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Apr 11, 03<br>
Exhibition
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March 29 – May 3, 2003 <BR>
André Kertész <BR>
New York State of Mind<BR>
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When placing an artist in the framework of history, we rely on retrospect and distance (of time, and of physicality) to judge their importance. In the almost two decades since his death, André Kertész has gained the importance and respect for which he worked so hard in his life, particularly in his final years. Undoubtedly, he is now regarded as one of the eminent photographers of the 20th century, and his importance in the history of photography has been consistently reasserted as the realm of fine art photography has itself evolved.<BR>
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Although he is most often associated with his years in Paris (1925-36), Kertész’s life and photographic career both began in Hungary (b. Budapest, 1894). In 1912, he began working at the stock exchange in Budapest, the very same year that he acquired his first camera. From that time on, it was his constant companion and the outlet for his artistic passion. During his relatively short time in Paris, Kertész established himself as one of the top European photographers of his day, achieving both artistic and commercial success within a community saturated with gifted artists. <BR>
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It was thus at the height of his European success, in 1936, that Kertész and his wife Elizabeth (whom he had met at the stock exchange in Budapest) decided to move to New York, for what was meant to be a short-term sabbatical. His experience of that city could not have differed more from his life in Paris. Far from being celebrated and embraced by the photographic community, he instead found himself isolated, unappreciated, and rejected. Furthermore, a series of extenuating circumstances – including Elizabeth’s business success and the impending war – made returning to Europe impossible.<BR>
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For over two decades Kertész existed in this limbo. It was only after years of frustrating encounters with art directors and publishers who did not understand his work that Kertész accepted a staff position at House and Garden, a job that he would retain for 17 years (his “lost years”, as he referred to them). In the midst of his relative anonymity, with an unsatisfying job and few peers with which to share his art, Kertész made some of his most complex, lonely, and hauntingly beautiful images. There is a deep irony in the bitter isolation that he experienced in New York, which he had previously romanticized in his images from Hungary and Paris. <BR>
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The beginning of Kertész’s rebirth was marked by his resignation from House and Garden in 1962. Then in 1963, he was miraculously reunited with his negatives, prints, and correspondence from pre-war Paris, which he had thought to be lost (they had in fact been buried in a bomb shelter for nearly 30 years). In 1964, John Szarkowski mounted a one-man show of Kertész’s work at the Museum of Modern Art; finally he began to find some of the recognition that he had so long sought in America. Although he found greater recognition through the latter years of his life, there remained a pronounced melancholia to his work, particularly in his images from the time leading up to Elizabeth’s death from lung cancer. Devastated by the loss his beloved wife, he found solace in photographing carefully constructed still life images, and relief in devoting his energy to his career.<BR>
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In the years following his death in 1985, André Kertész’s reputation as a master photographer has been constantly reinforced; his influence on the generations of photographers following him has been recognized. His iconic images from Paris have always been his best-known work. However, his New York images constitute a large body of work – proportionate to the almost fifty years that he spent there. The Estate of André Kertész has only recently released much of the work featured in our exhibition, at a point when retrospect will allow us to give this period its due attention. Indeed, the National Gallery in Washington is currently planning a large retrospective of Kertész’s work that will weight the amount of work by the three cities that he called home and the number of years that he spent photographing in each one: Budapest (13 years); Paris (11 years); and New York (49 years). We are honoured to participate in the introduction of this work, and to be recognized as an official agent for the Estate.<BR>
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“New York delivered blow after blow to André Kertész. However resentful he became of the hostile atmosphere, he accepted the challenge the city had to offer. It had questioned and rejected his character, his history, and his art. He had refused to bend his vision, and for many years remained isolated among millions. The crucible of Kertész’s New York experience forced him to draw upon his deepest resources. He persevered, reinforcing his identity, until New York finally came around to first accepting and then celebrating him.”<BR>
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Robert Gurbo, Curator, The Estate of André Kertész <BR>
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February 22 – March 22, 2003<BR>
Bertrand Carrière<BR>
Signes de jour<BR>
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Opening reception for the artist Saturday February 22, 2-5 PM<BR>
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The career of Bertrand Carrière has spanned over two decades, during which time his work has been consistently autobiographical, rooted in day-to-day life and starring his family and friends. His latest body of work is more ambiguous in its imagery, although ultimately no less self-reflective in its content. <BR>
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Weighted heavily in the themes of memory and mortality, Signes de jour draws on our tendency to interpret and intuit personal symbolism within photographs. The work emerged out of a time of personal turmoil for Bertrand, as he dealt with the inevitable death of a close family member, and the unexpected loss of several friends. Previously exposed rolls of film, which had been set aside so as to be discovered anew when processed, began to elicit eerie premonitions: the face of a woman under water foreshadowed the drowning of a friend. The landscape of rural Québec, fragmented by a treacherous ice storm, spoke of chaos and death. <BR>
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The resulting photographs hold us with a tension that is tangible. There are few horizon lines in the work, and none at all in its installation, which utilizes grids of gelatin silver prints. Often our visual entry into the images is blocked by earth, air, fire, or water. At the same time, we are drawn in by the format of the square image, in which we inherently search for a centre. Once secured, our gaze is continually diverted in different directions throughout the grid, breaking the traditional sequential reading that we so often follow. It is a dynamic narrative that encourages our participation and suggests, but never constructs, our interpretation.<BR>
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“Premonitions unheeded carry terrible, guilty freight. This is not the effect of Signes de jour, for despite its palpable sadness, there is no self-reproach, only a desire to elegize, to remember.”<BR>
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Martha Langford <BR>
