Agnes Etherington Art Centre
Jayce Salloum
Jim Drobnick & Jennifer Fisher
Salloum captures the aesthetic richness of the urban fabric in photographs taken on the streets of New York, Montreal, Vancouver, Los Angeles and Paris. A critical essay examines the oeuvre as well as the unusual jazz-like installation format deployed in its presentation. Salloum contributes an image/text project.
Agnes Etherington Art Centre (1999) 48 pp 57 ill. (47 col.) 0889117527 $12.00
Germaine Koh: Personal
Jan Allen
Three projects by this emerging artist that point to our paradoxical capacity to generate a sense of intimacy with a perfect stranger. Two of the pieces are photo-based and the third involved insertions in the Personal Notices section of Kingston's daily newspaper.
Agnes Etherington Art Centre (1997) 28 pp ill. 0889117446 $7.00
Pictorial Incidents The Photography of William Gordon Shields
Michael Bell
A native of Hamilton Ontario, Shields moved to New York in the early 1900s and became involved with the nascent photographic scene, whose principle voice at that time was Alfred Stieglitz. Stieglitz's gallery Photo-Secession and his periodical Camera Work were the focal point of photographic scene but there was dissension within the ranks. A group known as the Pictorialists (of whom Shields was one) rejected Stieglitz's insistence on hard-edged realism, seeking instead to identify the infant art with poetry, painting and sculpture. With Shields as a touchstone Bell provides a lively account of the fractious birth of modern photography.
Agnes Etherington Art Centre. 80 pp 58 ill. 10 x 6.5 in. 0889115044 softcover $12.00
A. A. Chesterfield Ungava Portraits 1902-04
William C. James
Photographic portraits of Cree and Inuit taken at the turn of the century by a photographer who lived among them. A clerk with the Hudson's Bay Company, Chesterfield moved to Great Whale River in 1902 where he took more then 200 photographs. His relentless depiction of the bleakness of poverty with no trace of sentimentality gives these portraits political connotations, reminding us of the later work of Dorothea Lange and Walker Evans.
Agnes Etherington Art Centre 47 pp 20 ill. (18 col) 11.5x8.5 in. 0889113734 softcover $10.00
Art Gallery Mount Saint Vincent University
George Steeves: Photographs
Ingrid Jenkner & Peter Schwenger
For over twenty years the Canadian photographer has been creating staged eroticized performances with himself and his friends as subjects. Positioned at the convergence of disciplines, Steeves's practice is marked by a frank, unidealized nudity within a context of cultural erudition. Presented here for the first time (and nearly never presented at all), the Excavations series has affinities with the work of Robert Mapplethorpe and Pierre Molinier, yet is distinguished by Steeves's meticulous theatricalization. Recovering from the apparantly casual nudity, the viewer will appreciate the minutely orchestrated motifs, settings, poses, gazes and personae drawn from opera, theatre and painting. In her introduction Jenkner states that the exhibition and its publication are intended to "redress the denial of exhibition opportunities in English-Canadian curatorial venues that has censored Steeves's work". Most recently George Steeves has exhibited at Nederlands Foto Instituut and Denmark's Louisiana Museum of Modern Art.
Mount Saint Vincent University Art Gallery (03/2007) 48 pp 25 ill. 11 x 8 in sofctcover 978-1-894518-37-6 $20.00 Can./U.S. (16 euros)
Brenda Pelkey: Haunts
Ingrid Jenkner & Brenda Pelkey
Formerly a documentary photographer, the Saskatoon resident has turned to a subject matter that can only be called psychic landscape. Jenkner delves into the work and identifies two merging contradictions. Like the artist herself the works are open and the views large but at the same time they are rigorously controlled, technically pristine and purposely stylized. Pelkey describes her practice as "centered on subjective experience...informed but not constrained by readings in social psychology and feminist cultural geographies." Her colour plates (with three-page colour fold-outs) are simply entitled "Ocean", "Bush" or "Forest" and present a world that is recognizably Canadian yet decidedly personal.
Mount Saint Vincent University Art Gallery (2002) 36 pages, 7 col. ill. (with two foldouts) 9x9 in. 189451808x $15.00
Fixations
Robert Zingone
The juxtaposition of a video by David Askevold ("Don't Eat Crow") with a photo-textual installation by Ellen Moffat ("Line Break") provokes a reflection on the idea of fixation produced through the obsessive use of a set vantage point.
Art Gallery Mount Saint Vincent University (1999) foldout 1895215889 $5.00
Marlene Creates: Language and Land Use, Newfoundland
Ingrid Jenkner
Creates' photo-assemblages are comprised of text, objects, and photographs and make critical links with practices such as journal-keeping, travel photography, and souvenir collecting. Creates was named Newfoundland's 1997 "Artist of the Year".
Art Gallery Mount Saint Vincent University (1998) 80 pp ill. 1895215811 $20.00
Art Gallery of Hamilton
Pascal Grandmaison
Sara Knelman & Diana Nemiroff
Known for his coolly distanced photographic portraits, Grandmaison’s new work explores the connections between the economy of the image – its materials and formal and technical conventions – and the social and economic structures that govern our everyday environment. This abundantly illustrated monograph follows the artist’s interrogation of the mechanics of film and photography, as well as the tensions between the realism of the images and the abstract codes underlying their representation. In English and French.
Art Gallery of Hamilton / Carleton University Art Gallery (10/2008) 80 pp 42 col. ill. 10 x 9 in softcover 978-0-7709-0524-8 $30.00 ($32.95 U.S. / 24 euros)
Alt.shift.control: Musings on Digital Identity
Steve Loft & Shirley Madill
Catalogue of an exhibition produced in conjunction with the Native Indian/Inuit Photographers' Association and featuring digital photography by three Native artists. Larry McNeil (Idaho) has exhibited at the Ansel Adams Center for Photography and the Institute of American Indian Arts Museum. Lita Fontaine (Manitoba) has exhibited at Neutral Ground and Tribe Gallery. Rosalie Favell (New Mexico/Toronto) has exhibited at the University of New Mexico's Sommers Gallery and the Canadian Museum of Civilization).
Art Gallery of Hamilton (2000) 26 pp 6 col. ill. 8 x 7 in. 0919153674 $8.00 (Can./U.S.)
Art Gallery of Windsor
Yousuf Karsh: Industrial Images
Cassandra Getty & Jerry Fielder
In 1951, Yousuf Karsh accepted a Ford commission to photograph workers for use in the carmaker's advertising and annual reports. While not the subjects normally associated with the internationally-renowned photographer, the workers at the Ford Motor Company and Atlas Steels in Ontario and Sharon Steel in Pennsylvania are portrayed with the same luminsoity as his celebrity portraits. But some were not published. Considering them provocative and suggestive, Ford rejected many of the photographs including the cover image shown here. In retrospect, these portraits reveal Karsh's uncanny ability to seize the individuality of each of his subjects through a meticulous attention to detail and great technical prowess. Of Armenian origin, Yousuf Karsh fled to Canada in 1925 to escape persecution in Turkey. His work is in the permanent collections of the National Gallery of Canada, Museum of Modern Art, Metropolitan Museum of Art, George Eastman House, Bibliothèque nationale de France, the National Portrait Gallery in London and many others.
Art Gallery of Windsor (09/2007) 150 pp 100 col. ill. 11 x 17 in hardcover 978-0-919837-76-8 $40.00 Can./U.S. (36 euros)
Passing Through: Iain Baxter& Photographs 1958 to 1983
David P. Silcox, Lucy Lippard, Christophe Domino, Marie Josée Jean and James Patten
This major publication is the first to document the photographs of the internationally acclaimed artist's photo-based work, including colour prints, Polaroids and duratrans, produced over 25 years. A wide range of distinguished writers examine Baxter's contribution to contemporary photography, notably in Vancouver. In doing so they also document the internationalization of Canadian art that took place during the 1960s and 1970s. Iain Baxter first caught the world's attention as co-founder of 'N.E. Thing Co.' in 1966. The adoption of a corporate persona not only enabled him to organize his artistic output into separate 'departments' (photography, painting, publishing and multi-media projects), but also allowed him to reinforce the idea that an artist could be anyone. Hailed as Canada's first conceptual artist, Baxter has worked to change art and our ideas about seeing art. By focusing on just one of his 'departments', photography, this publication shows Baxter's engagement in contemporary social, political and environmental issues. Publication of an exhibition that will travel the country throughout the coming year. In English and French.
