works that I remember seeing of Dutton’s were panoramic black-and-white photos of fenestrated rooms, where daylight obfuscated the edges of the windows, softening them while obliterating architectural detail and blocking visual access to the exterior. In other works, the looped videos of motion, people walking, birds flying, waves receding, one feels the tediousness of routine and the futility of goal and purpose, while simultaneously the absolute necessity and fascination of both. The most recent light boxes are images of scopophilia; we are peering into windows. And yet we see nothing but fragments of the window frame, parts of curtains, and occasionally fleeting shadows behind both. We self-consciously catch ourselves in the process of ‘looking’ into the light, and, in the end, that is all that we can see. Her works are completely hypnotic and they attest to the quiet beauty of the everyday.
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On the work of Peter Holzhauer By Mark Ruwedel I first encountered Peter Holzhauer’s work at UCLA, when I was making studio visits for their Graduate Program. I remember a rather large black-and-white print of a view of Long Beach from Signal Hill, a view well known to those familiar with the work of Robert Adams. I also remember having some difficulty “making sense” of the range of photographs he showed me that day. There were colour landscapes made in Maine, I believe, as well as pictures of objects placed on a copy stand grid, a photograph of fishing lures, and some enigmatic images of wallpaper samples in black and white, one of which now hangs in my home. Peter’s work is difficult to “place” and I would be hard pressed to describe his “project”. The work is grounded in the tradition of the view camera, in its precision and technical perfection, and conforms to the topographical imperative associated with that technology. At the same time, it exhibits a contemporary sensibility in its range of subject matter, and it is this “in-between-ness” that most interests me. He puts his well-crafted images together in unexpected, somewhat idiosyncratic, relationships that make one aware of thinking/seeing intelligence at play, one that is located in history and craft, yet never reducible to a “this” or a “that.” I have been teaching photography for thirty years and making photographs longer still, yet Peter somehow manages to make photographs that I have not seen before. His work provides an instance of the beauty of translation, from the visible world to a picture.
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Artist Credit: Peter Holzhauer - Ice Stream, 2013
Artist Credit: Marion Tampon-Lajarriette - Metamorphic Rocks (Imperial period, 1st or 2nd century A.D.), 2013
On the work of Marion Tampon-Lajarriette By Mark Lewis I first saw Marion Tampon-Lajarriette’s work at the 2008 Printemps de Septembre exhibition in the south of France, curated by Christian Bernard. We both had works in the show and one evening before the opening, I visited the small gallery where Marion had installed her films. One of them, Camera 1, Plan 8, (2008), a kind of low-fi, threedimensional graphic rendering of a magical ocean swell, was completely mesmerizing, I could not take my eyes away from the image on the screen. I distinctly remember standing in front of that film feeling a little bit jealous; jealous of the way her work effortlessly managed to make something so simple, appear so beautiful and compelling. It was a work of great precision and play all at the same time. I was even more jealous when I discovered how young Marion was. Marion is a cinephile: she talks, thinks and writes endlessly about film. She understands how classical cinematic syntax can produce extravagant formal possibilities. And it is these possibilities that her works exploit. Her films and photographs often begin with her discovery of something seemingly inconsequential or peripheral in a scene: a subtle repetition, a shy glance, a turn of the lip, or an ocean swell. Marion then transforms these puncta into works of art full of effortless and enigmatic beauty. And when you see them, it is hard to look away.
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For me a photograph is most successful when it doesn’t anWhat: Greg Gorman - A Distinct Vision
swer all the questions,” says
Greg Gorman
Gorman, “and it leaves some-
Presented by Capture Photography Festival & Vancouver Photo Workshops (VPW)
thing to the imagination.
Curated by Julie Lee When: 30 Sep. - 16 Oct. 2013 Opening: 03 Oct. 2013 - 6pm Where: Pendulum Gallery There are events associated with this exhibit. See the Events Listing for exact details.
Artist Bio
“Greg Gorman says that, ‘A great photograph asks as many questions as it answers.’ The questions posed by his black-andwhite prints have to do with the nature of celebrity and our desire to see through the public persona of entertainers to the private individuals within. Gorman’s highly considered portraits of actors and musicians, young and old, hot and cool, evoke character while deploying elements of both mystery and revelation.” Robin Laurence, Preview Magazine, September/October 2013. For over four decades, Greg Gorman has continued to master the art of photography. From celebrity portraits and advertising campaigns to magazine layouts and fine art work, Greg has developed and showcased a discriminating and unique style in his profession. Greg’s work documents that peculiar obsession of the 21st century celebrity. His photography is timeless and not confined to has-beens, hot properties, and wannabes. Each shot gives a picture of human nature in its infinite range. Each picture is also a testament to the individual character. “For me a photograph is most successful when it doesn’t answer all the questions,” says Gorman, “and it leaves something to the imagination.”
Artist Credit: (Opposite page) Greg Gorman - Andy Warhol, Los Angeles, 1986
In 1985, through the advice of illustrator Antonio Lopez, Gorman realized that he needed a creative outlet in addition to the commercial work that launched his career. He then began to expand his personal work exploring the human form and became a notable photographer for not only his celebrity portraiture but also his figure studies of the male and female nude. When not shooting famous faces, Greg travels the world for specialized photographic projects and continues to work on compilations of his imagery. A book of his photos for the award winning l.a. Eyeworks campaign, entitled Framed was released in 2012. In the fall of 2009, Damiani Editore released In Their Youth: Early Portraits, which incorporates forty years of unpublished work. These join Gorman’s previously published books Greg Gorman Volume I, Greg Gorman Volume II, Inside Life, Perspectives, As I See It, Just Between Us and a book of platinum prints entitled Odes to Pindar, published by The Journal of the 21st Century. Greg Gorman has been recognized for his contribution to the world of photography with the Lifetime Achievement Award from the Professional Photographers of America, the Achievement in Portraiture Award from The Lucie Foundation and The Pacific Design Center Stars of Design award. Greg has also been acknowledged for his charitable works for The Elton John Aids Foundation, Aids Healthcare Foundation, Focus on Aids, The Oscar De La Hoya Foundation, Vox/Out Voices of Style + Design, PETA, Angel Art, and PawsLA.
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Artist Credit: (Top left) Greg Gorman - Michael Jackson, Los Angeles, 1987 (Bottom right) Greg Gorman - David Hockney, Malibu, 1989 (Opposite page) Greg Gorman - Iman Contact Sheet, Los Angeles, 1988
MASTERCLASS
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Nov 8th -10th, 2013 Join photographer Greg Gorman in this hands-on, intensive weekend workshop as he shares his lighting techniques both in the studio and on location. Greg will discuss how he approaches people and how he analyzes a face, as well as sharing his wealth of technical knowledge used to create distinguished images with strong personal style. $1100
An Evening with Greg Gorman
Nov 6th, 7 - 10pm
For over four decades, Greg Gorman has continued to master the art of photography. From personality portraits and advertising campaigns to magazines and fine art. Join Greg as he shares stories from his illustrious career and talks about some of his most iconic work. For location and to purchase tickets please visit our website: www.vancouverphotoworkshops.com
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What: The Photo Show: 1969/2013 − Exploring the Photo Conceptual Archive N. E. Thing Co., Bill Bisset, Donald Burgy, Christos Dikeakos, Dan Graham, Douglas Heubler, Robert Kinmont, Michael Morris, Bruce Nauman, Elia Pagonis, Ed Ruscha, Robert Sandilans, Robert Smithson, Raoul Vaneigem, Bill Vazan, Jeff Wall, Ian Wallace When: 02 Oct. - 29 Nov. 2013 Opening: 02 Oct. 2013 - 6-9pm Where: AHVA Gallery
Curatorial Statement
In 1969 UBC students put together an exhibition called The Photo Show in the recently built Student Union Building that explored new ways of thinking about photography. More and more artists at this time were using photography, not in the traditional Modernist fashion of creating a precious object, but rather in a way that made the camera appear as a mere ‘copying device’ used to illustrate an idea or make a point that often resided outside the realm of the actual photograph. Photography’s ubiquitous nature in popular magazines and advertisements gave it a democratic vernacular that appealed to many artists who were caught
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up in the anti-hierarchical fervour of the 1960s. Eager to make a statement against the hegemonic ‘big canvases’ of Abstract Expressionism, casual photo-based work gave artists an opportunity to mark out new challenging questions about what art was and what it could be. The 1969 show included works from young students and faculty such as Christos Dikeakos and Illyas Pagonis who curated the exhibition, Jeff Wall, Ian Wallace, and Iain Baxter, all of whom went on to have important artistic careers. As well as exhibiting their own work they had the initiative to secure works for the show from internationally known artists they admired and who displayed the same emerging
ethos of Conceptual art like Ed Ruscha, Dan Graham, Robert Smithson, Vito Acconcci, Douglas Huebler, Robert Kinmont and Bruce Nauman. The current show will use Christos Dikeakos’s archive of the 1969 Photo Show and many of the original works from that exhibition. The Photo Show of 1969 was perhaps the first exhibition of its kind dedicated to gathering both local and international artists primarily interested in looking at new Conceptual photographic strategies. The Photo Show: 1969/2013 explores what made the art scene at UBC in the late 1960s exceptionally exciting and innovative. What was behind the culture at UBC and Vancouver
that encouraged students and faculty to produce groundbreaking exhibitions not found anywhere else in Canada. The intent of the current exhibition is to look at the archive and works of the 1969 show and the impulses that were driving the changes in photography in the late 1960s, as well as their continuing relevancies for photography today. The exhibition is made possible by the generous support of the Art History and Visual Art Department of UBC, and the assistance of Christos Dikeakos, Barrie Jones, Ian Wallace, Jeff Wall, Charlotte Townsend-Gault and the Catriona Jeffries Gallery.
Artist Credit: Christos Dikeakos - Nelson and Burrard, 1969
What: Small Crimes Angela Grossmann When: 04 Nov. - 08 Nov. 2013 Opening: 05 Nov. 2013 - 7pm Where: Art Rental & Sales at Vancouver Art Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
Artist Statement
Small Crimes is part of an ongoing portrait series inspired by photographs of criminals incarcerated at the BC Penitentiary from 1935-48. These mugshots and other documents were discarded after the BC Pen closed its doors in 1980. I purchased them in a Vancouver junk shop in 1995. Initially, I was struck by the images themselves as they had a tremendous poignancy. On reading the files I found the ‘crimes’ were insignificant by today’s standards. They ranged from vagrancy, petty theft and drug addiction to minor fraud. The sentences however were draconian; long prison terms, some accom-
panied by lashes (corporal punishments as common place until 1970). Though these documents are a chilling reflection of injustice in the judicial system of the time, the criminal profile is not much different today than it was 75 years ago. The poor still make up the overwhelming majority of incarcerated prisoners. This body of work has taken many forms, often playing with photography’s ability to blur truth and fiction. The mugshot itself, it must be noted, was more than a way to document prisoners. It was also a form of shaming as a part of the punishment process.
Artist Credit: (Opposite page) Angela Grossmann - Artist, 2012
In earlier work I reinvented the 3x5 inch black-and-white mugshots making giant colour portraits, piecing together narratives in an attempt to ‘re –humanize’ these images. My recent series takes the form of miniatures, the scale being similar to that of the original mugshots. I am using discarded vintage photography equipment as framing devices. These small works are in some ways more intimate but they are also more complicated to look at. They anchor the images more directly to the events.
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What: The Guilded Life Holly Marie Armishaw When: 02 Oct. - 26 Oct. 2013 Opening: 02 Oct. 2013 - 7pm Where: Back Gallery Project
Artist Statement
The Marie Antoinette series of pictorial portraits and The Mirrors will be exhibited together to compliment one another. The photographic portraits reveal a rare glimpse into the life of a powerful, very tragic and often demonized public figure. This demonization was due in no small part to the sexually explicit caricatures and propaganda meant to cripple the monarchy and to provide the public with a scapegoat for their discontent. Based upon historical research, these portraits create a glimpse into the rare private moments of the Queen of France. They are intended as antithesis to the public persona and propaganda that plagued her. While the portraits portray the private, and often painful, undisclosed moments of a powerful woman, Marie Antoinette becomes a symbol of the controversy and contra-
dictions that can exist within the complexity of both women of power and that of women in general. The suffering of women is universal and knows no class barriers or distinction of time or place. The series of Mirrors also reflect the intimate life of a woman. The ornate frames and elegant French text are an ironic façade for the subversive messages etched onto the glass - simultaneously a symbol of beauty and tragedy. They reveal the inner world and thoughts that one may have, but may not speak of in polite society. They suggest a hidden world of pain and deep-set anger; some are accusatory, even suggesting taboo topics like child abuse. The inventions of both the mirror and photography have been pivotal in the explosion of portraiture. They have both served to create a sense of selfidentity in all who encounter them. The introduction of the
mirror into France became a key component of being “civilized” through the ability to make oneself pleasing to others. The French court was one of the first to receive this gift of refinement and civility through bribery to the Venetians, craftsmen of the modern mirror. The fantastic “Hall of Mirrors” in Versailles was created as a testament of the economic prosperity of France. The mirror was not only instrumental in gifting a sense of self-image - it was also a definitive component in the invention of the camera. With the birth of the camera, the portrait, which was once only available to those wealthy enough to commission a painter (such as the French Royal Court) was then made available to the average person.