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This will be our third solo exhibition of Bertrand’s work. Signes de jour is available at the gallery as a monograph, published by Les 400 coups in 2002.<BR>
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May 15, 03<br>
Exhibition
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May 10 – June 14, 2003 <BR>
Magnum <BR>
A Group Exhibition Celebrating 5 Decades<BR>
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Opening reception, Saturday, May 10, 2 – 5 PM<BR>
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“Chim, Bob and I never spoke about photography, about technique or about good and bad shots. We used to talk about life, about the world, which is far more interesting.”<BR>
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~ Henri Cartier-Bresson* <BR>
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It seems fitting that Henri Cartier-Bresson, in talking about two of its co-founders, is able to capture so articulately the spirit of Magnum. He is speaking of Robert Capa and David (Chim) Seymour, who, along with HCB, George Rodger, Maria Eisner, and William & Rita Vandivert, are responsible for what has become perhaps the most respected, and certainly the most renowned collective of photojournalists. Its inception in 1947 came at a time when photojournalists were suffering under the rigid rules of the publications that directed their work, and often left them with no copyrights to their images. The co-operative functions to protect and preserve the photographers’ rights, including the ownership of their own negatives. Perhaps of greater importance is the support that Magnum offers to its members to pursue their own self-driven long-term projects, independent of the influence of the media.<BR>
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The photo essay, as mastered by W. Eugene Smith (a one-time Magnum member himself), demands that the photographer immerse him- or herself in their subject, and often takes years to complete, if completion is even possible. This ethic precludes the idea that the news, especially as we understand it in the west, grows out of a vacuum, existing only when we care to notice it. Thus, Magnum photographers are not only found at the scene of current events, they have likely been photographing there for many years. They are active in all parts of the world, in areas of conflict and of peace, photographing the famous and the unknown, capturing defining moments of history and quiet moments of everyday life.<BR>
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We are proud to reinforce the spirit of Magnum with a group show that celebrates the photojournalist as a witness to change and as a visual chronicler of diversity in the 20th and 21st centuries. Our images include seminal moments of war (Robert Capa, Fallen Soldier, Spanish Civil War) and conflict (Larry Towell, Man Reading Paper, NYC, 09/11/01); civil unrest (Stuart Franklin, Tianamen Square, 1989); excerpts from essays that introduce us to the unusual suspects (Bruce Davidson, The Dwarf, 1959); to glimpses of small moments of beauty (Henri Cartier-Bresson, Boy with Wine Bottles, Paris). Our exhibition will also include images by Abbas, Eve Arnold, Werner Bischof, Rene Burri, Elliott Erwitt, Paul Fusco, Jim Goldberg, Burt Glinn, Steve McCurry, Susan Meiselas, Wayne Miller, Inge Morath, Martin Parr, Eugene Richards, Marc Riboud, George Rodger, Marilyn Silverstone, Dennis Stock, and Alex Webb.<BR>
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* Manchester, William; In Our Time: The World as Seen by Magnum Photographers; W. W. Norton & Company, Inc., New York, NY; © 1989; pg. 55
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Jun 19, 03<br>
Exhibition
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Ruth Kaplan <BR>
Bathers June 19 – July 26<BR>
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Opening reception for the artist Thursday, June 19, 5 - 8 PM.<BR>
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This body of work began in the late 1980's when Ruth Kaplan became intrigued with the steady tension between the communal setting and the private atmosphere of public pools. Taking her camera into a local YWCA, she experienced the effect that a photographer can have on such a situation, tipping the balance from intimacy to conspicuous discomfort. Most of the women fled the scene, leaving only her friends remaining to be photographed.<BR>
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Ruth was intrigued by this response, and determined to delve further into this corner of our collective psyche. She moved away from the self-conscious environment of the change room, towards the more naturalistic lifestyle of spas and nudist camps in California. There, the appearance of a naked woman with a medium-format camera was more easily accepted within a setting that is part therapeutic, part hedonistic, part exhibitionist. The resulting images evoke a sense of tranquillity and introspection, as well as the suggestion that we are witnessing a method of healing that reaches far beyond the treatments that they depict.<BR>
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The project was further transformed as Ruth began to explore the bath-houses and spas of Europe. Such places serve a different function from their North American counterparts, offering an old-world, physical kind of therapy versus the new-age inner healing more prevalent in her earlier work. Many of the spaces are very old, grandly theatrical venues, where often the treatments and tools of therapy depicted are strikingly discomfiting. A darker side to the work began to emerge, one not unnoticed by the daughter of a Holocaust-survivor, for whom the shower rooms of Germany and Poland could be seen as reminiscent of the gas chambers in which so many people perished. <BR>
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Despite such heavy cultural and emotional baggage, Ruth's images are never depressing or dehumanizing. The viewer may feel voyeuristic (or vaguely uncomfortable) as we witness moments of intimacy and physical/emotional nakedness. Yet we are not trespassing upon her subjects, but instead experiencing through them moments of true humanness - whether vulnerability, empowerment, pleasure, or pain - and perhaps re-affirming our own humanity in the process.<BR>
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This body of work is also the subject of an article in the Spring 2003 issue of the magazine Geist, with text by Robert Everett-Green.<BR>
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This exhibition is in participation with Water, a project co-ordinated by The Ontario Society of Artists, and consisting of shows at public and private galleries based around the theme of “Water”. The project has been generously sponsored by the Ontario Trillium Foundation and the Ontario Cultural Attractions Fund.<BR>
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Summer Review August 2 – August 31<BR>
Highlights from the Previous Year of Exhibitions<BR>
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Featuring selections from:<BR>
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~ Shelby Lee Adams Appalachia Today<BR>
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~ Laura Letinsky Venus Inferred<BR>
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~ George S. Zimbel <BR>
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~ Suture An Exhibition of “Medical Photographs”<BR>
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~ Bertrand Carrière Signes de Jour<BR>
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~ André Kertész New York State of Mind<BR>
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~ Magnum A Group Exhibition Celebrating 5 Decades<BR>
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~ Ruth Kaplan Bathers<BR>
