 I heard a story a few years ago about a nineteenth-century photographer. His entire body of work consisted of hundreds of glass-plate negatives that no one wanted when he died. Eventually, someone took the glass plates to make walls for a greenhouse.  Parages / Pane mundial, 2002, impression à jet d’encre archive sur polypropylène, 274 x 1016 cm,© Alain Paiement
Looking back over twenty years and trying to retrace the path of experiments with images, we start in the early 1990s, when a couple of newcomers, Alain Paiement and Roberto Pellegrinuzzi, were already starting to turn heads. In an essay published in 1992, Denis Lessard tried to show what these artists owed to the heritage of Pierre Boogaerts, Bill Vazan, and Serge Tousignant.1 He also mentioned the work, then new, of Raymonde April, Lucie Lefebvre, and Denis Farley. This effort at historical perspective was out of place at the time, when the lion’s share of attention in the critical environment was being paid to the rebirth of installation art and the manner in which photography and, soon, the photographic would be inserted into it. This article was originally published only in French. No translation is available. – Read the Summary Voir aussi le portfolio de l'artisteDepuis près de quinze ans, Georges Rousse investit des sites urbains désaffectés, voués à une démolition imminente, dans lesquels il réalise des anamorphoses en vue de leur dénouement photographique.  Nil posse creari de nib. Lucretius 1. Louis Joncas has been working on this immense series of still-lifes for over a decade now; as of 2004 there are more than a hundred of them. This article was originally published only in French. No translation is available.
Le Musée des Beaux-Arts du Canada (MBAC), actuellement sous la direction de Marc Mayer, a récemment annoncé que le Musée canadien de la photographie contemporaine (MCPC) n’occupera plus son propre bâtiment situé au 1, canal Rideau.  In Montreal, as in many cities around the world, works of art have often been placed in “public” urban spaces. In some cases, the placement of works is accomplished through channels of bureaucratic control or corporate interest,  The world identifies with the quintessence of photographs. This identification does not occur for no reason. For the world itself is composed of a photographic face. . . . the world has become the photographic present, and the photographic present is fully perpetuated. — Siegfried Kracauer, 19271 Warning: getimagesize(/home/cv2012/public_html/archives-old/images/stories/cvnumero/CV82/ 82_47_McCord.jpg) [function.getimagesize]: failed to open stream: No such file or directory in /home/cv2012/public_html/archives-old/components/com_customproperties/helper.php on line 370 Relevance is a word that permeates discussions about the role of museums within the social fabric of community. As repositories, museums have a primary function of cultivation not only of objects Of all the creative support programs, Quebec’s policy for the integration of the arts with architecture and the environment (commonly known as the 1 percent program) offers some of the best visibility, as well as terrific financial support, to artists.  Greg Girard ’s recent monograph Phantom Shanghai describes the urban vestiges of communist-era Shanghai as they are swept away in the city’s recent wave of economic development.  Also see the artist's portfolio For twenty years, Benoît Aquin has travelled widely, armed with a global vision and the determination to construct a global project. From initial forays into the Caribbean in the late 1980s  Have you heard of Kaixian? It’s a charming tourist site if ever there was one! But to visit, you’ll have to replay it, since the town is now under the waters of the Yangzi.  “… a change in time is enough to re-create the world and ourselves.” – Marcel Proust  We live in an age of disappearances, a time of loss and change, with mass extinctions and vanishing eco-regions.  In 1967, Jack Chambers of London, Ontario, received a letter from the National Gallery of Canada informing him that its staff was beginning to assemble a bank of two thousand slides on Canadian art and asking for his permission to reproduce the image of one of his works.  Since he began his photographic practice, George Legrady has been interested in the fate of images and their detachment from the “real,” first through strictly photographic methods, then, starting in the mid-1980s, through digital techniques.  Over the course of the last few decades, the pressing issue of alterity – “Other” and “otherness” – has been admirably foregrounded in a number of disciplines and, with increasing frequency, in contemporary art practice and discourse.
Also see the artist's portfolio
A few years ago, while working at an ad agency’s clippings service, Peter Piller started taking images from the regional newspapers that he was given to survey and using them in his art, organizing the material into categories according to the themes suggested by the pictures’ content:  Toronto collector Ydessa Hendeles is no ordinary gatherer of photographs. Instead of following the usual practice of connoisseurs – buying only rare images that show artists at the top of their technical game –  W. M. Hunt’s photograph collection Collection Dancing Bear whispers some secrets about photography. It is full of mystery, chaos, darkness, and excitement. It is unpredictable. It is creepy. It is provocative. |
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Ciel Variable
- Solo
- Interactivity
- Collection
- Tourism
- History
- Politic
- Documentary
- Territory
- Private-public
- Stillness-Movement
- Mater
- Film-video
- Sexuality
- Garden
- Industry
- Still life
- Book
- Thematic
- Social cause
- Presence-Absence
- Daily life
- Mise en scene
- City
- Digital treatment
- Institution
- Networks
- Memory
- Publicity
- CD-DVD
- Vision
- Printing and publishing
- Globalisation
- Public Art
- Architecture
- Magazine
- Emotions
- Landscape
- Identity
- Work
- Performance
- Rural
- Historic
- Light-Shadow
- Catalogue
- Book
- Non representational
- Portrait
- Nude
- Inhabit
- Nature
- Self
- Reproduction
- Photomontage
- Narration
- Family
- Technology
- Environment
- Old photographic process
- Installation
- Group
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