Louis the XIV, which would have adorned the palace walls of Versailles during Marie Antoinette’s reign. Although the series of mirrors began as an attempt to steer new work away from portraiture, their oval shape echoes that of the oval visage of the face. As well, the mirror can be seen as a portrait of anyone that gazes into its reflection. The portrait is a powerful tool that echoes the self-reflexive nature of humanity throughout time. These works represent complex issues of both feminine experience and of class through the juxtaposition of decadence and tragedy. In particular a key mirror piece in the exhibit reads “Greed is a Social Lubricant”, which literally turns a mirror back on the history of civilized society and any typical art audience. An unexpected portrait of the Gilded Life is revealed.
The style of mirrors chosen was one that represents the decadent Rococo style of
Artist Credit: Holly Marie Armishaw - Marie Antoinette – Reading Jean-Jacques Rousseau’s Discourse on Inequality, 2012-13
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What: Dropped Threads Heidi Leverty When: 19 Oct. - 31 Oct. 2013 Opening: 19 Oct. 2013 - 2pm Where: Bau-Xi Gallery
Artist Statement
In this series Canadian photographer Heidi Leverty examines the reality of what really happens when our used clothes are dropped into bags, chutes and boxes around town to be magically revived and repurposed for those in need. Somehow it is expected that these good intentions find their way into waiting and grateful arms with little effort. The photos tell a different story. Bales of shirts, pants, coats and dresses once new and colourful morph into dull piles
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of tired cloth, worn with such faded sameness it is impossible to identify one piece from another. The same tiredness one imagines it takes to dissect these mounds of cloth is matched in the masked faces of the sorters as they cleave to their enormous task. The artist reveals the tip of the iceberg by using these mountains of material as one oppressive object. The artist invites us to see what happens at one stage in this complex journey of our flotsam and jetsam. Cavernous, industrial hangars house heaps of clothing that loom
over those workers whose job it is to sort through the leftovers of strangers. The daunting task of choosing which things go to recycling or landfill, get turned into rags or sent to other countries for sale falls to them. To witness this link in the processing chain allows the viewer to experience the overwhelming sense of hopelessness that results from endless, ever-growing mounds of material trucked in every day to the plant.
Artist Credit: Heidi Leverty - Textile 02, 2009
What: Of One’s Own Virginia Mak When: 03 Oct. - 17 Oct. 2013 Opening: 03 Oct. 2013 - 6pm Where: Bau-Xi Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
Artist Statement
Pushing photography beyond traditional limits, Mak explores the visual possibilities of the medium. Known for its soft focus and minimized light values, her work disrupts the boundary between painting and photography. “Yet it is in our idleness, in our dreams, that the submerged truth sometimes come to the top”. Room of One’s Own, Virginia Woolf.
Virginia Woolf proposes that for a woman to be able to write (or create), she need be free of poverty, to have a room of one’s her) own. This latest series by photographer Virginia Mak consists of “interior” portraits where the woman is engaged in a quiet act, or looking at the world outside. It also describes the physical setting wherein a woman frees her mind from clutter, finding time and space to ignite her imagination. Her gaze is at once outward and
inward. Her gaze outward may allude to her longing for somewhere distant, external to her surroundings. “The external world -- natural or manmade – encompasses a grander picture of life. The woman’s interior world may also imply her station, one of domesticity. “The window is an opening. Unlike a door, it is a partial opening. The moment may be one of reflection, curiosity, excitement of the moment itself, or anticipating what lies ahead.”
Artist Credit: Virginia Mak - Of One’s Own 04, 2011
Artist Statement
Negative Space is an ongoing series of photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. Through a simple command in Photoshop, blacks become whites, whites
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become blacks, and all other colors are transformed into their complement. These images are then made into sitespecific photographic murals for empty walls and installed like wallpaper, indoors and out, temporary and permanent. The project also includes an artist book, an original font, and a screensaver. Several outdoor billboards have also been produced.
What: Mungo Thomson: Negative Space Mungo Thomson When: 01 Oct. - 12 Jan. 2014 Where: Contemporary Art Gallery
Artist Credit: Mungo Thomson - Negative Space (Installation view), 2009
What: The Long Wait
soldiers continued to operate in West Germany until the fall of the Berlin Wall.
Michael Love When: 18 Oct. - 15 Nov. 2013 Opening: 18 Oct. 2013 - 7pm Where: CafĂŠ for Contemporary Art - Satellite Gallery
Artist Statement
The Long Wait is a photographic exploration of Canada’s Cold War past. On April 4th 1949, Canada and eleven other nations signed the North Atlantic Treaty to jointly stand against the Eastern Bloc. With the signing of this treaty, Canada
joined its first peacetime military alliance. In 1951, Canadian troops and their families started being stationed in West Germany. The German NATO operation was Canada’s longest military operation. Armed with tactical nuclear weapons, these troops stood as the first line of defense against a Soviet invasion into Western Europe. The Canadian
Artist Credit: Michael Love - Bowling Alley, Fort St. Louis, 2008
In this project I traveled to the former sites of the twelve Canadian NATO bases in Germany. These locations are in various forms of re/ use and abandonment. Much like small cities, these bases had most of the amenities that the soldiers and their families would need, including schools, gymnasiums, theaters, bowling alleys, churches, bars, pool halls, ice rinks and stores. Built on the dichotomies of East versus West, communism versus capitalism, atheism versus Christianity and good
versus evil, the Cold War was a conflict that placed us on the brink of destruction. These images not only show the effects of time, politics and economics on these places, but also reveal the beauty surrounding these sites, which were veiled in secrecy. However, what is most illuminating about these photographs is that, although these bases were on the front lines of the Cold War conflict, the soldiers were still able to live out and enjoy their lives while waiting for a conflict that would never materialize.
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Artist Credit: James Welling - Gelatin Photograph 89, 1984
Curatorial Statement
American artist James Welling (b.1951) emerged as an important figure in the ‘Pictures Generation’, an influential group of artists working in New York in the 1980s, famous for their pioneering use of photography. Welling tested the mechanical and technical parameters of photography, from making his own camera out of a shoe box to using a wide range of film and papers or even making photographs without using cameras at all. This period of intense experimentation generated numerous collages, paintings, notes and ephemera before culminating in a number of iconic series: minutely crumpled aluminium foil evoking starry skies or
lunar landscapes; luxurious drapes sprinkled with dough suggesting snow-capped mountain ridges; and abstract colour-fields appearing as sundrenched horizons. By focusing on simple, repetitive motifs Welling sought to remove photography from its subject, in order to trigger personal associations in the viewer and to explore how we see, rather than what we see. This exhibition brings together a hundred and fifty of Welling’s early, experimental and abstract works from this period and is presented in partnership with MK Gallery, Milton Keynes, UK and Centro Galego de Arte Contemporànea in Santiago de Compostela, Spain.
What: The Mind on Fire James Welling When: 15 Nov. - 12 Jan. 2014 Opening: 14 Nov. 2013 - 7pm Where: Contemporary Art Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
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What: Lightbox, 2013 Jessica Eaton. Also exhibiting Rodney Graham, Liz Magor and others When: 01 Nov. - 03 Nov. 2013 Opening: 01 Nov. 2013, 6pm Where: CPPS at Gallery 1965
Curatorial Statement
This exhibition of photographic works published by the Canadian Photographic Portfolio Society (CPPS) highlights the launch of a new commission by Jessica Eaton. Acclaimed for her innovative experiments in colour photography, Eaton applies unique analogue techniques to manipulate properties of light. In her vibrant images she pushes the rhetoric of abstraction to provoke questions about perceptual experience. The photographs in this new series are based on light bending through glass prisms. They
Artist Credit: Jessica Eaton - LTISL 17, 2013
allude to photography as a process of drawing with light, specifically Berenice Abbott’s “The Science Pictures.” CPPS is a Vancouver nonprofit society operated by arts professionals that publishes limited edition portfolios by Canadian artists. CPPS showcases commissions by distinguished Vancouver artists; Rodney Graham’s Cast a Pall, Liz Magor’s Military through the Ages (1996), David Askevold’s Love Mansion (1977). AAngela Grauerholz, David Hoffos, Hadley+Maxwell, and Cheryl Sourkes are also on exhibition.
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What: location/dis-location(s): reprise Jayce Saloum When: 12 Sep. - 11 Nov. 2013 Opening: 12 Sep. 2013 - 6pm Where: CSA space
Artist Statement
Part photo-array, sculptures of disused materials and objects, this installation reprises and coalesces fragments of several projects made between Sept. 12, 1996 up to the opening, Sept. 12, 2013. The works are installed in a panorama of clusters, content spilling off of each other to determine crossreferenced readings and inherent and associated exoteric
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contexts. The photographs are from an ongoing body of work titled “untitled: photographs”, that attempt to engage critically in the representation of public and private space, the tableaux of commercial enterprises acting as ideological stage fronts, domestic settings, and the spaces of intimacy found in-between both. location/dis-location(s) approaches coming to oblique and evolving terms of what it
means to be making photographs here (and elsewhere) and the exploration of the possibilities of visualizing the nature of ‘natural’, urban, semi-urban, and sub-urban environment (and the totality of the constructs signified in those terms). It is from an analytical position arrived at through a subjective response to place; the city(ies), the specific locations, and a certain dislocation from these sites, places in flux, permutat-
ing, persisting, resisting or collapsing under pressures of consumption/consumerism, regulated & unregulated development, crisis and contestation. On October 25th, location/ dis-location(s): contingent promises, a corresponding exhibition in this continuum follows at Grunt Gallery, and will run until Nov. 30, 2013.
Artist Credit: Jayce Saloum - location/dis-location(s): reprise, 1996 - 2013
What: XX Dina Goldstein When: 05 Oct. - 31 Oct. 2013 Opening: 05 Oct. 2013 - 6pm Where: Dina Goldstein Studio
Artist Credit: Dina Goldtsein - Cinderella, 2009
Artist Statement My work is intended not to produce an esthetic that echoes current beauty standards, but to evoke and wrest feelings of shame, anger, shock and empathy from the observer so as to inspire insight into the human condition.
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What: Adam Fuss Adam Fuss When: 05 Oct. - 26 Oct. 2013 Opening: 05 Oct. 2013 - 2pm Where: Douglas Udell Gallery Vancouver
Curatorial Statement
New York-based Adam Fuss departs from traditional camerawork in his photomechanical rendering of photograms. Using no lens, Fuss’ images are created by placing objects on large sheets of cibachrome paper that are briefly exposed to light. What results are colourful abstractions, elusive silhouettes of floating babies, and hypnotic rays of vibrating hues. Rife with symbolism and references to mythology and mortality, Fuss’ images starkly confront viewers with the unknown, the sublime, and the uncanny.
Artist Credit: Adam Fuss - Medusa, 2010
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What: Group Photography Exhibition Hua Jin, Loretta Lux, Abelardo Morell, Matthew Pillsbury, Hiroshi Sugimoto When: 02 Nov. - 16 Nov. 2013 Opening: 06 Nov. 2013 - 2pm Where: Douglas Udell Gallery
Curatorial Statement
This photo exhibition features work from international heavyhitters in the field of contemporary photography. Artists include Hiroshi Sugimoto, Loretta Lux, Abelardo Morell, Matthew Pillsbury, Thomas Ruff and more. The exhibition will also highlight gallery represented artist Hua Jin and her newest series Water and Mountain, which explores the cross-disciplinary relationship between traditional Chinese landscape painting and the latest production methods in photography.
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Artist Credit: Loretta Lux - Antonia, 2006
What: Special project by Eric Deis Eric Deis Also exhibiting Grace Gordon-Collins, Russ & Wendy Kwan When: 05 Oct. - 02 Nov. 2013 Opening: 02 Nov. 2013 - 2pm Where: Elissa Cristall Gallery
Artist Statement
I photograph spaces, not as the subject of the image, but rather the tangible and intangible elements, both physical and mental, which occupy them. We live within a network of relationships that are irreconcilable with each other and when they collide they produce spaces that possess multiple fragmented mean-
Artist Credit: Eric Deis - Skybridge 2013
ings. I capture these collisions, which often exist only for a fraction of a second, to create images that expose the agitation between social, economic, and natural forces. I interpret space with the same critical insight that has traditionally been given to time and history, as a record to inquire and infer upon our state of being. In a society that is constantly revising itself
through ceaseless innovation of handheld electronics, rabid real estate development, and social networking, it is difficult to distill the present because our experiences are fleeting and mutable. Spatial photography enables me to offer a discerning window into the complexity concealed within our unrelenting stride for progression.