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N.B. This exhibition will be our last presentation in the 700 Queen Street West location. In September we move into larger premises located at 1024 Queen Street West.<BR>
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Sept 30, 03<br>
Exhibition
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OPENING ON THURSDAY OCTOBER 16, 5-8 PM<BR>
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Queen Street A Final Celebration at 700 Queen Street West<BR>
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In celebration of the gallery’s upcoming move to a larger premises, located a few blocks west of our home for the past nine years, we are pleased to present a group exhibition celebrating the history and diversity of Queen Street. This exhibition will remind viewers of the historical significance that this neighbourhood has had in the life of Toronto; pay homage to the numerous landmarks, events, and personalities that have populated the area; and provide a context for the current resurgence of life to the Queen West community. <BR>
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Within the ongoing project of architectural facades by Volker Seding is a small body of prints that focuses specifically on the buildings of Queen Street. These facades have captured his eye and imagination, and have led him to document the faces of buildings old and new that invest this street with beauty and character.<BR>
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The photographer Ian MacEachern is a new artist to our gallery, and it is our pleasure to present his work for the first time in this exhibition. While working as a free-lance photographer, Ian was commissioned by Chatelaine Magazine in 1966 to illustrate the then-current state of facilities at the Queen Street Mental Health Hospital. The resulting portfolio is at times melancholy, but also extremely humanistic and moving in its portrayal of clients of the mental health system during that era.<BR>
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It is impossible to envision Queen Street as the fascinating and dynamic place that it is without the people who inhabit its shops, homes, and facilities. From patrons of the original Woodbine Racetrack, to shopkeepers and their customers, Lutz Dille captures this essence in his photographs from the 1950s and 1960s. Members of the Queen Street arts community during the late 1970s and early 1980s are represented in a selection of portraits courtesy of General Idea, and SX-70 Polaroids by George Whiteside.<BR>
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There will also be a salon display of vintage photographs of Queen Street that span the 20th Century, that were sourced from a variety of different collections including: The City of Toronto Archives; C.D. Woodley’s photographs from the 1940s; Albert Kish’s photographs from the 1960s; Boris Spremo’s images from the 1970s; as well as selections from the extensive projects of Patrick Cummins’ exteriors and Peter MacCallum’s interiors of Queen Street establishments, as well as a photograph by Jeremy Taylor taken of the north side of the Street between Euclid and Manning. We are especially grateful to include photographs from the personal collection of the Hawryluk brothers (Jules, Jean, James, and Ron) who, after their father, owned and operated Peacock’s Hardware at 1026 Queen Street West (which will be our new address come November) for almost fifty years. <BR>
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This exhibition will continue until we complete our move into 1026 Queen Street West.<BR>
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Oct 30, 03<br>
Exhibition
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Alison Rossiter November 8 – December 20, 2003<BR>
Light Horses<BR>
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Opening reception for the artist Saturday November 8, 2 – 5 PM<BR>
Inaugural Exhibition at our New Location (1026 Queen Street West)<BR>
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It is with great pleasure and excitement that we present to you two firsts: our first solo exhibition of work by Alison Rossiter as the inaugural show in our new gallery space. This body of work is a continuation of Alison’s exploration of photographs created without negatives, as seen in her book photograms. This process, first introduced in the late 1830s by William Henry Fox Talbot (who referred to the process as photogenic drawing), utilizes the placement of objects on light-sensitive film or paper that is then exposed to light. The resulting image is created by the transmission of the light through the objects, the tonalities of the print dictated by the translucence of those objects. In the early 20th century, the work of Man Ray popularized the photogram (he referred to his images as Rayographs), as did the work of Lázsló Moholy-Nagy from the 1930s onward.<BR>
Based in the tradition of the photogram, the Light Horses series takes the “camera-less photograph” one step further by stripping it down to its base components: light-sensitive paper and a light source. Alison creates her horses in the darkroom by drawing freehand with a flashlight onto gelatin silver paper (a process that she refers to as light drawing), creating a dark horse on a white background. More recently, she has experimented with solarization (also known as the Sabattier effect) to create dark horses on a dark background. <BR>
Alison chose her subject matter through personal interest and following well-established art traditions. Horses have fascinated and inspired artists from early cave drawings through to present day, and have been depicted in every medium imaginable. These representations, which she finds “endlessly heroic”, have served to inspire her images: from Edgar Degas’ sculptures to Eadweard Muybridge’s motion studies. An avid rider and horse-owner herself, Alison’s knowledge of horses’ bodies comes from years of hands-on experience, and she draws heavily upon this in the creation of her light drawings. The resulting horses seemingly threaten to break their 2-dimensional confines. Ranging in mood from scientific to whimsical, each horse bridles, gallops, and prances with grace and character.<BR>
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We are very excited about showing off our new gallery to you, located at 1026 Queen Street West, in the building formerly occupied by Peacock’s Hardware. We would like to extend special thanks to the architectural firm of HARIRI/PONTARINI who have beautifully transformed our space and to Richard Wilson and his dedicated team of WPMI Corp. for bringing those plans to reality, despite more than a fair share of “minor mechanical surprises”. Platitudes also go to our new landlords, for starting off our relationship in such a positive manner. In the case that there may be any further construction delays beyond our control, we ask that you check our website www.bulgergallery.com, or call the gallery to confirm the opening date.<BR>
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Jan 10, 04<br>
Exhibition
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CRIME SCENE OPENING JANUARY 10, 2004<BR>
A group exhibition Continues until February 21st.<BR>
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The latest installment of the gallery’s annual thematic exhibition takes you directly to the scene of the crime.<BR>
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From its inception, photography has played a controversial role as “the mirror with a memory”. The medium’s ability to capture, through a combination of light, lens and chemistry, elements of the real world onto photographic paper led to the simple conclusion that photographs tell the truth. Most photographers understand that the photographs they make are much too subjective to be anything but visual examples of things that they hold to be true. Nowhere is this distinction more confusing than in photography’s use as evidence.<BR>
