 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  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.
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:
Also see the linked essay
NO IMAGE AVAILABLE The Archive Peter Piller contains tens of thousands of press images that Piller started to collect while employed at an advertising agency. The numbing task of endlessly scanning publications day in and day out became engaging when Piller started to clip and organize images from the newspapers.  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.  Luis Jacob’s Album VI is the latest instalment in his ongoing series of archival projects.
In its entirety, this album contains 162 plates, each containing between two and six found images.  From September 25, 2008, to January 4, 2009, the Musée national des beaux-arts du Québec (MNBAQ) is presenting Quebec City and its Photographers, 1850–1908: The Yves Beauregard Collection, By Jacques Doyon The image bank is an archive structured by selection, indexing, and thematic cross-referencing procedures that determine how it is used. Artists appropriate this mechanism to explore the issues in visual culture and the contemporary future of the “virtual museum” prefigured by Malraux.  By Jacques Doyon Jacques Doyon : Over the course of a photographic practice spanning more than twenty years, you have shown consistent interest in the archival aspects of images and the architecture of their storage and display. You’ve also produced artist’s books and installations reflecting on museum practices.  This article was originally published only in French. No translation is available. Articule, Montréal 29 février au 30 mars 2008
Also see the linked essay
The singularity of collections exists at the meeting point of the artists’ sensitivities and the collector’s philosophy. In the case of Ydessa Hendeles’s collection, this marriage of viewpoints results in a rich exploration of the pathologies, contradictions, and anxieties of contemporary Western societies.  For thirty years, W. H. Hunt has been building a photography collection that brings together 1,200 works marked by the absence of sight in the photographed subjects. Composed of classical and contemporary works by renowned artists,  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 –
Also see the artist's portfolio
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.  With photographic portraits and landscapes, Jack Lazare, senior vice-president of Vision 2000, has made the walls of the travel agency group’s offices in downtown Montreal an expression of his tastes and sensibilities.  Following a first purchase, a work by Julia Margaret Cameron (United Kingdom, nineteenth century), the Lazare family has moulded the photographic content of it’s collection over the past twenty-five years to form what is a mainly contemporary ensemble of emotionally rich portraits and nostalgic landscapes. 
Interest in contemporary photography has reached a fever pitch. In 2006, at Sotheby’s in New York, a huge colour print by Andreas Gursky (dating from 1999) went on the block and sold for $2,256,000. Six months earlier, Richard Prince’s seminal work Untitled (Cowboy), By Jacques Doyon Photography is becoming an increasingly important component of private collections. Recognition of the wealth and diversity of the photographic tradition, as well as a significant rise in the value of photographs on the art market, have accompanied this evolution.  Thanks to the growing popularity of digital cameras, with their direct connectivity to computers, the number of images sent by e-mail and of photographs published on the network has been growing exponentially.  My father, like many in his generation,1 was a big fan of family photographs. Anything and everything was an excuse to take “slides,” as he called them. We were living in Quebec City, and, aside from the pictures taken at Christmas and on summer trips to Maine, |
|
|
|
Ciel Variable
- Non representational
- Presence-Absence
- Group
- Emotions
- City
- Memory
- Old photographic process
- Tourism
- Work
- Private-public
- Digital treatment
- Book
- Performance
- Light-Shadow
- Networks
- Social cause
- Catalogue
- Globalisation
- Solo
- Daily life
- Magazine
- History
- Institution
- Reproduction
- Mise en scene
- Mater
- Historic
- Sexuality
- Installation
- Technology
- Printing and publishing
- Interactivity
- Vision
- Film-video
- Book
- Identity
- Photomontage
- Collection
- Landscape
- Garden
- Still life
- CD-DVD
- Nude
- Environment
- Portrait
- Thematic
- Territory
- Narration
- Stillness-Movement
- Self
- Nature
- Industry
- Politic
- Family
- Publicity
- Inhabit
- Public Art
- Rural
- Documentary
- Architecture
The content of this site and the works reproduced within it (photographs and texts) are protected under the Copyright Act. It is therefore forbidden to reproduce, download or otherwise use texts and images found on this Internet site without the explicit and written consent of their authors and copyright owners.