My images are not staged nor manipulated, they are captured in situ revealing details that I could not possibly preconceive. I collapse the picture plane by giving equal privilege to the background and foreground, and decentralize the subject by focusing on disparate details that in concert construct an image emblematic of the codependent layers of meaning in our daily lives.
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What: Fred Herzog What: Geoffrey James What: David Hockney: Twenty Photographic Pictures Fred Herzog, Geoffrey James, David Hockney When: 02 Nov. - 23 Nov. 2013 Opening: 02 Nov. 2013 - 2pm Where: Equinox Gallery
Curatorial Statement
As part of Capture Photography Festival 2013, Equinox Gallery is very pleased to present three separate exhibitions of photographic works by, David Hockney, and Geoffrey James. All three exhibitions will run from November 2nd to November 23rd, 2013 at Equinox Gallery. Fred Herzog: Unseen Photographs This exhibition will include a series of previously unseen photographs by Fred Herzog (b. 1930). For over 50 years, Herzog worked almost exclusively with Kodachrome slide film but only in the last few years has technology allowed him to make archival pigment prints that match the exceptional color and intensity
Artist Credit: Fred Herzog - Women in Coats, 1968
of the Kodachrome slide. Herzog’s use of colour was unusual in the 1950s and 60s, a time when art photography was almost exclusively associated with black and white imagery. In this respect, his photographs can be seen as a pre-figuration of the “New Colour” of photographers such as Stephen Shore and William Eggleston, which received widespread acclaim in the 1970s. David Hockney: Twenty Photographic Pictures This exhibition will include the complete portfolio of twenty chromogenic prints produced by David Hockney (b. 1937) from 1970 to 1975. For Hockney, the camera functions as sketchbook and diary, recording his travels across the globe, the intricate network of dwellings, objects, friends, and images that define his life.
Geoffrey James: Photographs Born in Wales, Geoffrey James studied Modern History at Wellington College and Oxford University before immigrating to Canada. Since the 1970s James has been active as a photographer, exploring consciously planned landscapes from the past and the more unintentional landscapes of the present. His unflinching and masterful photographs investigate the social role of architecture and space, and the ways in which we interact with these elements. A retrospective of his work was mounted at the National Gallery of Canada in 2008, and he won the Governor General’s Award in Visual and Media Arts in 2012.
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What: Bestia Parvulus (Animal Child) Pamela Klaffke
Artist Credit: Pamela Klaffke - Canis Lupus (Wolf), 2011
When: 03 Oct. - 31 Oct. 2013 Opening: 03 Oct. 2013 - 7pm Where: Foot of Main Gallery
Artist Statement
Fairy tales twisted and re-imagined, all lo-fi and colour-splashed. Childhood curiosities cloaked in mystery and grain. It’s a quiet secret, dreamy and still, interrupted only by the occasional commotion of light leaks and emulsion flare. I can’t imagine it any other way. It started with a visit to the dark worlds of Hans Christian Andersen and the Brothers Grimm. I bought a plastic rabbit mask at a local joke-and-costume shop. My daughter had a white
dress. That was that — except that it wasn’t. I bought more masks and the contents of camera-store refrigerator from a shop whose owner saw no future in film. The excitement I’ve found in the unpredictable nature of expired film and plastic cameras has taken me by surprise. There’s inspiration in objects, worn costumes and thrift store finds — and always in those overlooked pockets where inner-city concrete confronts accidental green space. Perfection holds no appeal. To me, there’s something magical — and mischievous — about the Bestia Parvulus (Animal Child) series. I return to it again and again, finding myself caught up in an endless, surreal game of make-believe.
What: Not Safe To Occupy Victor John Penner When: 11 Oct. - 09 Nov. 2013 Opening: 11 Oct. 2013 - 7pm Where: Gallery 295
Artist Statement
In 2001, I was requested by a law enforcement agency to make a photographic document of Illegal Marijuana Growing Operations (GrowOps) located in Vancouver BC, Canada. I accepted that assignment. Ostensibly, I am not a crime fighter. Only fifteen minutes into the first “bust” and I already realized
Artist Credit: Victor John Penner - Untitled 2001
that I had failed my overseers. A grow-op is a marvel of (criminal) ingenuity and wonder and I embraced the sight, smell and sound in a silent reverie while a gang squad furiously and systematically dismantled the environment from underneath my floating mind. We see what is in front of us, or, what is put in front of us. History has shown that prohibition makes for strange bedfellows. Ceremonial bar-
rels are smashed, their golden contents flowing freely through open grates only to be, ultimately, funnelled back into the barrel, again. Through a narrative constructed from typologies of singular and multiple imagery in combination with colour fields and graphic device, a guide to the grow-op vernacular is revealed to the observant. Subterfuge plays a role in the day to day machinations of these opera-
tions, that trick being to “hide in plain sight”. My “trick” is to unveil that plainly to the viewer via a lo-fi analogue. This work was created during live police raids on 35mm negative film using available light and while being handheld. Not Safe To Occupy is the artist’s first solo exhibition.
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What: Main Street Danny Singer When: 05 Oct. - 26 Oct. 2014 Opening: 05 Oct. 2013 - 2pm Where: Gallery Jones There is an event associated with this exhibit. See the Events Listing for exact details.
Artist Statement
I find the Main streets of small prairie towns interesting in that they seem to have all the elements that define a community neatly presented within their length. They are like a well-crafted sentence, all the elements required to tell the story laid out in a concise liner manner. I wanted to photograph the streets in their entirety I wanted to replicate the experience of walking or driving into a town from the outskirts so
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that we could see the street in relation to the land it occupies and the buildings in relation to each other. I wanted to show the people going about there daily business and I wanted to give the viewer as much detail as possible creating an immersive experience. The images were originally created as gallery prints as large as ten feet in length that invite the viewer to walk along their length peering into empty windows pondering the evidence of better times. To make these images I carefully map out the street then
make a photograph every four or five feet. I shoot straight on to everything we see dispensing with any single point perspective, the successive frames, often as many as 100, are then digitally assembled using Photoshop into a cohesive image. The wires are all replaced and cross streets are re created with a vanishing point and the repeating objects furthest from the camera are eliminated. Because it can take several hours to transit the street there is no “decisive moment�, people and cars come and go shadows move and weather can change,
all factors that add to the dynamic of the photographs and contribute to the overall feeling of these portraits of Main Streets. These images are an original and different way of seeing what we would ordinarily take for granted. They are photographically impossible yet accurate representations of small places off the beaten track that because of their ordinariness remind us all of the origin of place. No matter where we live these places speak to our collective past and point the way to an uncertain future.
Artist Credit: Danny Singer - Canora Redux, 2013
What: David Semeniuk: Perimeter
Artist Statement
David Semeniuk When: 11 Oct. - 09 Nov. 2013 Opening: 11 Oct. 2013 - 8pm Where: The Gam Gallery
Artist Credit: David Semeniuk - Untitled, 2013
Between February 3 and April 7, 2013, Alice Campbell and I walked along the perimeter of Vancouver, BC. The walk was approximately 91 km long, and took place over nine trips. It arbitrarily began and ended near New Brighton Park, in the NE corner of Vancouver. During the walk, we tracked
the city’s edges, and sought out its publicly accessible boundaries. In combination with the written works by Alice Campbell and Jeff O’Brien, the exhibition examines the physical and social landscapes and barriers encountered in Vancouver, the photographic history of Vancouver, and the role of edges and boundaries in Vancouver’s civic identity.
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Curatorial Statement
The Artists for Kids Permanent Teaching Collection strives to bring to the community the finest examples of work in the visual arts. To that end, Figure and Frame showcases contemporary artists using photography to address specific issues and ideas. Our collection illustrates the diverse contemporary practices of Canadian Artists. The ideas within Figure and Frame ranges from Edward Burtinsky’s look at contemporary social issues to Rodney Graham’s humorous commentary on art history and art making. From Karin Bubas’ and Doug Coupland’s exploration of formative qualities to Michael Snow’s examination of how one perceives the “now”. In all instances the work reflects our world around us and gives the audience a great deal to contemplate as they explore each piece.
What: Figure and Frame Michael Snow, Karin Bubaš, Edward Burtynsky, Douglas Coupland, Rodney Graham, Irene F. Whittome When: 09 Oct. 2013 - 26 Apr. 2014 Where: Gordon Smith Gallery of Canadian Art
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Artist Credit: Michael Snow - Smoke and Mirrors, 1994
Artist Statement
This new installation of photographs continues my engagement in the visualization of the nature of the ‘natural’ and constructed environments, their mappings of oblique histories and their inferences: cross-overs - overlapping, separating, and collapsing into one another. The representation of the public and private, claimed and unsigned spaces, forms of the commons, the tableaux of enterprises acting as socio/ideological stage fronts, domestic settings, and the spaces defined by subjectivity in-between and woven throughout are found here. Nature is looked upon as it is distinct and metaphorical
of human culture, not to anthropomorphize but to do the reverse. It is from an analytical position arrived at through a subjective response to place; the specific locations, and a certain dislocation from these sites, placid and active places in flux, permutating, persisting, resisting or collapsing under pressures of consumption/ consumerism, regulated & unregulated development, and crisis and contestation. Surviving nature, surviving ourselves. The end world view of ours shimmers over the malleable beauty found; life floats in the balance. These photographs are from an ongoing body of work, “untitled: photographs”, that
attempts to critically engage in the representation of public and private space. location/ dis-location(s) approaches coming to terms with what it means to be making photographs here (and elsewhere) and the exploration of the possibilities of visualizing the nature of ‘natural’, urban, semi-urban, and sub-urban environment (and the totality of the constructs signified in those terms). A corresponding exhibition of earlier works in this continuum, location/dis-location(s): reprise, preceded this installation at CSA Space in Sept & October of this year.
What: location/dis-location(s): contingent promises Jayce Salloum When: 25 Oct. - 30 Nov. 2013 Opening: 25 Oct. 2013 - 7pm Where: Grunt Gallery
Artist Credit: Jayce Salloum - corpus deciduous, tree on a wire, Naramata, 2011
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Exhibitions
What: Cipher Messaging
Curatorial Statement
Anglea Fama, Rebecca Chaperon When: 17 Oct. - 16 Nov. 2013 Opening: 17 Oct. 2013 - 6pm Where: Initial Gallery
The inaugural fine art photographers were eager to have their medium appreciated as art and exhibited alongside paintings. When this objective was met with resistance, a movement started to separate the commercial and artistic uses of photography with the aim of elevating the craft to an accepted art form. The photo-secessionists, as they were known, did not participate in the commercial applications of the medium and this furthered the acceptance of photography as an art form. Visual art now includes photography and new technology continues to enhance the artist’s voice and our understanding of this medium. For the Capture Photography Festival, Initial Gallery has invited painter Rebecca Chaperon to exhibit alongside photographer Angela Fama.
Artist Credit: Angela Fama - It’s a Sign, 2012
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Angela Fama photographs billboards that have long since had their say and are now falling into disrepair. But these empty facades are not silent. Where former eras were marked by artistic or religious movements, this era was marked by products, lots of them. Manufacturers were required to think of new ways to inform potential consumers, and as a result, the highway billboard was born. Super highways, high fuel prices and competitive airlines slowly depleted their audience. Digital billboards mark the new high speed roads with 24 frames-per-second efficiency. However, there is a nostalgic affection for these giants left to weather the elements alone. The classic billboards, like them or not, were simple in form and substance. The simplicity of that time decays with its messenger. Rebecca Chaperon inserts geometric shapes in her landscapes to describe a narrative around other fading forms of communication, letter writing and storytelling. Painting surreal representations of two different worlds that she interprets through handed down letters and memories of stories told to her as a child, her paintings create two distinct landscapes. One is the tropical island of Mauritius and the other, its opposite, the frozen Antarctic. Although extreme opposites, both of these landscapes share the mythical quality of memory. Rebecca Chaperon describes the abstract elements of both artists work when she explains how the insertion of large geometric shapes in the landscape serves as an interruption that creates questions for the viewer, a mystification that causes an urge to identify. These disturbances call the viewer to participate and engage in the work by bringing their own images and ideas to answer the question. In answering these questions, personal meaning becomes invested as the individual draws on their own unique experiences.