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This exhibition looks at numerous crimes and how their scenes have been immortalized. From Weegee’s gunshot victim lying face down on the pavement to Mark Ruwedel’s abandoned test site of the nuclear bomb, the viewer sees the horrible made beautiful. The landscape of a crime scene is perhaps the most perplexing one to decipher. After the evidence is removed, does a trace of transgression remain? Two photographers actively remove details in a manner that hones in on the aura of these places: Robin Collyer digitally removes the signage from a suburban convenience store; Barbara Mensch uses lighting reminiscent of classic film noir and P. Elaine Sharpe removes all recognizable details through the use of selective focus (blur). Jack Burman presents a simply beautiful landscape, but the viewer is repulsed to learn of its location. Larry Towell’s image of New York’s ground zero remains fixed in our mind in a manner that no time seems to have passed since that day in September 2 ½ years ago. Finally, there is a selection of vintage mug shots of those who failed to escape the scene of their own crime.<BR>
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The gallery gratefully acknowledges the assistance of galleries Bonni Benrubi; Susan Hobbs; Lee. Ka-Sing and Clint Roenisch for loans of their artist’s work for this exhibition.<BR>
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Feb 28, 04<br>
Exhibition
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February 28 - April 3, 2004<BR>
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Volker Seding <BR>
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Born in Berlin in 1943, Volker Seding immigrated to Canada in 1966. Trained in cinematography and photography, he has put both of these talents to good use as a filmmaker, and, for the last 25 years, as a prolific photographer. His work has been exhibited widely across North America and can be found in numerous important institutions and private collections, including the Art Gallery of Ontario; Canadian Museum of Contemporary Photography; the Museum of Fine Arts, Houston; and the National Gallery of Canada.<BR>
His many different photographic projects are connected by a common aesthetic that is sculptural, precise, and always beautiful. In recent years, Seding has approached his subject matter from the vantage point of a witness. This is true whether we are viewing the incarcerated wild animals of The Zoo Portfolio, or sections of city blocks in the photographs of Mainstreets. His most recent series Facades presents the viewer with architectural facades from Toronto, New York, Paris, Venice, and Havana, amongst other locales. By drawing the viewer’s eye upward from our usual vantage point to the oft unnoticed second and third stories, Seding forces us to reconsider our typical visual complacency. <BR>
These buildings are imbued with personality. Each one is both a visual record of the history of the street and the city it inhabits, as well as a moment frozen in time. It is the tension between these two opposites – the motion of passing time and the stillness of a photograph – that makes Seding’s work so intriguing. Through his lens, the world around us seems shifted to a different plane of focus, where the features are recognizable, and yet they take on a different meaning than our naked eyes alone would grant us. <BR>
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Apr 10, 04<br>
Exhibition
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April 10 through May 22, 2004 <BR>
Sunil Gupta <BR>
HomeLands <BR>
Closing Reception with the artist on Saturday May 22, 2-5 PM <BR>
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Sunil Gupta was born in New Delhi in 1953, where he lived until his family moved to Montreal in the late 1960s. His education brought him to New York, where he studied art, and then London, where he received his MA, and where he still resides. He has, however, remained a Canadian citizen, particularly in his desire to explore the many facets that comprise his identity. <BR>
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Since the early 1980s, Gupta has continued to delve into projects that are self-referential by nature, but universal in their outcome. Beyond his diverse cultural influences, his work has dealt with a number of issues surrounding homosexuality, particularly the personal and social implications in both Eastern and Western societies. <BR>
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When he was diagnosed as HIV-positive in 1995, he chose not to allow his medical condition to become the single governing factor in his work, however it has gradually became an important informant. In Homelands, Gupta’s large-scale colour diptychs explore the connections between the diverse landscapes that he has an affinity with: Northern India, Eastern Canada, North Eastern USA, and England. He confronts these landscapes both as an artist who is HIV-positive, and as a man whose life in the west differs greatly from that he which he would have lived had he never left India. <BR>
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Perhaps the most stunning aspect of Gupta’s work is the comfortable fit between meaning and aesthetic. The political becomes the beautiful, and we enter his world as easily as entering an open door. <BR>
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A retrospective monograph of Sunil Gupta’s work, titled Pictures From Here, was published by Autograph / Chris Boot in 2003. His photographs and videos have been shown extensively throughout Europe and North America. <BR>
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We are pleased to announce that Sunil Gupta will be joining us for a closing reception at the gallery on Saturday May 22 from 2-5 PM. He will also be screening a video piece titled "A World Without Pity" in participation with the Inside Out Toronto Lesbian and Gay Film and Video Festival and Contact Toronto Photography Festival. He will also present a talk in association with SAVAC - The South Asian Visual Arts Collective. <BR>
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For more details, please contact the gallery or: <BR>
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SAVAC - The South Asian Visual Arts Collective at 416.542.1661 / www.savac.net <BR>
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Inside Out Toronto Lesbian and Gay Film and Video Festival at 416.977.6847 / www.insideout.ca<BR>
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Apr 22, 04<br>
Exhibition
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Opening Friday April 23, 6-10 pm <BR>
Continues Saturday 11-6 PM and Sunday 12-5 PM<BR>
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In participation with GO WEST<BR>
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Sean Sprague<BR>
"Left By The Arboretum"<BR>
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In participation with the Ontario College of Art and Design, we are pleased to present photographs by Sean Sprague. His thesis project Left By The Arboretum "explores the issues of history, memory, and community" through documenting the living spaces and lives of seniors living in a gated community for the elderly.<BR>
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GO WEST is a large multi-media exhibition featuring the very best OCAD thesis students in over 20 downtown galleries. The College and the art community have joined forces to highlight this year’s graduates. The exhibition will include solo and group shows in painting/drawing, sculpture/installation, photography, film/video, new media, printmaking, and design. <BR>