Art Gallery of Windsor (12/2006) 160 pp 80 col. ill. 9 x 12 in hardcover 978-0-919837-75-1 $39.00 Can.U.S. (31 euros)
Go back Theme
Carleton University Art Gallery
Pascal Grandmaison
Sara Knelman & Diana Nemiroff
Known for his coolly distanced photographic portraits, Grandmaison’s new work explores the connections between the economy of the image – its materials and formal and technical conventions – and the social and economic structures that govern our everyday environment. This abundantly illustrated monograph follows the artist’s interrogation of the mechanics of film and photography, as well as the tensions between the realism of the images and the abstract codes underlying their representation. In English and French.
Carleton University Art Gallery / Art Gallery of Hamilton (10/2008) 80 pp 42 col. ill. 10 x 9 in softcover 978-0-7709-0524-8 $30.00 ($32.95 U.S. / 24 euros)
The Shadow Secured: Tintypes from a Private Collection
Irwin Reichstein
An essay on the origins and development of this 19th century photographic alternative to the Daguerreotype is accompanied by addendums on making, framing and dating. The illustrations include many Canadian examples.
Carleton University Art Gallery (1998) 19 pp 8 ill. 9 x 6 in 077090436x $8.00
Speculative Fictions: The Photomontages of Graham Metson, 1955-1995
James D. Campbell
Metson's photomontages address contemporary topics with an accent on the future applications of technology, mass media, and the information highway. The notion of prophecy is not far-fetched in the case of Metson's work as Campbell observes in his essay.
Carleton University Art Gallery. (1996) 32 pp ill. 8x8 in 0770904076 $16.00
Canadian Museum of Contemporary Photography
Michael Semak
Andrea Kunard
Semak's 1960s and 1970s photographs of Toronto's socially marginalized, such as the Black Diamond motorcycle gang and the Warrendale project, are intense visual expressions that combine documentary modes of presentation with a strongly subjective approach. They often depict not only a moment of action but also a sense of urgency. Semak's photographs comment, question, and disturb. Most importantly, they are intended to provoke viewers to look at the world in new ways. Michaels Semak's photographs have garnered many awards including the Gold Medal for a solo exhibition on Ghana as well as two Awards for Excellence in Photo Journalism given by Pravda. His work can be found in the National Gallery of Canada, George Eastman House and the Museum of Modern Art. In English and French.
Canadian Museum of Contemporary Photography (2005) 83 pp 55 ill. 10.5 x 8 in softcover 0-88884-806-4 $29.95 Can./U.S. (24 euros)
The Sixties in Canada
Denise Leclerc & Pierre Dessureault
The sixties is a period fondly remembered in art and society at large. Testing the limits and pushing the boundaries between various media and diverse manifestations still resonates with us today. The sixties also put Canadian artists on the world stage with its first contemporary art stars. This major critical retrospective provides an authoritative overview of the wealth of artistic expressions that swept the country. Neo-dadaists and Pop sensibilities, experiments with art and technology under the impact of a powerful mass media, high modernist paintings, the beginnings of conceptual and photo-based art and the first creations using video technology and the production of seminal experimental films are all featured. This abundance of creativity and the multiplicity of approaches that marked the period are conveyed through two essays and over 100 images, many of them archival. Addressing the development of specific movementsand mediums, the authors reveal an artistic production that refused categories, mixed disciplines and questioned the accepted principles of visual culture. Denise Leclerc is Associate Curator of Canadian Art at the National Gallery of Canada. Pierre Dessureault is Associate Curator of the Canadian Museum of Contemporary Photography. This publication is entirely in English. A French language edition is also available.
National Gallery of Canada / Canadian Museum of Contemporary Photography (2005)
220 pp 9 x 11 in 150 ill. softcover 0-88884-796-3 $45.00 Can./U.S. (36 euros)
Susan McEachern: Structures of Meaning
Andrea Kunard
Since the mid-1980s, Susan McEachern has examined the ways in which photography is involved in the production of cultural meaning. Her inquiry is supported by writings taken from historical, theoretical, and personal sources. In her early works, the artist used photographs, both as single images and in combination with text, to explore the social conditions of individual experience, in particular that of women. More recent projects examine the social values humans assign to nature. In all her projects, McEachern investigates the relation of photography to issues of family, community, and place. She uses her own home and family as one source of her subject matter. Other works draw on the locale of Nova Scotia, where she presently lives and works. Produced in collaboration with the national Gallery of Canada. In English and French.
Canadian Museum of Contemporray Photography (2004) 78 pp 44 col. ill. 11 x 9.5 in. 0-88884-790-4 $40.00 Can./U.S. (32 euros)
John Massey: The House that Jack Built
Martha Hanna & Didier Ottinger
John Massey is one of Canada's foremost conceptual artists and over the past two and a half decades photography has become an increasingly important element in his production. Since the late 1970s, his work has involved the transformation of material and perception, first through the articulation of scale models of rooms and more recently through his photographs of architectural interiors. Working with minimal digital effects he creates interiors that exist in a middle ground between the depicted and the created. The publication features 12 of Massey's multiple print installations including a new colour series created specifically for the exhibition. Didier Ottinger is Senior Curator, Musée national d'art moderne, Centre Pompidou. In English and French. The works of John Massey are widely exhibited and are in many collections, including the Art Gallery of Ontario, the Stedelijk Museum in Amsterdam and the Fonds National d'Art Contemporain in Paris. He is the 2001 recipient of the Gershon Iskowitz Award for lifetime achievement.
Canadian Museum of Contemporary Photography (2004) 116 pp 74 ill. (5 col.) 10.5 x 8 in flexicover 0-88884-783-1 $40.00 Can./U.S. (32 euros)
Confluence: Contemporary Canadian Photography
Martha Hanna
With work drawn from the National Gallery's own collection and that of the Canadian Museum of Contemporary Photography, this publication highlights the work of some of Canada's finest practitioners including Michael Snow, Lynne Cohen, Geneviève Cadieux, Geoffrey James and Jeff Wall. With an essay by Martha Hanna, Director of the Canadian Museum of Contemporary Photography, eleven colour plates and seventeen artists' biographies. In English and French.
Canadian Museum of Contemporary Photography / National Gallery of Canada (2003)
74 pp 25 ill.11x8 in. hardcover 0888847696 $24.95 Can./U.S.( 20 euros)
Ken Lum Works with Photography (Out of print)
Martha Hannah, Kitty Scott & Jeff Derksen
Throughout his career, Lum has consistently worked with photographic portraits bound to texts, and his investigations into this territory are among his most significant achievements. Lum's major series from the 1980s onward &endash; Portrait Logos, Youth Portraits, Portrait Attributes, Portrait- Repeated Texts, and the public commission There is no place like home; depict a broad range of society. Each portrait is paired to a logo, a person's name, or a more descriptive and sometimes highly emotional text. His more recent Photo-Mirror series incorporates fleeting portraits of spectators as reflected in the mirrored surfaces of the works. Lum wants to intervene aggressively in the public and social spaces where he exhibits and if a multicultural population of immigrants has provided much of the content for his work it is because he is interested in the interfaces where languages and cultures collide. Scott's essay is accompanied by a contribution from poet Jeff Derkson, "Fixed City & Mobile World: Urban Facts & Global Forces in Ken Lum's Art." Illustrated with dozens of colour plates. In English and French.