Artist Credit: Rebecca Chaperon - Icebergs in Love, 2013
The juxtaposition of Fama’s “It’s A Sign” and Chaperon’s “Antarticus” demonstrate the similar tone and sensibility that both mediums are able to create. The representational precision of the photograph and the abstract imagery of the painting reveal an adept use of medium by both artists to create a tone and sensibility of their message. “Even the most sublime artwork takes up a determinate attitude to empirical reality by stepping outside of the constraining spell it casts, not once and for all, but rather ever and again, concretely, unconsciously polemical toward this spell at each historical moment. Artworks participate in enlightenment because they do not lie: They do not feign the literalness of what speaks out of them. They are real as answers to the puzzle externally posed to them.” Theodor W. Adorno, Aesthetic Theory 1970 The intersection between photography and painting is perhaps found in the above writing by Theodor Adorno. Empirical and transcendental images confer both conscious and subconscious realities and neither image is by its nature representative of either reality. This show demonstrates this duality in visual art in both mediums. As secessionism fades into the former century, discussion about art and commerce does not end and may be more important than ever. As the interface between art and technology widens, the place of commerce will inevitably also change. Photography as the predecessor to digital and new media art will be looked upon to describe the path forward.
What: Byron Dauncey When: 12 Sep. - 12 Oct. 2013 Opening: 12 Sep. 2013 - 6pm Where: Initial Gallery
Artist Bio Byron Dauncey is a photographer and artist. He specializes in art documentation and candid portraiture. He has studied under photographers Lincoln Clarkes and Fred Herzog, and conceptual artist Andrew Owen. As an artist Byron has exhibited at the Vancouver Art Gallery and The Monte Clarke Gallery. His work has been featured in The Globe and Mail, National Post and CBC television.
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Artist Credit: Byron Dauncey -Photo-cubist Camera, 2013
What: Carry an object with you Christian Nicolay & Ya-chu Kang When: 01 Oct. - 12 Oct. 2013 Opening: 05 Oct. 2013 - 2pm Where: Kimoto Gallery
Artist Statement
The separation between life and death, known and unknown is valued and dealt with in many ways from Western and Eastern cultures through the human’s imagination and complex practices of burial ceremonies, rituals and superstition. The words, “Life brings, refuses stubbornly to take away,” in Buddhism mean the soul should let everything go. It also relates to being born with nothing and when you die you cannot take any material objects with you. However, funerary practices abroad are sacred and we will dress up a dead body or even put things in a coffin like letters or pictures, coins on the eyes in past times or burn a paper object to greet the departed in the next world. People try to send wishes, thoughts, memories and love using daily objects from the real world to send to
another world (the perceived afterlife) with the deceased after death. In the Carry an object with you project, we keep developing our research with traditional funerary practices abroad and invite people to participate. If you could take only one thing with you when you die what would it be? All of the participants are holding the object they would take with them after death. The identity is eliminated from the participant and makes the object become more important. The relationship of the object to the various bodies brings a wide interpretation of our cultural landscapes and associations with death and the humans indivisible relationship with the material world activating such relationships as viewers/viewed, consumer/ consumed and ephemeral/ permanent.
The installation consists of a pile of handmade paper Lily flowers planted in a pile of salt presented like a tomb-womb reflecting death and birth simultaneously. The participants’ photographs project on the tomb-womb in rotation where flashes of light and dark weave the narrative together. The paper Lily flowers are light and translucent without color relating to the covering of the skin and a communication with the naked body. The Lily has traditionally been associated with death and often found in coffins or on graves in certain cultures. What does this sound like? An original sound composition accompanies the installation played on speakers buried under the salt tomb-womb. The use of consonance and dissonance, melody and chaos unifies the concept to reflect the known and unknown
Artist Credit: Christian Nicolay & Ya-chu Kang - Carry an object with you (Detail), 2012 - Ongoing
qualities of life and death. Ultimately the score reflects the changing of the seasons in a year echoing the idea of cycles and something that can be observed by us but not changed. There is a recurrent insistence to document the present in remembering the past, to keep a connection to tradition and a conservation of our social and cultural relationships to the landscape around us. Through this exploration the artists ask the participants and viewers to examine the relationship between the objects and the subjects, and how it relates to their idea of the afterlife, and the traditions and practices associated with it.
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What: Realiteit Dianne Bos, David Burdeny, Jim Kazanjian, Catherine Nelson When: 17 Oct. - 15 Nov. 2013 Opening: 17 Oct. 2013 - 6-8pm Where: Jennifer Kostuik Gallery
Curatorial Statement
The totality of things possessing actuality, existence or essence is defined as reality. Yet, all reality is subjective when based on a personal viewpoint. The Jennifer Kostuik Gallery presents four roster artists who use photography, either created by themselves or montaged into a print, or both, that present their inner and outer visions of reality.
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Artist Credit: Jim Kazanjian - Untitled (implosion), 2009
What: In The Dollhouse Dina Goldstein When: 29 Oct. - 15 Nov. 2013 Opening: 02 Nov. 2013 - 2pm Where: Kimoto Gallery
Artist Statement
The (De)construction of Barbie/Ken: Dina Goldstein’s Genderqueer Dollhouse At last! The veil has been lifted on Barbie’s emotional distress and Ken’s genuine sexual interests. In her photographic series In the Dollhouse, Vancouver-based artist Dina Goldstein chronicles the unhappy marriage of the two most iconic, played-with, and, some would say, socially problematic dolls ever designed. Through her ten-part story, she peeks into the private life of the couple, dismantling the sacred aura surrounding these E X H I B I TIONS / 71
symbols of our popular visual culture. In the late 1980s feminist theorist Judith Butler offered a reconceptualisation of gender as a “corporeal style”: the cultural and performative interpretation of the facticity of the body. Furthermore, Butler argued, if gender performance eventually leads to the sedimentation of the roles ascribed to biological sexes, then “performing one’s gender wrong initiates a set of punishments both obvious and indirect.” It is with the possibility and implications of subverting “sedimented” gender behav-
iour that Goldstein is primarily concerned in the Dollhouse. Surprisingly (and, hilariously) enough, what we see is a genderqueer Ken reading The Oprah Magazine, wearing Barbie’s stilettos, and leg shaving in the bath. Devastated by the news of her husband’s gay affair, we later find Barbie shifting to a boyish appearance by cutting her iconic hair and putting on a suit and tie. What is especially noteworthy about the proposed articulation of gender roles is precisely the use of Barbie and Ken; the Dollhouse becomes a site at which our behavioural expectations flicker, and where
traditional gender roles are renegotiated in creative and productive ways. So as we sneak into Goldstein’s Dollhouse and ponder what it communicates, it is ultimately at ourselves, our practices and behaviour, that we are being prompted to look—as is revealed by the (our?) wide-open, scrutinizing eye reflected in Barbie’s mirror in the haircut scene... Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,” Theatre Journal, vol.40, no.4 (1988): 521. Ibid., 528.
Artist Credit: Dina Goldstein - Affair, 2012
What: Theory & Problems Mel Yap When: 14 Oct. - 28 Oct. 2013 Opening: 19 Oct. 2013 - 2pm Where: Kimoto Gallery
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Artist Statement By Sam Wiebe
To live in this world wholeheartedly is to set theory aside. It’s to take people as you find them, including yourself. It’s to offend. It’s to realize you’re part of the problem. It’s to accept nothing as inevitable, save time, and to carve out moments of grace as you find
them. It’s to risk being oneself, alone and accountable. It’s to miscommunicate and to hear truth drowned out on every corner. It’s to shoulder decay and loss. It’s to tell sad stories of the death of kings. It’s to allow meaninglessness to have its say. This is one definition of poetic faith. These photos constitute another.
Artist Credit: Mel Yap - Robson and Granville, 2013
What: Anthony Goicolea Anthony Goicolea When: 01 Oct. - 15 Nov. 2013 Where: Monte Clark Gallery
Curatorial Statement
Known for his seamless digital creations, New York based artist Anthony Goicolea’s photographs bring together familiar elements from various locations around the world that have become synonymous with urban settings. Dilapidated buildings, ominous skyscapes and industrial wastelands merge to construct unsettling apocalyptic-like landscapes. Appearing as sci-fi visions of the future, monochromatic largescale black and white photographs from Goicolea’s “Almost Safe” series display what appear to be the remains of a war or environmental catastrophe. While the moody skies add to the bleak setting of concrete and rubble, they also reference the works of Northern European Romantic painters such as Casper
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David Friedrich. Similarly, Goicolea alludes to early nineteenthcentury American landscape painting by depicting the few inhabitants of his digitally crafted spaces engulfed by their surroundings. Also on view are colourful landscape photographs from Goicolea’s “Once Removed” series. The works were created in 2008 when Goicolea received a grant to visit Cuba, his family’s homeland, for the first time. The artist admits to feeling “a strange sense of nostalgia for something I have never been a part of or experienced directly”. The lush photographs still reflect a strange emptiness; hints of his family history left behind.
Artist Credit: Anthony Goicolea - Triptych, 2007
What: Instructor Showcase Katie Huisman, Marc Koegel, Pooya Nabei, Wayne Hoecherl, Richard Aimes, Kitt Woodland, Syx Langemann, Geoff Neufeldt, Kaj Svensson, Kathleen Hinkel, Mary Jensen, Rick Hulbert, Ross den Otter, Vairdy Andrew When: 04 Oct. - 18 Oct. 2013 Opening: 04 Oct. 2013 - 7pm Where: Photohaus Gallery
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Curatorial Statement
“Most photographers themselves cannot say for sure why they photograph. This uncertainty is a legitimate prod to self-scutiny, but not much of a basis for scorning others’ suspected compromises. We all have to eat, and how we connect that need with the needs of the spirit is a matter none of us can afford to be especially self-righteous about.” Robert Adams PhotoHaus Gallery has invited a diverse collective of Photographers / Vancouver Photo Workshop’s educators to exhibit a piece from each of their personal collections.personal collections.
Artist Credit: Katie Huisman - Mark, 2013
What: Lifelines Marc Koegel When: 08 Nov. - 22 Nov. 2013 Opening: 08 Nov. 2013 - 7pm Where: Photohaus Gallery
Artist Statement Marc Koegel’s black and white photographs seek to inspire with their beauty, timelessness and minimalism. His images depict both natural and architectural forms, photographed in North America, as well as Europe. Koegel, an international award winning photographer, often uses extended time exposures to create his works. This exhibition will feature two of his latest bodies of work. The
Canadian Prairies Series is an ongoing project that was started in 2009. Traveling thousands of kilometers throughout the provinces of Alberta, Saskatchewan and Manitoba, Koegel photographed granaries and grain elevators, many of which were once the proud symbol of economic activity of the surrounding areas. As these structures are disappearing at a increasingly rapid pace in recent years, Koegel’s
photographs are created to preserve the memories, as well as raise awareness and help in the preservation efforts of this important part of our cultural, as well as economic, history. Selected works from Koegel’s most recent The Lighthouse Series will also be on display. Similar in artistic style and motivation, this work focuses on historic lighthouses. Growing up next to the water in his hometown of Hamburg (Germany), Koegel developed
a deep affection and interest in lighthouses, as the gatekeepers and lifelines of the many ships from near and far. Using time exposure techniques when creating his images offers a short glimpse into the rich history of each structure.
Artist Credit:
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Marc Koegel - Canadian Prairie Series #1, 2009
What: Asleep In Your Branches Tristan Casey When: 11 Oct. - 26 Nov. 2013 Opening: 11 Oct. 2013 - 7pm Where: Positive Negative Gallery
Artist Statement Casey continues his work to present Canada as a hidden summer-land. Using coastal British Columbia’s hidden beaches, drift wood homes, and nativeislanders to tell a story that is equal parts fact and fantasy to show a beach world that is Canada’s own.