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Participating Galleries: OCAD Gallery, Bau-xi Gallery, Prime Gallery, Material Maters, Peter Richmond Gallery, WARC, Prefix, Leo Kamen Gallery, Gallery Moos, XeXe Gallery, Tatar Gallery, Comrags, Roseland Gallery, Art Company Inc., Shift Gallery, Japanese Paper Place, Artocracy, Palace Gallery, Gallery 61, AWOL, le., Clint Roenisch Gallery, Edward Day Gallery, Willow Grant Designers Showcase, Stephen Bulger Gallery, Kabat Wrobel Gallery, Deleon White Gallery, Spin, Engine Gallery, Sis Boom Bah, 64 Steps, Brackett Gallery, LOOP, Greener Pastures, Gallery 1313 <BR>
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May 18, 04<br>
Exhibition
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Sunil Gupta<BR>
Homelands<BR>
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Closing Reception with the artist at the gallery on Saturday May 22, 2-5 PM<BR>
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In association with South Asian Visual Arts Collective (SAVAC)<BR>
Please join us for a lecture with Sunil Gupta on Friday, May 21, 2004 at 7 PM at the Art Gallery of Ontario, 317 Dundas Street West<BR>
Advance tickets only, available at SAVAC (401 Richmond St. West, Suite 450, 416-542-1661, info@savac.net)<BR>
or at the gallery.<BR>
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In association with the Inside Out Film & Video Festival<BR>
Film Screening of “(A World Without) Pity” by Sunil Gupta on Sunday May 23 at the Cumberland 2 Cinema, 159 Cumberland Ave., at 3 PM<BR>
For further information, please contact Inside Out Festival (416-977-6847, www.insideout.ca, inside@insideout.ca)<BR>
or the gallery.<BR>
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May 29, 04<br>
Exhibition
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Ian MacEachern Photographs 1965 - 1972 <BR>
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May 29 through July 10, 2004 <BR>
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Opening Reception with the artist on Saturday May 29, 2-5 PM <BR>
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We are very pleased to present our first solo exhibition of photographs by Ian MacEachern.<BR>
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Ian MacEachern was born in Glace Bay, Nova Scotia, in 1942. He began his career as a cameraman in Sydney, N.S. While working in Saint John, N.B., he found himself devoting much of his spare time to still photography. Prompted by the many fires and impending urban renewal, he turned his camera toward documenting the changing face of Saint John in the mid 1960s.<BR>
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After moving to Toronto in 1966, he worked as a freelance photojournalist for various magazines and as a studio cameraman for CBC Toronto, until he moved to London, Ontario, in 1968. From there he continued to freelance in photography as a magazine and industrial photojournalist. <BR>
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Our exhibition will include images from the East Coast and Ontario, with a strong focus on the environmental portraits that take precedent in his work. In addition, we will be exhibiting images from his Asylum series, which was commissioned by Chatelaine Magazine in 1966 to illustrate the then-current state of facilities at the Queen Street Mental Health Hospital. The resulting portfolio is at times melancholy, but also extremely humanistic and moving in its portrayal of clients of the mental health system during that era.<BR>
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Ian is a social documentarian in the truest sense of the term. Although his images inform us about a specific place and time, they ultimately transcend those constraints, convincing us that we are seeing everyman and everyplace. A grander theme appears to emerge, one that encompasses the isolation, joy, irony, and melancholy of day-to-day life. <BR>
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Ian MacEachern’s photographs have been published in artscanada, Canadian Magazine, Chatelaine, London Magazine, Maclean’s, Ontario Living, Quest, Saturday Night, Shell News, The Star Weekly Magazine, Site Sound, and Time Canada. Over the past four decades, he has had solo exhibitions across Canada and the United States and has participated in numerous group exhibitions.<BR>
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Jul 17, 04<br>
Exhibition
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> A Group Exhibition, "Summer Review" <BR>
July 17 through August 28, 2004<BR>
<BR>
Featuring highlights from this year's exhibitions, including images from:<BR>
<BR>
<BR>
~Queen Street<BR>
A Group Exhibition<BR>
<BR>
~Alison Rossiter<BR>
Light Horses<BR>
<BR>
~Crime Scene<BR>
A Group Exhibition<BR>
<BR>
~Volker Seding <BR>
Facades<BR>
<BR>
~Sunil Gupta <BR>
Homelands<BR>
<BR>
~Ian MacEachern Photographs <BR>
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Aug 28, 04<br>
Exhibition
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Phil Bergerson Shards of America<BR>
September 11 – October 30, 2004<BR>
Opening reception and book launch with the artist <BR>
Saturday, September 11, from 2 – 5 PM<BR>
<BR>
In conjunction with the launch of his book Shards of America, published in New York by Quantuck Lane Press, and distributed by Penguin, we are pleased to present our fourth exhibition of photographs by Phil Bergerson. <BR>
<BR>
In his most recent body of work, an on-going project spanning the last ten years, Bergerson has packed his camera and traveled extensively through southern Ontario and across the United States, visiting cities both small and large. The resulting photographs capture the cultural detritus of everyday life, and the pastiche of remnants left over from generations past. <BR>
<BR>
This territory has been explored by numerous photographers, but rarely with such unabashed joy as Bergerson injects into his images. His viewpoint is never condescending, but instead captures the beauty of these ‘organic’ installations, small moments that have been created through a mixture of human intent, nature’s intervention, and time, and realized through Bergerson’s lens. Whether humorous or poignant, the photographs are consistently moving and entirely unforgettable.<BR>
<BR>
Phil Bergerson has been a professor at the School of Image Arts, Ryerson University, since 1972. His images are included in the collections of major institutions such as the National Gallery of Canada, and the Bibliothéque Nationale, Paris, and have been shown in public and private galleries across Canada, in Europe, the United States, and Hong Kong. Selected images from Shards of America will be the subject of a solo exhibition at the Canadian Museum of Contemporary Photography, Ottawa, running from September 9, 2004 to January 2, 2005. His work has been reproduced in The New Yorker, The New York Times Magazine, and Toronto Life, amongst other publications. <BR>
<BR>
Lectures on Shards of America:<BR>
October 7, 2004 The National Gallery of Canada, Ottawa. National Gallery Lecture Hall: Thursday, 6:00 – 8:00pm.<BR>
October 15, 2004 Kodak International Lecture Series, Ryerson University, Toronto. Jorgenson Hall L72: Friday, 7:30pm.<BR>
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Nov 5, 04<br>
Press Release
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<BR>
Double Exposure<BR>
<BR>
Tuesday, November 16, 2004; 7:00pm at The Eglinton Grand<BR>
<BR>
A Live Photography Auction to Raise Funds for <BR>
Houselink Community Homes<BR>
<BR>
What: Co-chairs Stephen Bulger, of the Stephen Bulger Gallery, and Carole Tanenbaum have curated a live photography auction, which features 20 works by renowned local and international artists. The evening will also include a silent auction, a fine wine auction, cash bar and funky finger foods. City TV’s Gord Martineau will host, and Aly Boltman, formerly of Ritchie’s Auctioneers Inc., will conduct the live auction. <BR>