Canadian Museum of Contemporary Photography (2002) 102 pp 52 col. ill. 9x11 in. softcover 0888847580 $39.95
Pierre Boogaerts: Vision, Reality, Image
Pierre Dessureault & Michel Denée
This publication provides, for the first time, an overview of his thirty year journey - from his first Land Art experiments in the 1970s through to his work with slide collages. Amidst the 70 full color plates, Boogaerts' own theoretical writings are given a large place, allowing him to further his challenges to accepted ideas of the nature of photography and its place in society. Through a thorough presentation of the artist's negatives, slides, working papers and finished works, the essayist examines Boogaerts' deliberate undoing of photography's mechanisms and vision. With the slides and negatives seen as raw data, and the maquettes as quasi-literary attempts to bring the ideas into focus, and the finished work as their concretization, Dessureault examines the artist's reflections as springboards to further experiments. Two separate booklets, one containing the essays, the other devoted entirely to the reproductions are encased in a slipcover. English text only. Please note: This publication was previously announced as bilingual, with an incomplete title and with another ISBN. Please disregard this earlier information. Another edtion entirely in French is also available.
Canadian Museum of Contemporary Photography (2001) essay booklet 77 pages, reproduction booklet 64 pages 50 col. ill. 9.54x8 in. softcover 0888847246 $49.95
Vid Ingelevics: Alltagsgeschichten (Some Histories of Everyday Life)
Modris Eksteins & Blake Fitzpatrick
"Alltagsgeschichten" is a genre of historical investigation that emerged in the 1980s primarily in Germany. Its practitioners concentrate on the everyday and the repetitive to the exclusion of anything deemed great or exceptional. Through photographs, text and sculptural elements, the Latvian-born artist attempts to meld this approach with living memory and historical representation as they pertain to World War II and its effects on displaced persons, particularly his own family. Text in English and French.
Canadian Museum of Contemporary Photography (1999) 60 pp 8 x 8 in 56 ill (16 col.) 0968490441 $20.00
A Canadian Document
Carole Payne
A celebration of the photographic document with an essay that traces the history of the collection of the Canadian Museum of Contemporary Photography and its predecessor, the Still Photography division of the National Film Board of Canada. Drawn from assignments to cover the country, its resources and its people, the 45 high quality reproductions show some of the best works by Canada's documentary photographers from the 1940s through to the 1960s. Produced to mark the 60th anniversary of the National Film Board.
Canadian Museum of Contemporary Photography. (1999) 88 p., 9x8 in softcover 45 bw ill., 0888847262 $24.95
Exchanging Views: Quebec 1939-1970
Pierre Dessureault
The view of photographers, whether from abroad or from elsewhere in Canada, on assignment for newsmagazines or for government agencies combine with the rich visual heritage of photographers native to Quebec to offer a photographic dialogue extending from the 1940s to the 1960s. A rare look into a unique archival collection.
Canadian Museum of Contemporary Photography. (1999) 48 p., 9x8 in / 23x20 cm., 32 ill., 0888847270 $19.95
Eldon Garnet: The Fallen Body
Martha Hanna et Christopher Dewdney
Coming from a multi-disciplinary background (writing, sculpture, video), Garnet infuses his photographs with a profound ambiguity that is both moral and conceptual. His allegorical studies transform moments and acts that are usually hidden or taboo into images that seem almost commercial in their visual impact.
Canadian Museum of Contemporary Photography (1998) 87 pp 42 col. ill. 8 x 8 in 088884574x $29.95
Holly King: Landscapes of the Imagination
Pierre Dessureault
Hidden beneath images that have the power to transport the viewer to worlds where the imagination holds sway, is an intense artistic fabrication. King's landscapes are masterful composites of painting, drawing, miniatures and layered photography. With a text by the artist.
Canadian Museum of Contemporary Photography (1998) 64 p., col. ill., 9.5x7 in 0888847254 $26.95
From Analogue to Digital Photography & Interactive Media
George Legrady
In the oscillating relationship between social and individual information, Legrady's interest in the document and the sign grounds his work in a diverse intellectual history comp[rising Freud, Lacan, Derrida, and Barthes.
Canadian Museum of Contemporary Photography. CD-ROM (1998) 0888846797 $19.95
Extended Vision: The Photographs ofThaddeus Holownia 1975-1997
Carole Payne
A celebration of the work of the East-coast photographer, renowned for his panoramic images realized by means of a "Banquet" camera of the 1920s./ Un regard sur le travail de ce photographe paysager canadien, reconnu pour ses images panoramiques inhabituelles caractérisées par l'utilisation d'une caméra format "banquet" des années 20.
Canadian Museum of Contemporary Photography (1998) 48 pp 21 ill. (6 col.), 9x14 in 0888845731 $9.95
Track Records: Trains and Contemporary Photography
Marnie Fleming
Published in collaboration with the Oakville Galleries and featuring works by Roy Arden, Vera Frenkel, Angela Grauerholz, James Welling, and others.
Canadian Museum of Contemporary Photography (1997) 121 p., 15 ill., 11x9 in / 28x23 cm, 0921027702 $22.00
Michel Campeau: Eloquent Images
Pierre Dessureault
Twenty-five years in the career of the Montreal-based photographer dedicated to recording the daily lives and public activities in the city's contrasting neighbourhoods.
Canadian Museum of Contemporary Photography (1996) 75 p., ill., 9x8 in / 23x21 cm, 0888845723 $19.95
Sandra Semchuck: How far back is home
Pierre Dessureault
Canadian Museum of Contemporary Photography (1995) 51 pp ill. 9 x 7 in 0888845707 (English/Français) $12.95
Brian Woods: Related Differences
Martha Hanna
Canadian Museum of Contemporary Photography (1995) 47 pp ill.,9x7 in 088884571, (English/Français). $12.95
Travel Journals
Pierre Dessureault
Canadian photographers represent other countries, including Geoffery James, Richard Baillargeon, and Ian Paterson.
Canadian Museum of Contemporary Photography (1994) 95 pp ill. 8 x 10 in 0888845693 (English/Français). $35.00
Orest Semichishen: In Plain View
Martha Hanna.
Canadian Museum of Contemporary Photography (1994) 102 p., ill.,11.5x10 in / 29x26 cm, 0888845685, (English/Français). $19.95
General Idea: Showcards
Peggy Gale
Canadian Museum of Contemporary Photography (1994) 28 p., ill.,10x7 in / 25x17 cm, (English/Français) $6.50
Tom Gibson: False Evidence, Appearing Real
Martha Langford
Canadian Museum of Contemporary Photography (1993) 109 p., ill.,12x8 in / 30x20 cm, 0888845677, (English/French). $19.95
George Steeves: 1979-1993
Martha Langford
Canadian Museum of Contemporary Photography (1993) 115 p., ill., 12x9.5 in / 31x24 cm, 0888845669, (English/Français). $35.00
Suzy Lake: Point of Reference
Martha Hanna
Canadian Museum of Contemporary Photography (1993) 48 p., ill., 11x7 in / 28x18 cm, 0888845642 $8.95
Stephen Livick: Calcutta
Erica Claus, Stephen Inglis
Canadian Museum of Contemporary Photography (1992) 64 p., ill., 12x9in / 30x23 cm, 0888845634, (English/Français). $25.00
]Serge Tousignant: Phases in Photography.
Pierre Dessureault.
Canadian Museum of Contemporary Photography (1992) 81 p., ill., 11x11 in / 28x28 cm, 0888845618, (English/Français). $19.95
Beau: A Reflection on the Nature of Beauty in Photography
Martha Langford.
Works by Pierre Boogaerts, Lynne Cohen, Donigan Cumming , and others.
Canadian Museum of Contemporary Photography (1992) 112 p., ill., 11.5x11.5 in / 29x29 cm, 0888845626, (English/Français). $9.95
Thirteen Essays on Photography.