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Artist Credit: Tristan Casey - Untitled, 2013
What: Another Happy Day: Found Photographs from the Collection of Jonah Samson When: 12 Sep. - 27 Oct. 2013 Opening: 14 Sep. 2013 - 7pm Where: Presentation House Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
Curatorial Statement
Another Happy Day brings together an exhibition and publication of anonymous photographs found on eBay from the private collection of Canadian artist and collector, Jonah Samson. The photographs in Another Happy Day E X H I B I TIONS / 77
reflect his unique collection of compelling figurative photographs, dark sense of humour and attraction to the macabre. Samson’s interest in voyeurism is evident in the collection through often violent and sexualized images, contextualizing the many sources of his practice. Artist Credit: Photographer unknown
What: Collected Shadows: Photographs from the Archive of Modern Conflict When: 12 Sep. - 27 Oct. 2013 Opening: 14 Sep. 2013 - 7pm Where: Presentation House Gallery
Curatorial Statement
As an exhibition, Collected Shadows provides a rare glimpse into the scope of the Archive of Modern Conflict (AMC), an organization whose collection and exhibition practice questions how we understand the past and present through the medium of photography. Photographic archives are the main source of the AMC’s practice, piecing together historical narrative through the visual documents
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left behind. The AMC’s interest in collecting amateur and professional photography from the First and Second World Wars has remained since the organization’s inception, but the collection continues to develop with a wide array of photographs documenting various subjects. Through the juxtaposition of various contexts and photographic techniques, Collected Shadows focuses on the natural and supernatural: earth, fire, air, and water, ac-
company subjects of astrology and flight. The AMC strives to “store, explore, and represent the lost shadows that lensbased technologies have scattered to the wind,” highlighting the criticality that can be brought into our engagement with photography. The Archive of Modern Conflict is an organization and independent publisher based in London, UK and Toronto, Canada. Their publications on photography and art have won and put them on shortlists for
prizes including the Dali International Photography Festival Best Book Award (2011), the Grafik Design Awards (2010), the Rencontre d’Arles Historical Book Prize in both 2008 and 2009, and the New York Photo Fair Awards (2008). Their archive now includes more than four million photographs.
Artist Credit: Frank Coster - Spirit photograph, c1890
What: Marian Penner Bancroft
Artist Statement
Marian Penner Bancroft When: 08 Nov. - 21 Dec. 2013 Opening: 07 Nov. 2013 - 6pm Where: Republic Gallery
Artist Credit: Marian Penner Bancroft - Nettles and oak, Bulcamp Drift, 2012
This installation features silent video projections, colour photographs, and sound recordings. Using the camera’s frame as a flattening imperative, the video projections are moving pictures of the repeated and random motion of water, grasses and trees from two
sides of the planet, movement caused by wind and tides and illuminated by the light of the sun and the moon. Sounds of weather phenomena fill the gallery space, underscoring these projections as well as still images of trees in various states of growth and decay with an aural dimension.
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What: Out of Fiction Jim Breukelman When: 06 Sep. - 12 Oct. 2013 Opening: 06 Sep. 2013 - 6pm Where: Republic Gallery
Artist Statement
Working with photo-assemblage is new territory for me. I am drawn to it because it is enabling me to delve into subjects that I have often thought about but, for various reasons, have been unable to investigate directly with my camera. Some examples of this would be war, space-exploration; events that took place during my childhood, and other things that either exist or existed outside of my personal experience. Out of Fiction, my title, refers to a theme that is woven
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throughout much of my work over time – the interplay between reality and fiction in which each affects the other in ways both foreseeable and unforeseeable. Sometimes the results can be regrettable. Sometimes they are simply interesting or deliciously entertaining. Then, there are the startling outcomes, where innovations once thought to be pure fantasy have become real through the agency of imagination born out of fiction. The idea to make this series of photographic assemblages has been in my mind since 1981, when I happened to take
a picture of a page torn from a Roy Rogers colouring book that was stuck to a friend’s fridge door in Belmont, Massachusetts. Initially, it caught my attention as it glowed in the brilliant, winter-morning sunlight. But later, after making a print, what really struck me was the unexpected cryptic quality the image seemed to possess for reasons I have been unable to put into words. This photograph has continued to hold my curiosity over the years. Again and again, I have looked at it with undiminished interest, which seems out of proportion for an image that was simply a photograph of a
page in a children’s’ activity book. Perhaps it isn’t that simple at all. Aside from their main function to entertain children and exercise their creativity, these books often contain content that serves to instill social values in children and colour their view of the world. Nevertheless, I haven’t seen this as being overly disturbing. Rather, it is a starting point from which to make new works while thinking of the historical context within which the colouring books I have chosen to work with were first published.
Artist Credit: Jim Breukelman - Untitled photo-assemblage, 2013
Artist Statement
Life is the mystery. It arouses my curiosity more than any other preoccupation.
What: ALCHEMY and other allusions Robert Kenney When: 04 Oct. - 10 Nov. 2013 Opening: 04 Oct. 2013 - 7pm Where: Robert Kenney Group
Artist Credit: Robert Kenney - Ophelia, 2012
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The exploration through wet plate allows me to slow time to a state of fuller self awareness and by extension to the perception of the movement of life around me. The images are haunting and chimerical, an attempt to express a fuller sense of real beauty.
What: Anspayaxw: an installation for voice, image, and sound John Wynne When: 13 Sep. - 26 Oct. 2013 Opening: 12 Sep. 2013 - 5:30pm Where: Satellite Gallery
Curatorial Statement
Anspayaxw is an immersive sound-and-photographic installation for twelve channels of audio diffusion, created in 2010 by Canadian artist John Wynne in collaboration with photographer Denise Hawrysio, linguist Tyler Peterson, and members of the Indigenous Gitxsan community at Anspayaxw (Kispiox, British Columbia).
Using innovative sound technology, Wynne merges recordings of the endangered Gitxsanimaax language, oral histories, and songs performed by Gitxsan individuals with situational portraits of the participants and images of handmade street signs on the reserve. These photographs, mounted on flat speakers, become the source of voices and an array of environmental sounds, from bingo calling to water running under
the frozen Kispiox River. In Anspayaxw, tensions between language documentation and the artist’s own creative expression are recognized and represented in image and sound. Wynne considers the complex relationships linking language speakers and linguistic researchers to questions of power, ownership, and the desire to document, preserve, and revitalize endangered languages.
Artist Credit: John Wynne - Thelma Blackstock (detail from Anspayaxw), 2010 - Photograph by Denise Hawrysio
John Wynne’s practice includes large-scale sound installations in galleries and public spaces, photographs that produce sound, and “composed documentaries” that explore the boundaries between documentation and abstraction.
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What: Moyra Davey: Ornament and Reproach Moyra Davey When: 08 Nov. - 22 Dec. 2013 Opening: 07 Nov. 2013 - 7pm Where: Satellite Gallery
Curatorial Statement
Moyra Davey is an acclaimed photographer, writer, and filmmaker based in New York. This exhibition presents notable projects that Davey has undertaken with John Goodwin since 1993. Through
an understated approach to photography and video, as well as her insightful critical writing on photography, she considers the meanings carried in everyday objects. This exhibition provides an overview of her practice with early works including the multiple MoneyBox (1993), published
Artist Credit: Moyra Davey - Trinity Church Cemetery, NYC, 2012-13
by Shark Editions, New York, photographs from her Newsstand series (1993-94), Bottle Grid series (1996-2000), and video works. For her 2001 exhibition at goodwater in Toronto, she began producing photographic mailers that carry the physical traces of their journeys through the mail system, a practice that has continued for subsequent exhibitions. She has mailed over 1,000 photographs across the world. A new set of mailers – 27 folded photographs taken in Trinity Church Cemetery in upper Manhattan – will be featured in the exhibition.
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What: Art Perry, Facing Ireland: Irish Portraits Art Perry When: 18 Oct. - 16 Nov. 2013 Opening: 18 Oct. 2013 - 8pm Where: Smash Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
Artist Statement
Art Perry’s Irish portraits are not touristy reaffirmations of the quaintness and picturesque verdure of Ireland. Much of our perception of Ireland has become a visual cliché: the green hills, the stone cottage, rock fences winding around trails of gray smoke across shamrock fields, wind-battered coastline and the ever-present pub with Guinness and jigs always on tap. All of which is wonderfully part of Ireland, but Art’s black-and-white portraits take
the viewer inside that stone cottage or that pub where they can experience the Irish people firsthand. Neither a postcard nor a postscript, these photographs speak of the real Irish: authenticity is the key. These photographs have a natural and spontaneous sense of time, a captured real life moment; moments we all experience but often pass by. As a photographer and cultural historian Art feels these images deserve to have their ‘voice’ heard. They celebrate and share the uniqueness of everyday moments in Irish life.
Artist Credit: Art Perry - Michael and Tom-Joe Robinson, Milltown, Co. Cavan, 2000
The people in Art’s photos, the Irish, come from a crosssection of Travelers, clergy, farmers who have lived on their land for five generations, artists, writers, long-rooted manor owners, kids playing, seventy-year-old cabinetmakers and small town dancers. These are distinctive people, often with a strong sense of character, will and tradition. Art realized as a writer and photographer he needed to share these people’s stories and faces. They had to be witnessed before Ireland changed so much that they might be forgotten.
Many of the Irish Art encountered still mentioned the Great Famine. Others had utterly mythic accounts of their own family’s survival within the last few decades. These stories are carried in their expressions, on their worn hands, and in the landscapes and homes that form their backdrops. The Irish tradition of storytelling runs like river-water through these portraits.
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What: The Collective Multiple Artists When: 05 Oct. - 20 Oct. 2013 Opening: 05 Oct. 2013 - 1pm Where: truth and beauty There are events associated with this exhibit. See the Events Listing for exact details.
Curatorial Statement
The Collective is a permanent revolving exhibition of original contemporary photography. The Collective aggregates the work of local artists into a singular resource for contemporary photography, and provides the community with unique access to a broad selection of original, signed, limited edition, archival photographic works created by talented, mid-career photographers exhibiting by invitation of the curator. Representing a long-term collaboration between gallery and photographer, The Collective is currently comprised of 40 artists.
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Artist Credit: Kyle Elliott - #1, 20083
What: Vancouver Art Gallery Offsite Mark Lewis When: 17 Oct. - 30 Mar. 2014 Where: Vancouver Art Gallery Offsite There is an event associated with this exhibit. See the Events Listing for exact details.
Curatorial Statement
The silent moving images of Mark Lewis’ latest films captivate audiences at Offsite, the Vancouver Art Gallery’s outdoor public art space. Using the formalist language of cinema to explore the experience of urban and natural environments, Lewis’ films both contrast and complement the surrounding cityscape where they are projected.
Artist Credit: Mark Lewis - One Mile, 2013
Offering a poetic view of mundane, everyday situations, Lewis’ non-narrative, slow motion pictures arbitrarily unfold on the screen, contributing to the viewer’s sense of indeterminacy. A program of new and earlier films from Lewis’ repertoire will also be projected during the course of the four-month installation.
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What: Muntadas: Entre/Between Muntadas When: 09 Nov. - 10 Feb. 2014 Opening: 17 Oct. 2013 - 6pm Where: Vancouver Art Gallery There is an event associated with this exhibit. See the Events Listing for exact details.
Curatorial Statement
Touring exhibition organized by the Museo Nacional Centro de Arte Reina Sofía, Madrid in collaboration with the Vancouver Art Gallery and curated by Daina Augaitis, Chief Curator/Associate Director. A pioneer in the fields of conceptual and media art, Antoni Muntadas’ rigorous practice includes performance, video, photography, multimedia installations, publications, web-based projects and public art. Muntadas: Entre/ Between, a survey exhibition of the artist’s more than fortyyear career, includes a selec-
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tion of key works that manifest his ongoing exploration of the important political and social issues of our time. Incorporating in-depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the role of the media in transmitting ideas and information, and the complex dynamics of architecture and other social frameworks. From his early works of the 1970s that utilized the senses and his 1981 manifesto that demanded audiences consider “What are we looking at?” to his ongoing series On Translation, which
wrestles with cultural interpretation, Muntadas has created a vast body of work that investigates the visible and invisible systems of power in a society dominated by the spectacles of mass media, hyper consumption and constantly evolving technologies. Muntadas: Entre/Between is organized into nine constellations of thematically linked works from different moments of the artist’s career and traces the diverse subjects that have occupied his interest for four decades.
Artist Credit: (Opposite page) Muntadas - Arte Vida, Barcelona , 1974 (Top right) Muntadas - The Limousine Project, New York , 1990
What: KIMSOOJA Unfolding Kimsooja When: 11 Oct. - 26 Jan. 2014 Where: Vancouver Art Gallery There are events associated with this exhibit. See the Events Listing for exact details.
Curatorial Statement
KIMSOOJA Unfolding is the first retrospective to assess the thirty-year career of the Korean-born, Paris and New York-based artist, and offers an unprecedented opportunity to trace the development of the artist’s practice from her earlier works to more recent production. While the scale and media of her art has varied widely, what remains constant is an engagement with questions of
identity in the face of change and social flux. The exhibition highlights works that address notions of time, memory and displacement, and the relationship between the human body and the material world. This broad survey includes early textile-based pieces from the 1980s, Deductive Objects, large site-specific installations such as Bottari Truck, as well as single and multi-channel videos.
she began constructing bottari—objects wrapped in colourful Korean fabrics—during a residency at MoMA PS1 in New York. Kimsooja’s adaptation of this Korean tradition of using fabric to bundle and transport domestic items not only garnered the international art community’s attention, but also became a formal and symbolic device that she continued to use throughout her career.