<BR>
DX Discoveries is a new addition for 2004. Five emerging local Canadian photographers, selected by Jennifer Long and Stephen Bulger, will be profiling and selling selected works at the event. The goal is to highlight the diversity of vision and talent within Toronto’s growing photography community and provide artists with a forum to broaden their sphere of influence.<BR>
<BR>
A preview of the DX Discoveries and auction photography will take place from November 9 – 13, 2004 at The Stephen Bulger Gallery, 1026 Queen Street West, 416.504.0575.<BR>
<BR>
When: Double Exposure 2004 will take place on Tuesday, November 16, 2004 at 7:00pm.<BR>
<BR>
Where: This year’s event will be held at the newly refurbished and much-anticipated Eglinton Grand in mid-town Toronto (400 Eglinton Avenue West; 416.485.5900)<BR>
<BR>
Who: Leaders of Toronto’s philanthropic, business and artistic communities come together to celebrate the essence of art – its power of expression and its ability to move people. Contributors and sponsors for Double Exposure 2004 include PriceWaterhouseCoopers, Raptors Foundation, Holt Renfrew, Royal de Versailles, Equitable Trust, Paul Slavens Real Estate, Royal Bank of Canada and many more.<BR>
<BR>
Why: To raise much-needed funds for Houselink Community Homes. Houselink provides affordable housing and life enhancement programs to individuals in Toronto marginalized by poverty and mental illness. The event has raised more than $300,000 in the last three years. <BR>
<BR>
The Organization – Houselink Community Homes:<BR>
Founded in 1976, Houselink Community Homes is one of Ontario’s largest providers of supportive housing for people with mental illness and those living in poverty. The organization’s mission is to improve the quality of life of psychiatric survivors, homeless people and others who have been marginalized in our community through the provision of permanent, affordable, supportive housing. Houselink owns and operates 21 properties in Toronto and offers support to people in nine others. By providing stable, affordable housing and the necessary support, Houselink plays a consistent key role in preventing homelessness.<BR>
<BR>
Tickets:<BR>
$40 -- available through Houselink (416.539.0690 x.310) or at the door the evening of the event.<BR>
For more information, please visit www.double-exposure.ca<BR>
<BR>
For more information, please contact:<BR>
Bari Axmith<BR>
Bax Effective Communication<BR>
416.925.9274<BR>
bari@baxec.com<BR>
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Nov 6, 04<br>
Exhibition
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The Stephen Bulger Gallery is proud to present a new exhibition by Laura Letinsky: <BR>
<BR>
Hardly More Than Ever <BR>
November 6 – December 18, 2004 <BR>
<BR>
Opening reception with the artist <BR>
Saturday, November 6, from 2 – 5 PM <BR>
<BR>
If one considers Venus Inferred, Laura Letinsky’s first exhibition at the gallery, to represent the night before, then Hardly More Than Ever is most certainly the morning after. Our second solo exhibition of Letinsky’s work is as closely linked to her earlier project as it is influenced by the Dutch-Flemish and Italian still-life paintings that it resembles. Where once we witnessed couples in the act of being in love, we now witness the symbolic aftermath of those relationships: empty tables, decomposing fruit, desiccated scraps, and discarded utensils. <BR>
<BR>
The lack of people leaves a palpable emptiness and melancholy amongst the detritus. What fills this space is the richness of the still-life subjects themselves. Even those objects, over-ripe and moldering in their decay, which would in life repel us, are compelling, particularly as they are realized in Letinsky’s large-scale colour photographs. The details – dirty dishes, rumpled tablecloths, a scattering of crumbs following the line of a vanished dish – take on an emotive quality that underlines the conundrum of consumption, where physical fulfillment does not always equate to emotional fulfillment. These lush momento mori constructions are reminders of both the potential bounty of pleasure, and its fleeting nature. <BR>
<BR>
Born in Winnipeg in 1962, Laura Letinsky holds a B.F.A. from the University of Manitoba and an MFA from Yale University. She is an Associate Professor at the University of Chicago, where she has taught since 1994. Her photographs have been shown at institutions including the Canadian Museum of Contemporary Photography, Ottawa and The Museum of Modern Art, New York. Her work is in public collections including the Art Institute of Chicago; Museum of Contemporary Art, Chicago; Museum of Fine Arts, Houston; and San Francisco Museum of Modern Art. Laura’s work is the subject of two monographs: Hardly More Than Ever, The Renaissance Society, 2004; and Venus Inferred, University of Chicago Press, 2000. She has been the recipient of grants and awards from numerous foundations, including the Illinois Arts Council, the John Simon Guggenheim Memorial Fellowship, and the Canada Arts Council, amongst others. <BR>
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Nov 30, 04<br>
Press Release
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On Thursday, December 9th, 2004, please join us for a special evening of Magnum related events:<BR>
<BR>
5: 30 PM: Magnum Stories book launch<BR>
at Stephen Bulger Gallery, 1026 Queen Street West<BR>
<BR>
Featuring the work of 61 Magnum photographers, Magnum Stories is a collection of photo stories, covering such genres as war photography, documentary, photojournalism, social realism, portraits of people and places, fashion and news. Each photographer is represented across 8 pages by a photo story of their choice, which is fully illustrated, and a text which is written in the photographer’s own voice, based on new interviews with the author. <BR>
<BR>
We are pleased to offer Magnum Stories at a special price of $90.00 CDN, taxes included, for this one night only. Magnum photographer Larry Towell will be in attendance to sign copies of this book.<BR>
<BR>
7:00 PM: The Selected Works of Larry Towell<BR>
at Camera, 1028 Queen Street West<BR>
<BR>
Canada's foremost photojournalist and member of Magnum will present a free one-and-a-half hour performance that includes slides from conflict zones in Central America and Palestine, the World Trade Center attack and anti-globalization protests as well as work from his Mennonite and home series. He will be drawing from a soon-to-be released double CD, The Dark Years: Chronicles of War (2005) and The World From My Front Porch, original folk music collection (2006).<BR>
<BR>
9:00 PM Screening of Robert Capa: In Love and War<BR>
at Camera, 1028 Queen Street West<BR>
<BR>
(Anne Makepeace, USA, 2003)<BR>
This documentary traces the remarkable life and untimely early death of one of the world’s best-known photojournalists. <BR>
This movie is presented in conjunction with Camera’s week of free screenings.<BR>
<BR>
A few words about Magnum:<BR>
<BR>
The Magnum Photo Agency was founded Henri Cartier-Bresson, Robert Capa, David (Chim) Seymour, George Rodger, Maria Eisner, and William & Rita Vandivert, in 1947. Since its inception, it has become perhaps the most respected, and certainly the most renowned collective of photojournalists in the world. Magnum was established at a time when photojournalists were suffering under the rigid rules of the publications that directed their work, and often left them with no copyright to their images. The co-operative functions to protect and preserve the photographers’ rights, including the ownership of their own negatives. Perhaps of greater importance is the support that Magnum offers to its members to pursue their own self-driven long-term projects, independent of the influence of the media.<BR>
<BR>
CAMERA<BR>
invites you to a week of free screenings with special guests nightly<BR>
<BR>