Martha Langford (et al)
Canadian Museum of Contemporary Photography (1991) 215 p., ill., 9x9 in / 22x22 cm, 088884557x $18.50
Evergon: 1971-1987
Martha Hanna
Canadian Museum of Contemporary Photography (1990) 74 p., 20 col. ill., 11x8 in / 28x20 cm, 0888845561, (English/Français). $35.00
Sam Tata: The Tata Era
Pierre Dessureault
Canadian Museum of Contemporary Photography (1989) 99 p., ill., 11x9 in/ 28x23 cm, 0888845545, (English/Français). $19.95
Canadian Cultural Centre, Paris
Lisa Klapstock / Paulette Phillips
Gérard WajcmanCatalogue accompanying the first exhibition in Paris by Lisa Klapstock and Paulette Phillips. Composed of video installations and photographs, the exhibition brings together major works from these Toronto artists: Ambiguous Landscapes (2003-2005), Threshold (2001-2002) and the world premiere of the video installation Field Studies (2007) by Klapstock; It’s about how people judge appearance (2001), The Floating House (2002), Crosstalk (2004) and Monster Tree (2006) by Phillips. French psychoanalyst and author Wajcman provides a unique reading of this encounter between the pair of women by bringing forth a diptych formed by Field Studies and Monster Tree. For the author, each of these two pieces creates – each in its own way yet both playing on the borderline between technology and visual and imaginary enchantment – a vision of “humanity in modern times”. In English and French.
Canadian Cultural Centre, Paris (11/2007) 104 pp 70 col. ill. 8.5 x 6.5 in softcover 978-1-896940-44-1 $32.00
Donigan Cumming: La somme, le sommeil, le cauchemar
Catherine Bédard
Cumming's monumental diptyque, 'Prologue and Epilogue', were presented at the 2006 edition of the prestigious Mois de la Photo in Paris. The accompanying publication with its reference to sleep and nightmares, presents an overview of Cumming's career from photography to video to these new 'photographic murals'. Always at the core of Cumming's practice is a concern with marginal communities. 'Prologue and Epilogue' is a form of retrospective, with Cumming cutting out hundreds of images from his earlier works and digitally pasting them together to form a nightmarish collage that distills of years of creation.
Canadian Cultural Centre, Paris (11/2006) 120 pp 51 col. ill. 11.5 x 8.5 softcover 978-1-896940-42-7 $38.00 Can./U.S.
John Massey: This Land
Catherine Bédard & Danièle Cohn
This superbly designed publication features new video and photographic work, notably a series of photographs entitled "The Soldier". Massey's grandiose natural landscapes are inhabited by classic military figures - yet these Vikings, Napoleonic horsemen and American GI's are actually drawn from miniatures. Monumentalized by the large format and emptied of any individual identity, they march, fight and die their way through pristine, idyllic settings. The juxtaposition of real landscapes with obviously unreal figures proposes a unique reading on the themes of masculinity and the military. In English and French.
Canadian Cultural Centre, Paris (03/2006) 95 pp 63 ill (48 col.) 9.5 x 9.5 in softcover 1-896940-40-4 $34.00 Can./U.S
Primal Images: Transmutations of a National Icon
Vincent Lavoie
This publication accompanies exhibitions in two international photography bienniales, Le Mois de la Photo à Paris 2004 and Le Mois de la Photo à Montréal 2005. The primal image referred to is the photograph recording the completion of Canada's national railway in 1885: "the driving of the last spike". Supported by a wide variety of historical and contemporary documentation, Lavoie shows how this apparently straightforward historical record was used to create the notion of Canada. By looking at the countless reproductions, copies and caricatures of this primal image he dissects the ideological construction of nationhood. Profusely illustrated with photographs, film stills, posters and political cartoons from over 100 years. Produced in collaboration with the McCord Museum. In English and French.
Canadian Cultural Centre, Paris (2004) 86 pp 40 ill (12 col) 9 x 7.5 in softcover 1-896940-35-8 $30.00 Can./U.S
Facing History: Portraits from Vancouver
Karen Love
This assemblage of portraits from the 1950s to today by photographers both internationally acclaimed and utterly forgotten combines to make a portrait of the city. This publication accompanies the European showing of an exhibition originally mounted in Vancouver. Artists include Ken Lum, Arnaud Maggs et Jin-me Yoon.
Canadian Cultural Centre, Paris (2004) 62 pp 26 ill (11 col.) 7 x 5 in softcover 1-896940-33-1 $14.00 Can./U.S.
Sorel Cohen : Divans maudits
Gérard Wajcman
Over the past 20 years Sorel Cohen has developed a photographic practice with intimate ties to painting and film. This publication presents three key bodies of work produced in the late 1990s: The Wounds of Experience, The Body that Talks and The Docent's Love Story. Each work is concerned with psychoanalysis and the book's title, Divans maudits or "the couches of the damned" succinctly conveys Cohen's preoccupations: the relationship between patient and therapist in all its erotic ambivalence. Sorel Cohen has exhibited widely, most notably at The National Gallery of Canada, the Winnipeg Art Gallery and the Musée d'art contemporain de Montréal. She lives and works in Montréal. Gérard Wajcman is a Paris-based psychoanalyst and author of numerous philosophical studies. In English and French.
Canadian Cultural Centre, Paris (2003) 76 pp 39 col. ill. 9x9 in 1896940269 $30.00 Can./U.S.
Trouble in View: Photographs by Marian Penner Bancroft & Sylvie Readman
Catherine Bédard & Martha Langford
Four women, two photographers and two curators, push at the boundaries of landscape photography by breaking down of the what they identify as the "gender/genre" construct; an allusion to what is traditionally the sex and the aesthetic of the landscape photographer. In bringing together these two photographers for the very first time, the curators challenge the hegemony of both authorship and view, the photographic view even feminists have come to call "masculine". Bancroft and Readman, each in her way takes an oblique approach to landscape, the first through autobiography (both her own and that of the site), and the second through superimposition and multiple layers. As a result, each successfully subverts photography's authoritarian stance. Independent curator and author Langford writes on Vancouver's Bancroft; the Cultural Centre's Catherine Bédard on Montréal's Readman. Publication of the exhibition presented in the 2002 edition of Paris' Mois de la Photo. In English and French.
Canadian Culturel Centre, Paris (2002) 114 pp (41 ill. (21 col.) 7.5x9.5 in 1896940242 $30.00
Paris: Photographs by Geoffrey James
Hubert Damisch
For the past twenty years Geoffrey James has been engaged in photographing the man-made landscape, from European gardens and the Roman campagna to the work of the great American landscape artist Frederick Law Olmsted, the creator of New York's Central Park. But whether photographing modern parks or the antique countryside, his aim has always been to record places charged with both history and myth. Now he has chosen Paris. In his essay, Hubert Damisch writes about James' ability to present the ancient capital with its intense modernity and bustling population, as if it were an archeological site. Nearly always empty of human presence, his photographs of the Porte Saint-Denis, the Boulevard Saint-Martin or the Opéra Bastille focus on the city itself. Damisch, a native Parisian, gives us a glimpse of what James has seen. We see the quartiers that haunted André Breton and the Surrealists, the Passage de l'Opéra made famous by Aragon, the narrow streets so dear to Walter Benjamin and places which for Damisch himself hold strong childhood memories of the German Occupation. In forty-four tritone reproductions, some immediately identifiable as Parisian and others not, James reveals the immense force concealed within this city. Geoffrey James lives and works in Toronto. In English & French.
Canadian Cultural Centre, Paris France (2001) 112 pages 44 ill. 10x10 in. softcover 1896940218 $40.00 (Can./U.S.)