North American audiences were introduced to Kimsooja’s work in the early 1990s when
The exhibition is accompanied by the KIMSOOJA Unfolding book, co-published by the
Artist Credit: Kimsooja - Encounter – Looking into Sewing, 1998–2002
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Vancouver Art Gallery and Hatje Cantz (Berlin), which features over 100 images of the artist’s work as well as essays by Daina Augaitis, Mary Jane Jacob, David Morgan, Selene Wendt and Suh YoungHee.
What: Hypnagogic Rhythms Brian Howell, Evann Siebens, William Anderson, Colin Smith, Dana Claxton, Trig Singer, Paul Wong When: 19 Sep. - 02 Nov. 2013 Opening: 19 Sep. 2013 - 6-8pm Where: Winsor Gallery Curatorial Statement
Colin Smith.
An exploration of the space between dreaming and being awake, Hypnagogic Rhythms will feature photography and video work by seven artists: Brian Howell, Bill Anderson, Trig Singer, Paul Wong, Evann Siebens, Dana Claxton and
Hypnagogic Rhythms is an inspired exhibition that explores grids, movement, architecture and the body. Visitors will be entranced with Paul Wong and Evann Siebens’ video works. Then they encounter Brian Howell’s monumental 99 Stars installation juxtaposed
Artist Credit: Evann Siebens - Magritte Man, 2012
by Dana Claxton and Trig Singer’s contemplative black and white photography. The viewing pleasure is further heightened as they discover Colin Smith’s Camera Obscura multiple exposure series, and Bill Anderson’s landscapes that challenge depth, perception and surface. The dynamic work in this exhibition is proof
that Vancouver has a critical mass of talent to warrant a photography festival that is fast on its way to becoming nationally recognized. We look forward to seeing all of the exhibitions that are part of Capture’s inaugural year.
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What: Indian Candy Dana Claxton When: 19 Sep. - 02 Nov. 2013 Opening: 19 Sep. 2013 - 6pm Where: Winsor Gallery
Artist Statement
This new body of work investigates the Wild West archive with specific attention paid to Sitting Bull. As a Lakota Sioux myself, and as a descendant of Sitting Bull’s band who came to Canada, I continue to draw upon this history for creative inspiration, as well as, to locate this unique and complex history within Canada and the United States. The title, “Indian Candy” is a play on words. The word grouping was often used to describe dried wild salmon with a sweet flavor, it was sold by restaurants and grocers. I am re-articulating the words, perhaps owning them, to name the works both as “Indian”
and as “candy”. I am using candy also in the context as confectionary to further reconsider commodity culture, desire, need, and contemporary art and how indigenous iconography has circulated within historical art production and discourses. I have worked with 8 and 16mm film, VHS/SVHS, mini dv, betasp, HD, RED, digital and analog photography - in small and medium formats. My practice has incorporated these mediums individually or combined. In this new series I am working with mostly archival images off the Internet, which brings into the aesthetic another layer of technology – a combination of the pixel and the grain, which, in some of the works, takes on an uncanny resemblance to beadwork. In addition, I am working with footage I shot at the ancient site of Writing on Stone which houses one of the largest collections of ancient earth
Artist Credit: Dana Claxton - Geronimo, 2013
works in Canada and which are mostly considered rendered by the “Sioux or other plains tribes,” or even perhaps drawn by supernatural beings themselves. These ancient images, for me, maintain a connection to all our histories, and suggest our human collective and connectivity to the ancients as well as a desire to render ourselves. Be it within cave paintings, rock art, earth drawings – humanity has been drawing itself since time immemorial. I have created large works with these particular images that both reflect an ancient indigenous past, but also suggest a spiritual connect to the cosmos and the natural and supernatural worlds. There are still parts of American Indian histories in Canada and the United States that are buried – I am attempting to bring forth a reversal of a whitewash of history, by using vibrant colours to beautify the history and make historical discourses and research docu-
ments into critical contemporary art that has been influenced by pop art, political art, shared and contested histories, and all within the realm of pop. There is an element of seduction – the surface, which is sleek and slick, the colours, which are celebratory and fresh, then, the context and discourse settle in; a style of artistic flow found within my practice for the last 20 years. The works are c-type prints on Endura paper, mounted on aluminum, and finished with UV laminate. The high-gloss further explores my intentions of considering fetish consumerism of indigenous art and culture as a glossy surface with layers of meaning underneath. The slickness, the flatness, the vibrant colours and scale variations, combined, are attempting to make a highly aestheticised comment on ways of knowing and being in the world of knowledge, spirit and art.
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What: Our Lady of the Flowers of Evil Jonah Samson When: 05 Sep. - 05 Oct. 2013 Opening: 05 Sep. 2013 - 7pm Where: Wil Aballe Art Projects | WAAP
Artist Statement
Our Lady of the Flowers of Evil is a project that emerged from a large collection of original 1950s crime negatives, culled by the artist from Ebay sources over many years. These startling, historic images were then transformed in the studio, using Charles Baudelaire’s book of poetry,
Artist Credit: Jonah Samson - Untitled, 2013
The Flowers of Evil, and the writings of French thief and prostitute Jean Genet as their inspiration. Genet’s statement, “There exists a close relationship between flowers and convicts. The fragility and delicacy of the former are of the same nature as the brutal insensitivity of the latter,” is a deeply resonating theme throughout all his writings, and becomes the foundation
for this body of work. The haunting photographs in this series appear to be the product of multiple exposures, but are in fact entirely produced within the camera as a single shot. By laying the original black-and-white negatives over a new negative, and then placing the pair back into a vintage 4x5 press camera, the artist then photographs flower arrangements in the studio.
The result is a unique, intertwined image created with a single exposure, which appears to be partly positive and partly negative. This very hands-on approach to image-making uses historical elements and analog processes to contemplate the rapidly changing nature of photography in an age of digital production.
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What: Spectrum Studies
Artist Statement
Scott Massey When: 10 Oct. - 02 Nov. 2013 Opening: 10 Oct. 2013 - 7pm Where: Wil Aballe Art Projects | WAAP There is an event associated with this exhibit. See the Events Listing for exact details.
Artist Credit: Scott Massey - Spectrum Study (visible light), 2013
Scott Massey will be presenting four large photographs and one composite editioned photograph of images related to the project Full Spectrum. These images will be the result of various tests shot on 4x5 film where the effects of different filters and other image adjusting apparatus are shown. The four areas of exploration will be: The Visible Spectrum; Greyscale; Day-Night; and
Ultra-Infra. Each of these will be rendered as pie-graph overlay structures for each image. The Visible Spectrum will separate the colour channels of white light, i.e.: rainbow colours; Greyscale, will separate the sections based on the Ansel Adams Zone System; Day-Night will separate the sections based on each hour of a 24-hour cycle; and UltraInfra will separate the sections based on those accessible ranges above and below the visible spectrum. EX HI B I T I O N S / 9 5
Events
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Events What: Book Launch / Another Happy Day: Found Photographs from the Collection Jonah Sampson When: 14 Sep. 2013
When: 03 Oct. 2013
What: Book Signing -
Time: 7pm
Cyclists
Where: Museum of
Lincoln Clarkes
Vancouver Katie Huisman discusses the significance of Street Photography in Vancouver and it’s historical dialogue with Foncie Pulice.
Time: 7pm Where: Presentation
What: Artist Talk - Of
House Gallery
One’s Own
When: 05 Oct. 2013 Time: 3pm - 5pm Where: Museum of Vancouver Lincoln Clarkes’ book Cyclists, a compilation of photographs from his series by the same name, will be for sale and available for signing.
Virginia Mak What: Free Langara
When: 05 Oct. 2013
What: Artist Talk -
Workshop - Long
Time: 2pm
Kimsooja Unfolding
Exposure Fine Art
Where: Bau-Xi Gallery
Kimsooja
Pushing photography beyond traditional limits, Mak explores the visual possibilities of the medium. Known for its soft focus and minimized light values, her work disrupts the boundary between painting and photography.
When: 08 Oct. 2013
Photography Sharon Tenenbaum When: 28 Sep. 2013 Time: 10am - 3pm Where: Langara College This seminar is free, but preregistration is required. Call 604.323.5322
What: Panel Discussion What: Capture Launch
- An Evolutionary Look
Party
into Vancouver Street
Capture Photography Festival When: 01 Oct. 2013
Century
Panel Discussion - Main
When: 05 Oct. 2013 Time: 1pm - 3pm
Tour - An Evolutionary Look into Vancouver Street Photography: Foncie Pulice to the 21st Century Katie Huisman
Internationally acclaimed artist Kimsooja speaks about her practice and recent work representing Korea in the Venice Biennale. Co-presented with the SFU Vancity Office of Community Engagement.
What: Book Launch and
RSVP required
What: Curator Talk and
World Art Centre
Pulice to the 21st
Vancouver
Where: Museum of
Where: SFU Woodwards,
Photography: Foncie
Lincoln Clarkes, Angela Fama, Brian Howell, John Goldsmith & curators Katie Huisman and Julie Lee
Time: 7pm
Time: 7pm
Where: Museum of Vancouver The Artists discuss their work in relation to one another and to Foncie Pulice’s legacy. RSVP required
Many of these towns are only a stone’s throw from major highways, and are often missed by the passing busy interurban traveller. Singer was struck by the concise, linear nature of these matured rural front streets, which still manage to suggest possibilities for renewal, reinvention and growth. They contain all essential elements that define the historical town, constructed within a very human-scaled and efficient space. Industrial and suburban sprawl are of another world. These exquisite works luxuriate in the myriad surfaces, textures and clarified space of North American small town main streets, and beautifully capture their fascinating nuances of light and place.
Street Danny Singer, Grant Arnold & George Thompson. Moderated by Shane O’Brien. When: 08 Oct. 2013 Time: 5:30pm Where: Gallery Jones
What: Edward Burtynsky: Water - Artist Talk and Book Signing Edward Burtynsky When: 08 Oct. 2013 Time: 6pm Where: Langara College Tickets are $25 and available thtough capture.Burtynsky. eventbrite.ca What: Exhibition Tour Kimsooja Unfolding Kimsooja & Daina Augaitis When: 10 Oct. 2013 Time: 6pm - 8pm Where: Vancouver Art
Photographer Danny Singer has, since 1999, been creating large-scale images depicting small, prairie town main streets located in both Canada and the United States.
Gallery Artist Kimsooja and Curator Daina Augaitis tour the exhibition. Free for Members or with Gallery admission
What: Artist Talk (The Collective) - PhotoPhilosophy: Inspired Talks on the Photographic Process Andrew O’Neill When: 12 Oct. 2013
be on display in their purest and unedited form, making this one-of-a-kind event a true showcase of Vancouver’s Raw Talent. For more information, visit VancouverPhotoMarathon.com
Time: 1pm - 2pm Where: truth and beauty The Collective provides you with unique access to a selection of original, signed photographic works created by talented, experienced and established contemporary artists exhibiting here by invitation.
What: Artist Talk / Screening - Mark Lewis / Screening of Max Ophüls La signora di tutti Mark Lewis When: 15 Oct. 2013 Time: 7pm - 9:30pm Where: The Cinematheque
What: Exhibit - Raw Talent: The 12 x 12 Vancouver Photo Marathon Exhibit Various Artists When: 12 Oct. 2013 Time: 6pm Where: Scotiabank Dance
Mark Lewis discusses his installation at the Gallery’s Offsite location. His talk is followed by a screening of La signora di tutti by Max Ophüls, selected by the artist as a film that has been influential to his practice. Free to the public.
What: Workshop with Kharen Hill When: 19 Oct. 2013
a panel of the city’s top Art Directors & Curators invited from local Ad Agencies &
Time: 7pm - 9pm
Magazines.
Where: Langara College Learn how to light multiple set-ups and get the lighting variations you need to make actors look good and keep clients happy. Students will be walked through a typical pre-light and shoot day and learn about budgeting, digital work flow, and the equipment you need to perform as an A-list celebrity photographer. Learn how to talk to clients, your photo and film crews, hair, makeup and wardrobe, and how to direct actors. Finally, experience directing and shooting your own set-up by photographing on the sets that have been created that day.