Friday December 3 Closed<BR>
Sat. December 4 <BR>
7pm & 9pm – CITADEL, a reality show by Atom Egoyan. Followed by a discussion with Atom Egoyan<BR>
<BR>
Sun. December 5 <BR>
7pm – I SHOUT LOVE, THE BEST DAY OF MY LIFE and DON’T THINK TWICE by Sarah Polley. <BR>
<BR>
Followed by GIRL CLEANS SINK by Sook Yin Lee. <BR>
<BR>
9pm – I, CLAUDIA (2004, 75 min.) by Kristen Thomson and Chris Abrahams, introduced by Kristen Thomson<BR>
<BR>
Mon. December 6 <BR>
7pm – PORTRAIT OF ARSHILE and CALENDAR by Atom Egoyan. Introduced by Atom Egoyan and Arshile Egoyan.<BR>
<BR>
9pm – THE CLINTON SHOW by Michael Ondaatje, introduced by Michael Ondaatje<BR>
<BR>
Tuesday December 7 <BR>
7pm – NFB Award Winning Shorts, including RYAN by Chris Landreth and STONE OF FOLLEY by Jesse Rosensweet, with special guests.<BR>
<BR>
9pm – MY ARCHITECT: A SON’S JOURNEY by Nathaniel Kahn<BR>
<BR>
Wed. December 8th <BR>
7pm – Short film series: PRELUDES including CAMERA by David Cronenberg, THE HEART OF THE WORLD by Guy Maddin, A WORD FROM THE MANAGEMENT by Don McKellar and PRELUDE by Michael Snow. Followed by SOUL CAGES introduced by filmmaker Phillip Barker<BR>
<BR>
9pm – LUCK by Peter Wellington. Screening and DVD Release Party with Peter Wellington and special guest.<BR>
<BR>
Thursday December 9th <BR>
MAGNUM STORIES – Book launch with Stephen Bulger Gallery of new PHAIDON PRESS title7pm – Guest appearance and live performance with Larry Towell<BR>
<BR>
9pm – ROBERT CAPA IN LOVE AND WAR by Anne Makepeace. <BR>
<BR>
Please check our website for updates on special guests and filmmaker talks at www.camerabar.ca<BR>
<BR>
Toronto’s Premiere Bar/Lounge/Cinema 1028 Queen Street West, Toronto 416.530.0011<BR>
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Dec 3, 04<br>
Press Release
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<BR>
Houselink’s Double Exposure raises $130,000 on totals of $150,000! <BR>
<BR>
The Committee for the 4th annual Double Exposure benefit for Houselink Community Homes is grateful to all of its 2004 supporters. <BR>
<BR>
We are very happy with the results of the live auction, a catalogue of which can be still be viewed at www.double-exposure.ca . Individual lots sold for as much as 600% of their value! The total estimates of the 18 items equaled $25,600.00 but were able to hammer for a total of $38,775.00. We would again like to thank the artists and the other donors for their participation. We are especially indebted to Aly Boltman, of authantique, our wonderful auctioneer whose enthusiasm and know-how successfully made the most of this event. We are also grateful to the 5 artists selected by Jennifer Long for the first DX DISCOVERIES: Kotama Bouabane; Robyn Cumming; Virginia Mak; Clint McLean; Elise Rasmussen; their generosity of donating an edition of their work that we will continue to sell for HouseLink (individual, framed photographs for $350.00 / $900 for a boxed set of 5, unframed). The remaining sets are available for sale at HouseLink’s office; at Stephen Bulger Gallery; or through Pende Fine Arts. <BR>
<BR>
The Committee looks forward to next year’s event with continued good success for Houselink Community Homes. <BR>
<BR>
<BR>
<BR>
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Jan 7, 05<br>
Exhibition
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Bibliotheca A Group Exhibition<BR>
January 8 through February 19, 2005<BR>
<BR>
Opening reception on Saturday, January 8th, from 2 – 5 PM<BR>
<BR>
Our annual thematic group exhibition explores the relationship between photography, books and reading, featuring Canadian and international artists. <BR>
<BR>
In a project that has spanned many years, Candida Höfer (b. Eberswalde, Germany, 1944) has focused on public spaces, including libraries, museums, schools, banks and offices. Her images straddle the line between architectural studies and straight typographies, resulting in photographs that capture both the beauty of the space, as well as the presence of humanity despite the absence of people. In her photograph of Teylers Museum in Haarlem, the viewer hovers above an 18th century library (built in 1784, it is the oldest part of this institution), and can reflect upon the reverence with which we have historically viewed books.<BR>
<BR>
For over ten years, Abelardo Morell (b. Cuba, 1948) has been photographing books. The resulting black and white prints highlight the aesthetic qualities of size, shape, and texture, and explore how these are changed by the elements and time. His images also belie a fascination for the content inside of the books, giving the viewer glimpses of text and imagery that pique our imagination to what may lay unrevealed. This work was published in the monograph A Book of Books in 2002 by Bulfinch Press.<BR>
<BR>
The work of Victor Schrager (b. Bethesda, Maryland, 1950) also explores books’ physicality through colour photographs of books which lack titles or identifying information on their covers. Lacking such distinguishing features, they become abstracted into geometric formations of colour, light, and shadows, in essence transforming what is highly intellectual into something purely aesthetic.<BR>
<BR>
In her series “The Stacks” Alison Rossiter (b. Jackson, Mississippi, 1953) provides another view of the book-object. By laying each book open on a sheet of gelatin silver paper, and exposing the paper to the light of an enlarger, she creates unique photograms. Each book, though devoid of defining characteristics, nonetheless possesses great character, while the fanning pages suggest that reading is, in fact, an active pursuit.<BR>
<BR>
While other photographers have focused on the three-dimensional object-quality of books, Sanaz Mazinani (b. Tehran, Iran, 1978) has flattened the books in her series “Book Case”. By realizing her images of book covers as large colour prints, she emphasizes the beauty of books from different eras, while emphasizing the mystique behind their contents.<BR>
<BR>
<BR>
The great documentary photographer André Kertész (b. Budapest, Hungary, 1894-1985) was so interested in people reading that he published an entire book of photographs about the subject. (On Reading, Grossman Publishers, 1971) Our exhibition will feature a photograph from his rooftop series that beautifully captures the intimate relationship between a reader and his book.<BR>
<BR>
Photographer, educator, and book-maker Peter Sramek (b. Toronto, 1951) has been creating photography-based books for over 20 years. At times using his own photographs, as well as found imagery, and utilizing different binding techniques, he creates books of great beauty, imbued with emotion, humor, and wit. A selection of these books will be on display in vitrines.<BR>
<BR>
<BR>
Mark Ruwedel Westward <BR>
February 26 through April 2, 2005<BR>
Our third exhibition by this acclaimed photographer will showcase images from his ongoing projects, which look at the impact of technologies and culture on the land. <BR>
<BR>
Magna Brava A Group Exhibition <BR>
April 9 through May 7, 2005<BR>
This group exhibition will celebrate the contribution of women photographers to the venerable Magnum photo agency. Featuring images from specific projects by photographers such as Susan Meiselas; Eve Arnold; Lise Sarfati; and Inge Morath, amongst others, our show will aim to provide the unique perspective of women working as photojournalists, and will encompass the years since Magnum was established in 1947 to the present day.<BR>
<BR>
Larry Towell No Man’s Land <BR>
May 14 through June 25, 2005<BR>
<BR>
Larry Towell was the recipient of the inaugural Henri Cartier-Bresson award for this series, which documents the ongoing land struggles between Palestinians and Israelis.<BR>
<BR>
André Kertész<BR>
June 30 through August 27, 2005<BR>
<BR>
Jim Goldberg<BR>
September 10 through October 29, 2005<BR>
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Jan 15, 05<br>
Press Release