Arnaud Maggs: Notes Capitales
Russell Keziere & Catherine Bédard
Having first gained recognition in the 1970s with his photographic portraits, Maggs has gradually turned his focus away from the human face toward the very signs of human existence - the public signs that mark any pedestrian's path and the more obscure signs of human lives. The site of his photographic research is Paris, the Capital referred to here. His wandering its streets has produced the series "Hotels" and his investigation of its archives, the series "Notification." Both series converge as a celebration of the city which was itself the theme of its Mois de la photographie 2000. Keziere writes eloquently of "Notification", a huge mural composition of nearly 200 colour photographs of death notices while Bédard provides an detailed review of the artist's long and celebrated career. Arnaud Maggs (b. 1926) lives and works in Toronto. He has exhibited widely, most notably at the National Gallery of Canada, the Art Gallery of Ontario and The Power Plant. In English & French.
Canadian Cultural Centre, Paris (2000) 75 pp. 36 ill. (22 col.) 10x8 in. 189694017x softcover $35.00
Alain Laframboise, Ian Paterson: Théâtre pour voir / Performing Eyes
Catherine Bédard, Daniel Arasse
The catalogue of the first Canadian contemporary art exhibition in Sarajevo. Laframboise presents dreamlike photo-montages while Paterson stresses the materiality of his photographs through techniques like writing on and scratching the negatives.
Canadian Cultural Centre, Paris (1998) 92 p., ill., 12x8 in / 30x20 cm, 1896940072 $24.00
L'Immatériel photographique: Du fanstastique, du grotesque / The Photographic Immaterial: Of the Fantastique and the Grotesque.
Catherine Bédard, Martha Langford
A meeting of four artistic worlds, that of Sophie Bellissent, Dyan Marie, Christiane Gauthier and Ann Mandelbaum. Each work incites a reflection on the fixed image.
Canadian Cultural Centre, Paris (1997) 96 p., ill., 8x11in / 21x24 cm, 1896940005 $20.00
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Confederation Centre Art Gallery
Thaddeus Holownia: Station, Irving Architectural Landscapes
Shauna McCabe & Annmarie Adams
The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Holownia, with his trademark panoramic photography, has documented dozens of these structures over twenty five years, often photographing the same station years apart. His work reveals the complex interaction these boxy modernist structures with their material clutter have with a region known for its traditional, picturesque vernacular. In English and French.
Confederation Centre Art Gallery (2005) 56 pp 29 ill. 9.5 x 9 in softcover 0-920089-63-1 $9.95 Can./U.S. (8 euros)
Dalhousie University Art Gallery
Paul Griffin: Signs
Robert Bean
Griffin's spare, black and white images centre on that ubiquitous symbol of urban commercialism: the advertising billboard. His billboards, however, are oddly-shaped and blank and are gesticulating silhouettes communicating in a strange post-industrial language. Bean traces the links between Griffin's work and historical "documentary style" photography especially that of Walker Evans.
Dalhousie Art Gallery (2004) 0-7703-2727-3 36 pp, 17 ill. (8 euros)
Galerie de l'UQAM
Alain Paiement : Le monde en chantier
Anne-Marie Ninacs
Alain Paiement creates a topography of space through an exercise in photographic mapping and by detailing the contents of the places depicted in minute collages. His impossibly aerial views of familiar yet roofless architectural environments, such as an apartment, are carefully composed constructions of multiple shots that compress the building, its occupants and their activities into one seamless image. With this conceptual tour de force, Paiement provides the viewer with a privileged perspective situated somewhere between the voyeuristic and the divine. Paiement's work has been shown on numerous occasions in North America and in Europe. He participated in the third Tokyo Photography Biennial and in the Kunsthalle in Krems, Austria. In 2003 the Canadian Centre for Architecture showed his work as part of its Tangent e exhibition. In English and French.
Galerie de l'UQAM (2002) 143 pp 58 ill. (50 coul.) 24 x 19 cm 2-920325-10-8 $25.00 (20 euros)
Roberto Pellegrinuzzi : Une pratique du poétique
Louise Déry
The author employs a theoretical approach in an analysis of Pellegrinuzzi's photo-based installations, landscapes and portraits. The essay focuses on the significance of details and fragments within the artist's work. Produced for the exhibition Les Écorchés, presented at La Maison Européenne de la Photographie in Paris. In English and French.
Galerie de l'UQAM (1999) 152 pp 57 ill. (33 ill. coul.) 26 x 18 cm couverture rigide 2-89276-187-5 $25.00 (20 euros)
Kamloops Art Gallery
Ian McDonald: Boys and Boxes
Terryl Atkins
The recent resurgence of documentary-style photography is borne from a conscious questioning of what a photograph gives and what it does not. Ian McDonald offers photographic portraits of technicians working at Highland Valley Copper, one of the world's largest open pit copper mines. The workers, all men, are specialists in a variety of trades, and the portraits include those of welders, heavy duty and automotive mechanics, electricians, machinists, tire men, and millwrights. McDonald, who also works at the mine, has photographed each man standing next to his tool box. McDonald approaches his subjects in what appears to be a direct and matter-of fact way and his work provides a fascinating contrast with industrial portraiture of other photographers, notably Yousuf Karsh.
Kamloops Art Gallery (11/2007) 48 pp 35 col. ill. 9.5 x 7 in softcover 978-1-895497-70-0 $14.99 Can./U.S. (12 euros)
Yoko Takashima
Mowry Baden
Large-format digitalized colour photographs confront the viewer with images of private matters and domestic relationships that have universal relevance. The artist's newly-acquired roles as mother and caregiver are threaded throughout. Other works relate to inter-family relationships and act as a catalyst for her explorations of the emotions associated with parenting: anxiety, vulnerability and obsessiveness. Yoko Takashima was born in Japan and currently lives in Vancouver.
Kamloops Art Gallery / Southern Alberta Art Gallery (2003)38 pp 12 col. ill. 10x6.5 in hardcover 189549754X
$20.00 Can./U.S. (14 euros)
Donald Lawrence: Kayaks and Caissons
Keith Wallace
Lawrence's two- and three-dimensional works are working pieces used in the production of pinhole photographs. His illustrated journals document the works' progression, traversing the blurred line between artifact and art, and fulfilling the artist's interest in the intersection between image and text. In addition to having their individual material forms and explorations, these current projects indulge the artist's interest in sea kayaking. A booklet with an essay, twelve inscribed postcard-sized photographs and an overview of the exhibition are enclosed within a cardboard box
Kamloops Art Gallery (2003) 31 pp & 12 cards in cardbord box 6x5 in 1895497558 $18.00 Can./U.S. ( 13 euros)
Dianne Bos: Son et Lumière
Susan Edelstein & Ihor Holubizky
The narrative effect of Bos' pinhole photography, with its ability to photograph over time and capitalize on unexpected peripherals, is enhanced by an audio CD wherein sound bites animate the moment of each photograph.
Kamloops Art Gallery (2002) 24 pp 12 ill. 6x7 in (with Audio-CD) 1895497523 $16.00
Gu Xiong: Yellow River / Blue Culture
Gu Xiong & Andrew Hunter
Documenting their trip to China, Vancouver artist Gu Xiong and artist/curator Andrew Hunter focus on cultural hybridization. Gu Xiong draws on similarities between the rapid commercial development of cities in China and their Canadian counterparts, highlighting the commonality of those places where American corporate influence (Blue Culture) has blurred cultural borders. Hunter recounts his visit to China, noting the almost seamless insinuation of Blue Culture into everyday life. Xiong's photographs so perfectly embody this cultural cross-pollination that one has to look closely to discover if the local is the Forbidden City or in fact Montreal's Chinatown.
Kamloops Art Gallery (2002) 27 pp 29 col. ill. 9x8 in 1895497507 $8.00 (Can./U.S.)