What: Artist Talk
$295 (includes admission to evening lecture on Friday)
Time: 10am - 1pm
To register: Call 604.323.5322
This seminar is free, but preregistration is required. Call
Centre What: Lecture with Imagine capturing 12 frames on 12 themes in a single roll of 12 exposure 35mm film over the course of 12 hours during one of Vancouver’s gorgeous summer days. That is what 60 adventurous photographers did in the eclectic and always vibrant Commercial Drive neighbourhood on August 31st, and whose works will be showcased on Saturday October 12th at the Scotiabank Dance Centre. Join the celebration of film photography as the excitement of that day’s events is relived at the 5th annual 12x12 Vancouver Photo Marathon Exhibit. The winning images will be revealed from over 700 photos that will
Kharen Hill When: 18 Oct. 2013
The 1st Annual Sugar Shooters Group Photo Exhibition
Where: Langara College
When: 18 Oct. 2013 Join award winning entertainment and music advertising photographer Kharen Hill for an evening of images and stories. Kharen will recount her experience breaking into the photographic industry that has led to a career shooting internationally for major music labels and studios. A Q&A with Kharen will follow the presentation. Students/CAPIC members: $10 General admission: $15 To register: Call 604.323.5322
- PhotoPhilosophy: Inspired Talks on the Photographic Process Colin Mills When: 19 Oct. 2013 Time: 1pm - 2pm Where: truth and beauty
What: Free Langara Workshop - Composition and Design James LaBounty When: 26 Oct. 2013 Where: Langara College
604.323.5322 What: Sugar Shooters
Time: 7pm - 9pm
(The Collective)
Time: 6pm - 10pm Where: Upstairs in
What: Talk - Focus on the Collection: The Observation of Photography of Charles Gagnon
Studio B - 1635 Powell St
Geoffrey James & Grant Arnold
Featuring submitted photographs from the incredibly diverse and multi-talented group of Photographers, who have created beautiful images while Shooting in Suagr. Sugar will award 1st, 2nd and 3rd place prizes for best over-all images. The event will be judged by
When: 29 Oct. 2013 Time: 7pm Where: Vancouver Art Gallery On the occasion of the Capture Photography Festival, the Gallery hosts a conversation on a recently acquired body of photographic work by Canadi-
an artist Charles Gagnon, with Audain Curator of British Columbia Art Grant Arnold and artist Geoffrey James, a long-time friend of Gagnon. A selection of works by Gagnon will be on display for this event. Free for Members or with Gallery admission.
What: Slideshow & Potluck - Slideluck Vancouver II When: 03 Nov. 2013 Time: 6pm Potluck 7:30pm Slideshow 10pm Close Where: Peformance Works - 1218 Cartwright St, Granville Island Tickets: $10 with dish $20 without Slideluck (formerly Slideluck Potshow) is a global non-profit organization dedicated to building and strengthening community through food and art. Slideluck is a combination of a slideshow and a potluck and mixing things up is an essential component of our work. Slideluck has hosted multimedia slideshows combined with potluck dinners in over sixty five cities around the world. Slideluck depends on community involvement in everything we do. Without your participation, Slideluck is just a funny word. If you would like to submit your artwork for the slideshow, the fee is $15 or $10 for students. The deadline for submission is 15th October 2013. For more information visit www. slideluck.com/Vancouver What: Masterclass -
Portraiture Workshop
works. Free for Members or
Where: Emily Carr
Greg Gorman
with Gallery admission.
University of Art + Design, Room 301, 1399
When: 08 Nov. 2013 - 10 Nov. 2013 Time: 10am - 5pm Where: Vancouver Photo Workshops
Johnson Street What: Free Langara Workshop - Portraiture Photography Adam Blasberg
Vancouver Photo Workshops proudly presents the five day workshop, “Greg Gorman Master Class” with internationally acclaimed photographer Greg Gorman. In this week long workshop Greg will share his vision as a portrait and figure study photographer. He will not only discuss his style but also his insight into creating lasting imagery. Greg will demonstrate his lighting techniques in the studio and natural light, using models and locations in the Vancouver area. Students will have the opportunity to shoot in all locations with the models and will share their photographs in an open forum each day with critiques by Greg. Space is limted, register at www.vancouverpotoworkshops.com
What: Artist Talk - Critical Reflections - Muntadas: Entre/Between Antoni Muntadas & Jo-Anne Birnie Danzker
When: 09 Nov. 2013 Time: 1:30pm - 5:30pm Where: Langara College This seminar is free, but preregistration is required. Call 604.323.5322
phy.
What: Capture Closing Party
What: Small Crimes
Capture Photography Festival
Showroom Tour with
When: 14 Nov. 2013
Artist in attendance
Time: 7pm
Angela Grossmann
Where: Contemporary Art
When: 05 Nov. 2013
Gallery
Time: 7pm Where: Vancouver Art Gallery Art Rental & Sales
What: Artist Talk Spectrum Studies Scott Massey
An evening with artist Angela Grossmann and her series titled Small Crimes. Presented in conjunction with the Capture Photography Festival Free to attend but space is limited. For more information: 604.662.4746 or email manager@artrentalandsales.com.
When: 09 Nov. 2013 Time: 2pm - 3:30pm
What: Artist Talk - James
Where: Vancouver Art
Welling in Conversation
Gallery
with Dominic McIver
Muntadas discusses the research processes of his practice. Jo-Anne Birnie Danzker, Director of the Frye Art Museum, Seattle, follows with a talk about the artist’s Subsensorial
American artist James Welling emerged as an important figure in the ‘Pictures Generation’, an influential group of artists working in New York in the 1980s, famous for their pioneering use of photogra-
Lopes James Welling & Dominic McIver Lopes When: 13 Nov. 2013 Time: 7pm
When: 10 Dec. 2013 Time: 3pm - 4pm Where: Wil Aballe Art Projects | WAAP Scott Massey lives and works in Vancouver, Canada. He studied photography at the Emily Carr University of Art + Design. Spectrum Studies is a series of landscape photographs taken with a Hasselblad film camera using modified dark slides which separate each view into a set of pie graph sections. Each view is exposed on a single segment of film, but is built up by sequential exposures of pie sections to complete the whole, in camera. Massey
has adopted an infographic technique to create a composition that contains visual clues as to the complexity of the images, with each “pie graph” representing a photographic approach and the entire image a total photographic exploration.
David Ellingsen, Dexter Quinto, Hana Pesut & Roth and Ramberg When: Friday, October 18, 2013 Where: Sugar Studio A- 1635 Powell Street, Vancouver Time: 6 - 10pm
What: Artist Talk - Facing Ireland: Irish Portraits Art Perry When: TBA
What: Artist Talk Ensuing Pictures: The Peer-to-Peer Exhibition
Time: TBA Where: Smash Gallery See gallery website for more details
Marten Elder, Peter Holzhauer, Ali Bosworth, Laura Dutton & curator Emmy Lee
What: Artist Talk - Greg
When: 05 October 2013
Gorman: A Distinct Vision
- 1pm
Greg Gorman When: 6 Nov. 2013 Time: 7-10pm
Where: Concourse Gallery, Emily Carr University of Art + Design
See www.vancoouvrephotoworkshops.com for location and details
What: Live Photographic Sessions Robert Kenney When: TBA Time: TBA Where: Robert Kenney Group
What: THEY Rep Group Photo Exhibition and SKYY VODKA 10 year Agency Anniversary Party!
Artist Credit: Emile Rubino - From “End of Land” (Detail)
EV ENTS / 1 0 1
F I L M S / 102
Films
Artist Credit: Vivian Maier - Untitled Self Portait, c. 1955
Artist Credit: Vivian Maier - New York, NY. 1954
EV ENTS / 1 0 4
Films
What: Film - Finding Vivan Maier Presented by VIFF and Capture When: 05 Oct. 2013 & 09 Oct. 2013 Time: TBA Where: Theatre TBA The incredible artistry of nanny and closet street photographer Vivian Maier came to light and went viral in 2007 when John Maloof discovered 100,000 of her negatives in Chicago. Now Maloof and Charlie Siskel bring this formerly unknown artist’s gorgeous black-and-white photos and remarkable life story to the big screen. A treat. “Vivian Maier was a mystery even to those who knew her. A secretive nanny in the wealthy suburbs of Chicago, she died in 2009 and would have been forgotten. But John Maloof, an amateur historian, uncovered thousands of negatives at a storage locker auction and changed history. Now, Vivian Maier is hailed as one of the greatest 20th-century photographers along with Diane Arbus Robert Frank, Henri Cartier-Bresson and Weegee. And that is just where the story begins. Finding Vivian Maier follows the filmmakers as they unearth Vivian’s story, combing through thousands of negatives and a mountain of other material (including hundreds of hours of Super 8 film footage and audio recordings) left behind in Maier’s storage lockers. As the filmmakers track down an odd collection of parents who hired her, children she cared for, store owners, movie theater operators and curious neighbors who remember her, the story that emerges goes beyond clichés of the undiscovered artist and offers a portrait that is at times bewildering and troubling. Maier’s story pushes us to ask as many questions about ourselves as it does about her.”—vivianmaier.com
FILMS / 105
Films
What: Artist Film - Watermark Edward Burtynsky and Jennifer Baichwal, Presented by VIFF and Capture (Canada, 2013, 92 mins, DCP) When: 10 Oct. 2013 Time: 6:15pm Where: Centre for Performing Arts This feature documentary from award-winning filmmaker Jennifer Baichwal and renowned photographer Edward Burtynsky marks their second collaboration after 2006’s Manufactured Landscapes. The film illuminates our relationship with water: how we are drawn to it, what we learn from it, how we use it and the consequences of that use. We see massive floating abalone farms off China’s Fujian coast and the construction site of the biggest arch dam in the world—the Xiluodu, six times the size of the Hoover. We visit the barren desert delta where the mighty Colorado River no longer reaches the ocean, and the water-intensive leather tanneries of Dhaka. We witness how humans are drawn to water, from the US Open of Surfing in Huntington Beach to the Kumbh Mela in Allahabad, where 30 million people gather at the same time for a sacred bath in the Ganges. We speak with scientists who drill ice cores two kilometres deep into the Greenland Ice Sheet, and explore the sublime pristine watershed of Northern British Columbia. Shot in stunning 5K ultra high-definition video and full of soaring aerial perspectives tailor-made for the big screen, this boldly cinematic film shows the magnitude of our need and use of the world’s most precious resource.
Artist Credit: Edward Burtynsky - Xiaolangdi Dam #1 / Yellow River, Henan Province, China, 2011
FILMS / 104
Public Instal
P U B L I C IN S TAL L ATIO N S / 108
llations
Public Installations
Capture in transit
P U B L I C IN S TAL L ATIO N S / 110
Artist: Erden Tasdelen Curated by Jonah Gray, Presentati on House Gallery Where: Waterfront Station
Artist Credit: (Opposite page) © Charlie McLarthy
Here Comes is a new work by Vancouver-based artist Erdem Taşdelen. Borrowing titles of existing songs that begin with this phrase, Here Comes couples the vibrant traffic of the project’s site with the incessant and repetitive occurrences of these words. Detailed and accurate track length information is also provided on the
panels, pointing to the time one could potentially invest in the vast repertoire of music that accompanies these hopeful - perhaps overly optimistic - titles. Here, Taşdelen professes for the sad banality of expectation, while concretizing the fervor of Waterfront’s platform through lyrical content.
Artist: Antoni Muntadas Organized by the Vancouver Art Gallery, curated by Daina Augaitis Where: Granville-Georgia Station
A pioneer in the fields of conceptual and media art, Antoni Muntadas’ practice includes performance, video, photography, multimedia installations, publications, web-based projects and public art. Incorporating in-depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the role of the media in transmitting ideas,
and the complex dynamics of architecture and other social frameworks. Translation and its many implications is the central theme of Muntadas’ ongoing On Translation series, started in 1995, that comprises works created in a variety of political, cultural and economic contexts. These works consider the interpretation of words, concepts, histories and values not only across different languages, but also through
Artist Credit: Antoni Muntadas - On Translation: Warning, 1999-ongoing
the invisible conventions inherent in all forms of communication. On Translation: Warning is a series that calls into question the manipulation of information and encourages audiences to participate in the decoding process. These works have been installed around the world and their common thread is the sentence “Warning: Perception Requires Involvement,” which the artist has translated into
local languages and displayed using such supports as posters, stickers, press inserts, building façades, windows and other public spaces. This presentation is part of a larger exhibition of the artist’s work, Muntadas: Entre/Between, on view at the Vancouver Art Gallery from November 9, 2013 until February 10, 2014.
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Artist: Mungo Thomson Presented by the Contemporary Art Gallery in partnership with Capture and the Canada Line Public Art Program - IntransitBC Where: Yaletown-Roundhouse Station
Negative Space, 2013 Mungo Thomson Mungo Thomson is known for creating diverse projects that playfully use language, culture and media. Central to his artistic proposition is that of context – be it institutional, cultural or that of everyday life – through his work we are prompted to grasp the many challenges to our perception in the things we encounter daily. Negative Space is an ongoing series of photographic murals of inverted astronomical im-
agery sourced from the Hubble Space Telescope. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. Through a simple command in Photoshop, blacks become whites, whites become blacks, and all other colors are transformed into their complement. An exhibition of Thomson’s work will be presented at the Contemporary Art Gallery in 2014-15 produced in collaboration with SITE Santa Fe.