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We are pleased to announce that for the fourth straight year we are participating in The Wedding Show! We will be sharing a booth with the Edward Day Gallery in order to highlight our art registry services. <BR>
<BR>
Toronto's most elegant bridal show at The Royal Ontario Museum 100 Queens Park(at Avenue Rd and Bloor)<BR>
<BR>
Friday January 21st 4:30-9:30<BR>
<BR>
Saturday January 22nd 10:00-6:00<BR>
<BR>
Sunday January 23rd 10:00-5:00<BR>
<BR>
Join us for a special evening with DARCY MILLER, the Editor of Martha Stewart Weddings, on Friday, January 21st.<BR>
Please vist www.theweddingco.com<BR>
<BR>
Please pass this information along to anyone you know who is in the process of planning their wedding, or is looking to source the industry leaders for event planning. <BR>
<BR>
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Feb 1, 05<br>
Press Release
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Instruments of Faith – Toronto’s First Synagogues<BR>
Photographs by Robert Burley<BR>
<BR>
The Eric Arthur Gallery Faculty of Architecture, Landscape, and Design University of Toronto 230 College Street<BR>
<BR>
February 3 – May 21, 2005<BR>
Opening Reception: Thursday February 3, 6-8PM<BR>
<BR>
This exhibition by photographer Robert Burley explores six downtown Toronto synagogues that were established in the early part of the 20th century and remain active today. Four of the six are in the Kensington Market area and surrounding neighborhood; the other two are at the east and west ends of the city in the Beaches and Junction respectively. Constructed by immigrant communities in uncertain social/political times, these modest buildings played an important role in Toronto’s development as a major urban centre, by creating a focus for a Jewish community that grew exponentially in the first part of the twentieth century. <BR>
<BR>
Burley was drawn to this project by the beauty of these buildings and their connection to the City’s history, as well as a curiosity about why so few of them are left. Of some 30 active synagogues that were established in downtown Toronto by 1930, only the six in the exhibition remain today. Built using the limited financial resources raised by the newly formed communities, many of these structures borrowed heavily from the architectural styles of synagogues in the towns & cities in Eastern Europe; some consequently bear the names of the cities in question. The sanctuaries are intimate one-room designs steeped in the history of the communities which created them. Memories of founders and members are incorporated into furniture, light fixtures, wall tablets and built-ins. As well, there is a wonderful play of incandescent light in these rooms that focuses attention on the ark, the Torah and the areas of the sanctuary dedicated to the use of the Torah in weekly services. Like the buildings themselves, the sanctuaries are confined by the limited footprint of the structure, which accentuates height over elbow room – encouraging the congregations to crowd together for services. These buildings are distinctly urban in character; their exteriors, which share limited space with the adjacent businesses and residences, embrace the street. The resulting spaces, created as “instruments of faith” to encourage spiritual life and community bonds, have a uniquely timeless quality.<BR>
<BR>
Robert Burley, who teaches at the School of Image Arts, Ryerson University, has been photographing the built environment for over twenty years. His work has been collected by museums around the world, including the National Gallery of Canada, the Musee d’art Contemporaine, the Musee de L’Eysee and the Canadian Centre for Architecture. His work has also been published extensively in books and periodicals, among them: Viewing Olmsted: Photographs by Robert Burley, Lee Friedlander and Geoffrey James, and Viewpoints: 100 Years of Architecture in Ontario.<BR>
<BR>
For more information contact: <BR>
<BR>
Anna Lightfoot, Communications Officer <BR>
Faculty of Architecture, Landscape, and Design<BR>
University of Toronto<BR>
Phone (416) 978- 2253<BR>
E-mail: anna.lightfoot@utoronto.ca<BR>
<BR>
<BR>
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Feb 25, 05<br>
Exhibition
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Mark Ruwedel Westward<BR>
February 26 through April 2, 2005<BR>
<BR>
Opening reception with the artist on Saturday, February 26, from 2 – 5 PM<BR>
<BR>
Our third exhibition by Mark Ruwedel will showcase images from his ongoing project (begun in 1994) titled “Westward the Course of Empire”. The centerpiece of Westward is an inventory of the landforms created by the large numbers of railroads built in both the American and Canadian west. The cuts, fills, and grades shown in the photographs speak of the triumph of technology over what was often perceived of as hostile terrain, and the relentless struggle to create wealth and power from the land. The western railroads also developed in tandem with a specific photographic practice, the tradition of precise topographical observation that the photographs in Westward allude to. In addition to the railroads, the Westward archive includes images of uranium claims and mine entrances, bomb craters at abandoned army fields, “beehive” furnaces found at old saw mills, and derelict salt works on dry lake beds, selected from The Ice Age project.<BR>
Mark Ruwedel was born in Bethlehem, Pennsylvania in 1954. He received an MFA from Concordia University, Montreal, and was an Associate Professor there from 1984-2001. His work can be found in the collections of the J. Paul Getty Museum, Los Angeles, CA; Princeton University Art Museum, Princeton, NJ; Metropolitan Museum of Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; National Gallery of Canada, Ottawa, ON; FNAC Collection, France; National Gallery of Australia; and the Vancouver Art Gallery, Vancouver, BC. He is currently an Assistant Professor at California State University, Long Beach.<BR>
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Apr 9, 05<br>
Exhibition
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Magna Brava <BR>
April 9 through May 7, 2005<BR>
<BR>
Opening reception Saturday April 9, 2-5 PM<BR>
<BR>
We are pleased to present our second group exhibition featuring work by members of the venerable Magnum Photo Agency. Magna Brava will celebrate the contribution of women photographers to the most respected photojournalist collective in the world, which has always been a male-dominated group in a traditionally male-dominated industry. <BR>
Female photographers have consistently provided a different perspective to that which is most commonly seen in the realm of photojournalism. Our exhibition will consist of photographs by: Eve Arnold (American, b. 1913), whose presence on the film set of The Misfits in Nevada in 1955 culminated in some of the most memorable photographs ever taken of Marilyn Monroe; Martine Franck (American/British), who throughout her career has trained her lens on people from different backgrounds and cultures always to create environmental portraits that reveal the sitter’s humanity; Maya Goded (born Mexico City, Mexico, 1970), who has focused much of her work on subjects relating to women and gender issues; Susan Meiselas (American, b. 1948), whose project Carnival Strippers (1972-1975) documented the daily lives of young strippers in small-town carnivals in the Eastern USA; Inge Morath (b. Graz, Austria; 1923-2002), whose portraits of famous women will grace our walls; and Lise Sarfati (French, b. 1958), whose images will be drawn from a recent body of work; and Marilyn Silverstone (American, b. London; 1929-1999), whose fascination with eastern culture led her to spend the latter 40 years of her life in India and Nepal, which she documented with an insider’s eye. <BR>
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