Brian Wood: Cribbed
Lisa Robertson. Using both drawing and photography, the New York-based Canadian artist creates a work steeped in duality - reality and abstraction, the conscious and the unconscious, the rational and the irrational. This collection of photo-based works from the permanent collections of the National Gallery of Canada, the Canadian Museum of Contemporary Photography and the Kamloops Art Gallery provides a clear understanding of the natural progression and development of the artist's practice over the last number of years. Brian Wood has taught at New York and Fordham universities and currently teaches at Yale.
Kamloops Art Gallery (2001) 32 pp 12 ill. 9x7 in. softcover 1895497477 $12.00
MacLaren Art Centre
September 2007: Broken Promises, Soviet Photography in the Age of Stalin
Michael Johns, J. L. Black et al
Initiated by the acquisition of the Sovfoto Archive - a collection of photographs produced by the Soviet Union during the Second World War and intended for the American press - this publication includes numerous examples from the collection, two scholarly essays and responses from three contemporary artists. While Johns outlines the role of myths and symbols in the development of the Soviet Union, Black describes how the censorship institutionalized by Stalin operated. The artists - Olexander Wlasenko, Sadko Hadzihasanovic and Robin Pacific - examine the repercussions of propaganda on art and the media. J. L. Black is the editor of the Russia and Eurasia Documents Annual series. Michael Johns has published in journals such as Nationalism and Ethnic Conflict and East European Politics and Societies.
MacLaren Art Centre (11/2007) 92 pp 73 ill. (14 col.) 11 x 8 in softcover 978-0-9738829-3-3 $25.00 (20 euros)
Museum London
Arni Haraldsson: At Last Sight
Anne Brydon
With his photographs of mid-20th century architecture and urban landscapes in India, Israel and his native Iceland, Haraldsson focuses attention on the enduring legacy of the Modernist ideal. By looking at these very different places, his critique of the utopian structures and city-planning that flourished after World War II make a vital connection between Modernism and nation-building. All three states achieved independence in the late 1940s, their governments propelled by the conviction that rational planning could transcend confusions and desperate histories. But the alienating forces of urban living and the industrialized workplace, combined with the violence of nation-building that characterized Israel and India, penetrated and transformed the utopian forms.
Museum London (formelyLondon Regional & Historical Museums) (2000) 32 pp 21 col. ill. 8x9 in 1895800846 softcover $12.95
Musée d'art contemporain de Montréal
Pascal Grandmaison
Pierre Landry and Reid Shier
Since the late 1990s, Pascal Grandmaison has carved out a reputation as one of the most meticulous and innovative artists of his generation. His work suggests a new approach, not only to photography and video, but also to the way his pieces are exhibited. Often based on the portrait genre, Grandmaison's art is distinctive for its formal strategies such as the close-up and white background. In the introduction, director Marc Mayer writes, "In his world we are very far from the materialistic concerns of pop art. The faces, hair and clothes of Grandmaison's sitters are so much of our time that our ephemeral culture seems more present here than in most other recent art that strains so hard to achieve timelessness."
Born in 1975 and emerging only lately from the artist centre milieu, Pascal Grandmaison has already exhibited widely, notably at Jessica Bradley Art + Projects (Toronto) and the Jack Shainman Gallery (New York). This first monograph documents five photographic series and three films, many never previously shown. Pierre Landry is curator at the Musée d'art contemporain de Montréal. Reid Shier is director of Presentation House Gallery, Vancouver. In English and French
Musée d'art contemporain de Montréal (2006) 126 pp 50 col. ill. 10.5 x 9 in softcover 2-551-22891-3 $29.95 Can./U.S. (24 euros)
Nicolas Baier
Gilles Godmer, Olivier Asselin, Nicolas Baier, Emmanuel Galland & Stéphane Aquin
Two of Canada's most prestigious art institutions have for the first time collaborated on a comprehensive publication as a celebration of this uncommon new talent. Baier is interested in the beauty of the world. He reveals this beauty by means of the newest of means at the pictorial artist's disposal (digital photography) as well as the oldest (composition, colour and form). At first a painter and then a photographer, he has long mastered digital photography. His increasingly discreet use of that technology has transformed his photographic œuvre into a far more malleable medium, more analogous to painting. His photographs are a stunning example of technology at the service of imagination. Three essays, an artist's statement, an interview and numerous colour plates provide analysis, opinion and visual delight. Co-published with the Montreal Museum of Fine Arts. In English and French.
Musée d'art contemporain de Montréal (/2006) 144 pp 61 col. ill. 10.5 x 9 in softcover 2-551-22757-7 $39.95 Can./U.S. (32 euros)
Urban Territories
Réal Lussier
Urban Territories introduces six of the most promising young photographic talents working in Montreal today. Through a wide range of interests and approaches each artist proposes an answer to the question: what is documentary photography in the 21st century? For this generation of photographers the city is not the subject of their investigation but the context for it. For them, the city is a tightening convergence of social, political, environmental and personal realities. By documenting the often unnoticed signs of flux, they demonstrate that art can play a determining role in the debate about the future of our cities. With works by Christian Barré, Martin Désilets, Isabelle Hayeur, Emmanuelle Léonard, Pavel Pavlov and Myriam Yates. An original essay is accompanied by individual artists' statements. In English and French.
Musée d'art contemporain de Montréal (2005) 88 pp 61 ill (23 col) 10.5 x 7.5 in softcover 2-551-22783-6 $19.99 Can./U.S. (16 euros)
Nicolas Baier
Gilles Godmer
Originally a painter, and now essentially a photographer, the Montreal-based artist began his career in the early 90s. The projects explored here offer an autobiographical investigation of everyday, domestic reality through a substantial body of works that confound disciplines and break down the barriers between art and its exhibition space. This is the latest in the series of publications the Musée devotes to emerging artists. Baier's creative vitality has been recognized with the prestigious Pierre-Ayot Award. In English and French.
Musée d'art contemporain de Montréal (2003) 24 pp 6 col. ill. 10.5x7.5 in 2551218373 $11.95 Can./U.S. (9 euros)
Nan Goldin
Paulette Gagnon & Éric Mézil
The internationally acclaimed photographer has built a singular reputation from 30 years of unrelenting work. Long associated with the New York underground scene, Goldin is known for her brutal, documentary-style approach to capturing her friends and herself on film. This publication, produced in collaboration with the Collection Lambert in Avignon France, provides a unique perspective on the transformation of Goldin's œuvre with photographs produced since 1972, a film and two slide shows. Drawn essentially from the Collection Lambert, a unique collection built by art dealer Yvon Lambert, both exhibition and publication testify to a privileged relationship. In his essay, Mézil describes the artist/dealer bond that produced Goldin's first show in Paris and encouraged her to undertake radically different work, including landscapes and still lifes. Éric Mézil is director of the Collection Lambert. Paulette Gagnon is senior curator at the Musée d'art contemporain de Montréal. Nan Goldin has exhibited widely, most notably at the Los Angeles Museum of Contemporary Art, Tate Gallery, ICA London, and the Museum of Modern Art. She was the subject of a retrospective exhibition at the Whitney Museum of Contemporary Art. She lives in Paris.
Musée d'art contemporain de Montréal (2003) 96 pp 60 col. ill.11x8 in softcover 2551217547 $39.95 Can./U.S. ( 35 Euros)
James Casebere
Réal Lussier & Douglas Bohr
Since the early 1980s the American artist has been making photographs of miniature constructions of the built environment, with images ranging from suburban interiors to institutional structures. Casebere is interested in the point at which photography, architecture and sculpture intersect. He was one of the first "post modern" artists to become known for creating images for the camera, a methodology currently being explored by photographers like Gregory Crewdson and Thomas Demand. This exhibition, organized by the Southeastern Center for Contemporary Art (Winston-Salem North Carolina) highlights the cimematic significance of the emotionally charged work. English and French.