Mungo Thomson lives and works in Los Angeles. Solo exhibitions and projects include SITE Santa Fe, Santa Fe, NM (2013); The Times Museum, Guangzhou, China (2013); The Aspen Art Museum, Aspen, CO (2012); The Hammer Museum, Los Angeles, CA (2008); The Kadist Art Foundation, Paris, France (2007); and Galeria d’Arte Moderna e Contemporanea (GAMeC), Bergamo, Italy (2006), among others. His work has been included in selected group exhibitions The Pacific Standard Time Public Art and Performance Festival (2012); Untitled (12th Istanbul Biennial), Istanbul, Turkey
(2011); Compilation IV, Kunsthalle Düsseldorf, Düsseldorf, Germany (2009); The 2008 Whitney Biennial (2008); and PERFORMA05: First Biennial of Visual Art Performance (2005). Thomson’s work is held in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art; the Museum of Contemporary Art, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Walker Art Center, Minneapolis, among others.
Artist Credit: Mungo Thompson - Negative Space (STScl-PRC2012-10a), 2012
Artist: Student Group Show - Caroline Halley, Bahar Habibi, David Michael Peters, Shannon McCubbin, Jeff Downer Organized by Avalon Mott, Kyla Mallett, Arni Haraldsson, Emily Carr University Where: Olympic Village Station
The Photography Program at Emily Carr University of Art & Design (ECUAD) spans Foundation through Fourth Year with a curriculum focused on the development of a strong understanding of both analogue and digital photographic practices, including the use of both colour and black and white darkrooms. This emphasis is combined with multidisciplinary approaches to the medium. Based on their knowledge of the conceptual, technical and historical uses of photography, students are prepared to become innovative photographic practitioners within contemporary culture.
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The photographs on view here are by ECUAD 2013 photography graduates Jeff Downer, Bahar Habibi, Caroline Halley, Shannon McCubbin and David Peters. Whether analogue or digital or a synthesis of the two, their works address the idea of space in relation to environment, both from a physical standpoint and a state of mind. The representation of space is well suited to the photographic medium, whereby the still image, when perceived by the viewer, becomes a place for contemplation. These works engage different notions surrounding everyday environments that we otherwise might only give a fleeting glance as we move through them.
Artist Credit: David Michael Peters - Rapture, 2012
Artist: Karin Bübas Curated by Julie Lee, Capture Photography Festival Where: Broadway-City Hall Station
Studies in Desolation continues Karin Bubaš’s study of women in landscapes, however this series gets its inspiration from apocalyptic visions of earth as seen in 1970’s science fiction films such as Logan’s Run. Each picture shows a woman with her face turned away from the camera in a rocky terrain with an “other-worldly” quality to it. These lunar-like settings create mysterious and captivating narratives. For example, Silversword Seascape depicts a woman in a turquoise dress staring into a foggy abyss surrounded by strange sea-urchin like plants. The ongoing series explores the solitary and occasionally frightening relationship that exists between woman and nature.
Artist Credit: © Karin Bübas
Artist: Jamie Dolinko Competition Winner Juried by Coleen Nemtin, Helga Pakasaar, Nigel Prince and Julie Lee Where: King Edward Station Selected from Jamie Dolinko’s recent series “Yellow Square” these images were photographed from the balcony of her previous studio near the Plaza of Nations in Vancouver, B.C. They portray a fixed traffic marker from a steadfast point of view, recording shifts of light and time in a landscape without horizon or familiar landmarks. Like a station or terminal, the yellow square remains a constant in the midst of perpetual motion, itself a stationary witness to a cast of ever-changing subjects in transit.
Artist Credit: Jamie Dolinko - From “Yellow Square”, 2013
Artist: Langara College CS Photography Student - Blair Dewan Presented by Langara College Continuing Studies Photography, curated by Jim Balderston Where: Langara-49th Avenue Station
Artist Credit: Š Blair Dewan
Artist’s Statement
The only thing certain is the uncertainty of change. The project addresses the concepts of home and community and their creation, maturation, re-invention and redefinition. It asks questions about what constitutes appropriate use of land and who defines those terms, as well as what line, if any, exists between perceived ideas of real versus manufactured experiences. The work places these concepts within the context of the community of Langara-Oakridge, a mature, primarily post-war neighbourhood grappling with a restructuring of its sense of place.
Artist: Foncie Pulice Curated by Rita Beiks on behalf of the Vancouver Airport Authority Where: YVR Airport Station
For half a century, from the mid 1930’s through the 1970’s, Foncie Pulice snapped photographs on the streets of Vancouver, capturing moments in time, the history of a city, and the lives of British Columbians. Long-time Vancouverites have vivid memories of Foncie and his fellow street photographers. You can almost always find a couple of Foncie’s Fotos in their family albums. Foncie was taking photos at a time when personal cameras were rare and family portraits were expensive. Foncie and his unique camera, an assemblage of war surplus materials with movie-sized film reels and a car battery powered flash, provided many families with the only images they have of their ancestors. Viewers today find both history and art in Foncie’s Fotos. We see evidence of the changing cityscape, intriguing social customs and manners, and fashions both beautiful and daft. We also see how Foncie elevated ordinary people by framing them fully and capturing their forward momentum, stepping with energy into Vancouver’s future. His photographs recall a time when going downtown was an event worthy of being memorialized in photography. Taking thousands of photos each year, and about 15 million photos over
Artist Credit: All images © Foncie Pullice
his lifetime, Foncie Pulice was Vancouver’s most prolific and beloved street photographer. The photos installed here at YVR are from one of only two reels of Foncie’s negatives that are known to have survived. They give us an idea of what Foncie experienced when he stood on the east side of Granville Street, just north of Robson, in the spring of 1968. Foncie’s Fotos: Man on the Street, at the Museum of Vancouver until January 5, 2014, reveals the life and work style of this Vancouver photographer.
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15-second video installation on LCD-screens at all Canada Line and Sky Train Stations Sponsored in part by Lamar Advertising
Artist Credit: Š Christian Nicolay and Ya-chu Kang Boom and Bust, 2013
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Capture in the community Capture in the Community 5 billboards with new works from Edward Burtynsky’s Water Presented by Capture Photography Festival Sponsored in part by Pattison Outdoor Advertising
What: Edward Burtynsky: Water Artist Talk and Book Signing Edward Burtynsky When: 08 Oct. 2013 Time: 6pm Where: Lanagara College Tickets are $25 and available through capture.burtynsky.eventbrite.ca
Edward Burtynsky Public Installation The project takes us over gouged landscapes, fractal patterned delta regions, ominously coloured biomorphic shapes, rigid and rectilinear stepwells, massive circular pivot irrigation plots, aquaculture and social, cultural and ritual gatherings. Water is intermittently introduced as a victim, a partner, a protagonist, a lure, a source, an end, a threat and a pleasure.Water is also often completely absent from the pictures. Burtynsky instead focusses on the visual and physical effects of the lack of water, giving its absence an even more powerful presence. Pattison Billboard Locations 30 Sept. 2013 to 27 Oct. 2013 1 East Broadway at Quebec St Edward Burtynsky - Kumbh Mela #1Haridwar, India, 2010 2 West 4th Avenue at Cypress Street Edward Burtynsky - Thjorsรก River #1Iceland, 2012 3 Quebec Street, south of East 2nd Ave Edward Burtynsky - Pivot Irrigation / SuburbSouth of Yuma, Arizona, USA, 2011 4 Seymour St, north of Georgia St Edward Burtynsky - Cerro Prieto Geothermal Power Station Baja, Mexico, 2012 5 Burrard Street 160ft north of 4th Ave Edward Burtynsky - Rice Terraces #2Western Yunnan Province, China, 2012
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“While trying to accommo-
to think more long-term about
date the growing needs of an
the consequences of what we
expanding, and very thirsty
are doing, while we are doing
civilization, we are reshaping
it. My hope is that these pic-
the Earth in colossal ways.
tures will stimulate a process
In this new and powerful role
of thinking about something
over the planet, we are also
essential to our survival;
capable of engineering our
something we often take for
own demise. We have to learn
granted—until it’s gone.” - Edward Burtynsky PUB L I C I NSTA L L AT I ON S / 1 2 5
Find your focus. CONTINUING STUDIES PHOTOGR APHY PROGR AM
Proud sponsor of the 2013 Capture Photography Festival. The Photography Program in Continuing Studies at Langara offers a range of flexible and dynamic courses for all ability levels, including commercial photography, photojournalism, portraiture, and fine art. Graduates also gain access the Lifetime Alumni Program, which includes free access to all photography courses for life. Learn more. Andrew Tripp, Program Coordinator 604.323.5928 | atripp@langara.bc.ca www.langara.bc.ca/photography
Photo courtesy of student Rod Bland © 2013
VANCOUVER AIRPORT AUTHORITY is proud to support the 2013 Capture Photography Festival
www.yvr.ca
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Festival Map
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19
3 27 28
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6 17 7 15
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21 5
1. Art Rental & Sales,
10. Gallery 295
20. Pendulum Gallery
Vancouver Art Gallery
295 E 2nd Ave, Vancouver, BC V5T 1B8
885 W Georgia Street, Vancouver, BC V6C 3G1
11. Gallery Gachet
21. Photohaus Gallery
88 East Cordova Street Vancouver, BC V6A 1K3
14 West 7th Avenue Vancouver, BC V5Y 1L6
12. Gallery Jones
22. Positive Negative Gallery
403 - 6333 Memorial Road Vancouver, BC V6T 1Z2
1725 3rd Ave W, Vancouver, BC V6J 1K7
436 Columbia Street, Vancouver, BC V6A 2R8
Back Gallery Project
13. The Gam Gallery
23. Republic Gallery
140 Esplanade E, North Vancouver, BC V7L 0B3
110 E Hastings Street, Vancouver, BC V6A 4J1
Suite 3Fl-732 Richards Street, Vancouver, BC V6B 3A4
Dina Goldstein Studio
14. Grunt Gallery
24. Satellite Gallery
1380 Napier Street, Vancouver, BC V5L 2M4
#116 – 350 East 2nd Ave Vancouver, BC, V5T 4R8
560 Seymour Street, Vancouver, BC V6B 3H6
Gordon Smith Gallery
15. Initial Gallery
25. Vancouver Art Gallery
2339 Granville Street Vancouver, BC V6H 3G3
750 Hornby St, Vancouver, BC V6Z 2H7
16. Jennifer Kostuik Gallery
26. Vancouver Art Gallery Offsite
1070 Homer Street, Vancouver, BC V6B 2W9
1100 West Georgia Street Vancouver, BC V6E 0A8
17. Kimoto Gallery
27. Will Aballe Art Projects
1525 W 6th Ave, Vancouver, BC V6J 1R1
(WAAP)
1280 Clark Drive, Vancouver, BC V5L 3K7
2050 Scotia Street Suite #528, Vancouver, BC, V5T 4T1
Smash Gallery
28. Winsor Gallery
580 Clark Dr, Vancouver, BC V5L 3H7
258 E 1st Ave, Vancouver, BC V5T 1A6
Truth & Beauty
750 Hornby Street Vancouver, BC V6Z 2H7 2. Contemporary Art Gallery 555 Nelson Street Vancouver, BC V6B 6R5 3. Concourse Gallery, ECUAD 1399 Johnston Street, Vancouver, BC V6H 3R9 4. CPPS at Gallery 1965 1965 Main Street, Vancouver, BC V5T 3C1 5. CSA Space #5–2414 Main Street Vancouver, BC, V5T 3E2 6. Douglas Udell Gallery 1566 6th Ave W, Vancouver, BC V6J 1R2 7. Elissa Cristall Gallery 2239 Granville Street, Vancouver, BC V6H 3G1 8. Equinox Gallery 525 Great Northern Way, Vancouver, BC V5T 1E1 9. Foot of Main Gallery 119 Main Street Vancouver, BC V6A 3V5
18. Monte Clark Gallery 525 Great Northern Way, Vancouver, BC V5T 1E1 19. Museum of Vancouver 1100 Chestnut Street, Vancouver, BC V6J 3J9
Locations not on map
AHVA Gallery, UBC
of Canadian Art 2121 Lonsdale, North Vancouver, BC V7M 2K6 Presentation House Gallery 333 Chesterfield Ave, North Vancouver, BC V7M 2L8 Robert Kenney Group
698 West 16th Ave. Vancouver, BC V5Z 156 M A P OF L OC AT IO N S / 1 2 5
Partners
Contact
Capture Head Office 14 West 7th Ave Vancouver, B.C. V5Y 1L6
General Inquiries info@capturephotofest.com 604.401.3378 www.capturephotofest.com
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