Musée d'art contemporain de Montréal (2003) 28 pp 9 col. ill. 10.5x7.5 in 2551216796 $11.95
Melvin Charney
Pierre Landry, David Harris & Gilles A. Tiberghien
Since the 1960s Melvin Charney has created an immense body of work that, while profoundly architectural, has always transgressed into other disciplines. Consequently, like his drawings, sculptures and installations, his photographs are fueled by a strong commitment to the urban environment. This publication tracks four decades of a singular and multidisciplinary oeuvre through Charney's photographs, demonstrating their visual power as well as their place in his overall artistic vision.With hundreds of images to guide us, this publication outlines Charney's trajectory from his earliest photographs of Montreal's old neighbourhoods in the 1950s, through to his use of photographic assemblages in architectural settings, his painted photographs of industrial sites and his gigantic outdoor constructions melding photography with aluminum and wood. With three essays and artist's commentary. In English and French.
Musée d'art contemporain de Montréal (2002) 182 pp ill. 9.5x6.5 in 255121453X $39.95 Can./ $34.95 U.S.
Jeff Wall : 1990-1998
Réal Lussier
Musée d'art contemporain de Montréal (1999) 101 pp 28x23 cm 255119069x (Français/English) $44.00
Angela Grauerholz
Paulette Gagnon
Musée d'art contemporain de Montréal (1995) 55 pp 29x24 cm 2551133882 (Français/English) $24.95
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Musée d'art de Joliette
Clara Gutsche: The Convent Series
France Gascon
These remarkable photographs testify to the remarkable talent and tenacity of the artist as well as to a remarkable subject: the cloistered religious communities of Québec, among the last in North America. Originally drawn by the desire to document the cloisters' interior architectural spaces, Gutsche ultimately came under the thrall of the women themselves. Oscillating between portraiture and interior scenes, Gutsche reveals her architectural interest through formal composition, sparse settings and the stillness of the figures. However, the objectivity and evident respect she has for her subjects is heightened by a theatricality and by a critical stance. Elements of humour - although never parody - and even kitsch permeate theses shots of the sisters working, praying and playing. Through her deliberate mise en scène and strong sense of colour and setting, Gutsche conveys very particular cultural and social relationships. By weaving herself as a photographer and as a woman into a rarified social fabric, Gutsche allows us to encounter realities to which she imparts an unprecedented presence. In English and French.
Musée d'art de Joliette (2001) 88 pages 52 ill. (18 col.) 11.5x9.5 in. 2921801086 softcover $20.00 (Can./U.S.)
Musée régional de Rimouski
Suzy Lake: Attitudes & Comportements
Jocelyne Fortin
Lake's photography explores notions of identity through self-representation. The power of her photographic series, often closely linked to performance, comes from an introspective investigation of the extroverted body, specifically the female body. This publication provides an overview of Lake's work from the 1970s to today, revealing the transformation of her concerns over time. In English and French.
Musée régionale de Rimouski (2003) 44 pp 36 ill (20 col) 11 x 8 in softcover 2-920367-65-x $12.00 (10 euros)
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National Gallery of Canada
Modernist Photographs from the National Gallery of Canada
Ann Thomas
This original publication, which focuses on the early decades of the twentieth century, is the first in a new series devoted to the study of photographic masterpieces from the National Gallery of Canada's international collection. Examining the expansive, innovative and often contradictory modernist ethos that shaped the creation and use of photographic art from 1900 to 1940, this generously illustrated publication highlights dozens of works from Germany, England, Czech Republic, United States, France, Russia, Hungary, Japan and Canada. An introductory essay describes the development of photography artistically, technically and socially. Following the essay, 79 individual works are presented within the context of their times. Each is illustrated with a full-page duo tone plate. Among the artists are some of the world's greatest photographic innovators, notably Eugène Atget, Margaret Bourke-White, Brassaï, Walker Evans, Dorothea Lange, Lisette Model, Alexander Rodchenko and Edward Weston
National Gallery of Canada (2007) 200 pp 250 ill. (98 col.) 10.5 x 8 in softcover 978-088884-829-1 $49.00 Can./U.S. (39 euros)
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Oakville Galleries
Inhabiting: The Works of Isabelle Hayeur
Serge Bédard
Each photographic work by Isabelle Hayeur incorporates several images, using software to form an apparently seamless representation. Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs. Isabelle Hayeur has exhibited, most notably, at Mass MoCA and Musée d'art contemporain de Montréal. Co-published with the Musée national des beaux-arts du Québec. In English and French.
Oakville Galleries (07/2006) 48 pp 16 col. ill. 11.5 x 10.5 in Hardcover ISBN: 1-894707-24-9 $35.00 Can./U.S. (28 euros)
Roy Arden: Selected Works 1985 - 2000
Marnie Fleming and Shep Steiner
Long admired for his activist stance, Arden's unrelenting depiction of the rapidity of economic change in British Columbia and its human costs (what he calls "The Landscape of Economy") has fostered an international reputation in both artistic and environmentalist circles. As Fleming notes, Arden's practice is ".. a case study on the way in which the reality of one's backyard can be a valid laboratory or art-making; one that has global resonance, while based in the realm of lived experience." But as Fleming and Steiner amply show, Arden is not a photo-journalist. His genius reveals itself through the way he takes the documentary tradition and imbues it with fiction, poetry and drama. His pictures embody otherwise contradictory concepts of the literal and the figural, the political and the poetic, and the ethical and the aesthetic. Pictures like Pulp Mill Dump, Nanaimo B.C. are reminiscent of Robert Smithson and Landfill B.C. invokes the wastelands of Antonioni and Robert Adams. "Through this work I have sought to explore and articulate a realism which is informed by my understanding of tradition. I have drawn on artists as diverse as Dürer, Kobke, Atget, Walker Evans, Robert Smithson and Pasolini," Roy Arden.
Oakville Galleries (2002) 48 pages, 15 ill. (10 col.) 9x10 in. hardcover 1894707079 $35.00 (Can. / U.S.)
Raymond Gervais, Rober Racine: The Acoustic Gaze / Le Regard acoustique.
Michèle Thériault.
Taking as their point of departure a rare photograph of Debussy and Satie together, the artists seek to redefine the relationship between listening and seeing through a series of installations realized over the past fifteen years. With essays by Thériault,
Oakville Galleries (1998) 48 pp ill., 9x8 in / 23x21 cm, 092102780x $15.00
Paul Kipps: Cathexis.
John Sallis & Marnie Fleming.
The sheer size of Kipps' stone sculptures and photographs forces a re-evaluation of public space and its ramifications in, for
Oakville Galleries. (1998) 31 pp ill., 9x7 in / 23x17 cm, 0921027745. $15.00 (hb)
Angela Grauerholz: Aporia, A Book of Landscape.
Marnie Fleming
Oakville Galleries. (1995) 326 pp c.300 ill., 9x7 in / 23x17 cm, 0921027559 $45.95
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The Ottawa Art Gallery
The Bigger Picture: Portraits from Ottawa
Karen Love
Working from portraiture - both contemporary and historical - as well as archival photographs, the author traces the social history of Ottawa as a city and as the nation's capital. In doing so she provokes questions about how we have understood the notion of portraiture over the past past 50 years. Donigan Cumming, Evergon, Germaine Koh, Ken Lum and Jeffrey Thomas and even Pierre Elliot Trudeau are just a few of the photographers discussed. In English and French.
The Ottawa Art Gallery (2004) 72 pp 56 ill. (17 col.) 9.5 x 6.5 in softcover 1-894906-17-9 $25.00 (16 euros)
Katherine Knight: Wind and Water
Cheryl Sourkes
Award winning photographer Katherine Knight captures natural landscapes of Central and Eastern Canada in intimate portraits. These geographic settings are combined with notions of memory and narrative, achieved either through direct intervention, as in her exploration of the force of wind and its effect on secondary objects, or through spontaneously captured moments. Rejecting the tradition of grand panoramic scenes, Knight gives voice to specific forms and vantages, encompassing space in intimate ways in a more anti-heroic, proto-feminist tradition. Her vision strikes a balance between a persevering life force and the threat of death from the ineluctable power of natural forces. In English and French.
The Ottawa Art Gallery (2004) 56 pp. 65 ill. 8 x 8 in softcover 1-894906-13-6 $15.00 (12 euros)
Sylvain Cousineau : Coq-à-l'âne
François Dion
Cousineau's photographs interpret a place between the subjective experience of the image and its objective reality. Though he is known for his assemblages and paintings, this publication derives from the first retrospective exhibition of Cousineau's photographic work dating from as early as 1969. His photographs contain ironic contradictory references and semantic play, ranging from urban theatrical montages to regional portraits of text and image. In English and French.
The Ottawa Art Gallery (2004) 40 pp 28 ill. 8.25 x 10 in 1-894906-08-X $12.00 Can./U.S. (10 euros)
Evergon: Egon Brut, Celluloso Evergonni, Eve R. Gonzales: Ramboys. A Bookless Novel and Other Fictions.
J-F Renaud et al.
Four essays analyze the baroque character, the mythic nature and the homoeroticism of the photographer's work. English/Français.
Ottawa Art Gallery (1995) 153 p., 32 ill. (4 col.) 7x4.5 in / 18x12 cm, 1895108209 $20.00
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Robert McLaughlin Gallery
Geoffrey James: Parks and Walkways in Oshawa (Out of print)
Dyan Marie & Linda Jansma
This gem of a publication records the photographer's first visit to a city more famous for its auto industry than its ambulatory landscape. As he notes, "I started to take photographs for the pleasure of others and ended up taking them for myself. Oshawa's intelligent conservation of its creeks, woods and wetlands...puts me in the mind of the great American landscape architect Frederick Law Olmstead." From palatial grounds to hidden paths beneath overhanging bridges, James has documented locations that show an exceptional appreciation of site. Included are 4 full-colour removable photographs, four by eight inches in size, and formatted as postcards. Geoffrey James has produced numerous publications including 'Running Fence '(Presentation House) and 'The Italian Garden' (Henry Abrams). His work has been shown at New York's Museum of Modern Art, the San Francisco Museum of Modern Art and the Canadian Centre for Architecture.
The Robert McLaughlin Gallery (2001) 24 pages, 18 ill. (4 col.) 5x9 in. 0921500416 $5.00 (Can./U.S.)
Southern Alberta Art Gallery
Colwyn Griffith: Empire Projects
Rocío Aranda-Alvarado
Colwyn Griffith produces large-scale colour photographs that question the ethics of western consumption and empire. He uses candy and junk foods to construct elaborate reproductions of icons of excess such as Graceland and Saudi Arabia’s Ministry of Oil. For several years, much of Griffith’s practice has employed the use of processed food to investigate notions of landscape, tourism, consumption and history.
Southern Alberta Art Gallery (06/2008) 58 pp 23 col. ill. 9 x 6 in softcover 978-1-894699-40-2 $20.00 ($22.95 U.S. / 16 euros)
Tanya Harnett: Persona grata
David Garneau
Tanya Harnett’s new series of photographic works explore the many and diverse layers of her being through self-portraiture. Harnett reflects on her First Nations heritage and how it has been culturally defined and redefined through the parameters of a westernized education. The complexity of this history is subtly but relentlessly pursued through the lens of the camera.
Southern Alberta Art Gallery (06/2008) 58 pp 19 col. ill. 9 x 6 in softcover 978-1-894699-41-9 $20.00 ($22.95 U.S. / 16 euros)
Susan Bozic: The Dating Portfolio
Gordon Hatt & Bill JeffriesSusan Bozic’s work recalls the performance-based photography of Cindy Sherman and Jeff Wall while taking as its subject the social construction of romance. Bozic’s character's dates a male mannequin and, through her photographs, we follow the couple from courtship and meeting the family to intimacy. Bozic reflects on consumer society's pursuit of happiness and the good life while referencing the internet dating phenomenon by staging dates with someone a little bit "different." Her project merges the optimism of movie-star promotional photographs with questions about both the tradition of courtship and its current state. Two essays elucidate her practice.
Southern Alberta Art Gallery (01/2008) 64 pp 22 col. ill. 10 x 8 in softcover 978-1-894699-39-6 $20.00
Lisa Klapstock: Liminal
Alison Nordström & Scott McLeod
Lisa Klapstock's photographic practice challenges visual perception of everyday urban environments. This splendid first monograph, illustrated with dozens of colour plates, presents several series produced from the late 1990s to today. "Living Room" documents the hidden life of urban back lanes. "Threshold" - scenes shot through holes in backyard fences - reveals views that are invisible to the naked eye. "Ambiguous Landscapes" juxtaposes stark landscapes with and without the human figure (Klapstock herself). While the work is highly formalized and richly textured, Klapstock's overriding concern is the gray area between private and public and how, as both artist and woman, one inhabites that space. Lisa Klapstock has exhibited at George Eastman House, Presentation House Gallery and the Art Gallery of Ontario. Alison Nordström is Curator of Photography at George Eastman House. Scott McLeod is editor and publisher of Prefix magazine. In English and French.
Southern Alberta Art Gallery / Tom Thomson Memorial Art Gallery / Kamloops Art Gallery (04/2006)
96 pp 57 col. ill. 1-894699-33-5 hardcover $20.00 Can./U.S. (16 euros)
Bettina Hoffmann: Spoilsport
Adrienne Lai
Hoffmann's photographic practice presents an investigation of conflict, non-verbal communication and the unspoken. With cinematographic undertones, she constructs banal everyday scenes, creating complex situations of people in an atmosphere of feigned indifference, desperate seduction and veiled humiliation. Spoilsport refers to the game of life, love and power and its willful disruption. Originally from Berlin, Hoffmann lives and works in Montreal. Produced in collaboration with the Liane and Danny Taran Gallery. In English and French.
Southern Alberta Art Gallery (2004) 56 pp 34 col. ill. 10 x 7.5 in softcover 1-894699-25-4 $20.00 Can./U.S. (16 euros)
Yoko Takashima
Mowry Baden
Large-format digitalized colour photographs confront the viewer with images of private matters and domestic relationships that have universal relevance. The artist's newly-acquired roles as mother and caregiver are threaded throughout. Other works relate to inter-family relationships and act as a catalyst for her explorations of the emotions associated with parenting: anxiety, vulnerability and obsessiveness. Yoko Takashima was born in Japan and currently lives in Vancouver.
Kamloops Art Gallery / Southern Alberta Art Gallery (2003) 38 pp 12 col. ill. 10x6.5 in hardcover 189549754X $20.00 Can./U.S. (14 euros).
Renate Buser: Objects in Mirror May Be Closer Than They Appear
Roman Kurzmeyer & Robert Ireland
Buser's photographs assume the real and fragile position of the photographer, becoming the amplified link between the human body - with its imperfections - and a perfected optical technology. Her decontextualized photographs of Montreal's architecture (office towers, apartment buildings) are in a way the antithesis of architectural photography in that they emphasize remoteness and lack of gravity. Essays in English, German and French.
Southern Alberta Art Gallery (2000) 44 p., 10 col. ill., 9x6 in. 0921613962 $15.00 (pb)
Marlene Creates: Language and Land Use, Alberta 1993.
Six photo-assemblages and an artist's statement.
Southern Alberta Art Gallery. (1994) 20 p., ill., 8x8 in / 21x21 cm, 0921621361 $4.00
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The Winnipeg Art Gallery
Rosalie Favell: I Searched Many Worlds (Out of print)
Donna McAlear, Barry Ace & Christiane Becker
The Winnipeg Art Gallery (2003) 128 pp 70 col. ill. 6.5 x 9.5 in 0-88915-220-9 softcover $14.95 Can./U.S. (14 euros)
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