November 1 – November 29, 2008
Opening Reception: Saturday, November 8, 2-5pm

Artist Talk in CAMERA: Saturday, November 8, 1pm (please RSVP, seating limited)

The gallery is pleased to present the first Canadian solo exhibition by American photographer Peter Brown.

Peter Brown (b. 1948, Northampton, Massachusetts), who studied art and literature at Stanford University, is an award winning photographer who has been dedicated to documenting the Western American landscape for the last twenty-five years.

Brown's large format photographs pay homage to the people, land, and small towns of the Western Plains. The evidence that these images present describes the power struggle between nature and the people who occupy these lands. The deserted homes, boarded up shops and the endless possibility of open space is a testament of the hardships that the area's inhabitants have endured. The series, "West of Last Chance", is also the subject of a book in collaboration with American novelist Kent Haruf, published by W.W. Norton in 2008. Kent Haruf writes, "You have to know how to look at this country. You have to slow down. It isn't pretty, but it's beautiful." Despite the initial appearance of unadorned images that present economic hardship, population loss, and environmental degradation, Brown's precise composition captures the essence of the Western Plains and the culture of the people who inhabit it.

Brown's photographs can be found in the collections of the Menil Collection, Houston, TX; the Museum of Modern Art, New York, NY; the San Francisco Museum of Modern Art, San Francisco, CA; the Los Angles County Museum of Art, Los Angeles, CA; the J. Paul Getty Museum, Los Angeles, CA; the Amon Carter Museum, Fort Worth, TX; among many others. He is also the recipient of many awards, including: the Dorothea Lange – Paul Taylor Prize; the Alfred Eisenstaedt Award from Columbia University and LIFE magazine; an Imogen Cunningham Award; the Photographer/Educator of the Year Award from the Houston Center for Photography; the Rice University Glasscock School Teaching Prize; and the Fred Whitehead Prize, with Molly Renda, from the Texas Institute of Letters for his book On the Plains (W.W. Norton, 1999). Additionally, in recognition of his work in the Houston community, Mayor Bill White proclaimed November 3^rd, 2007 "Peter Brown Day".

The Stephen Bulger Gallery would like to congratulate gallery artist Benoit Aquin, Winner Prix Pictet 2008.

The Prix Pictet is a major new global prize in photography that focuses on perhaps the greatest single issue of the twenty-first century: sustainability. The award is sponsored by Pictet & Cie, in association with the Financial Times.
With a single annual prize of CHF 100,000, the Prix Pictet will reward photographers and the images they use to tell stories of urgent global significance. Each year the Prix Pictet will focus on a distinct sustainability theme.

Etymology: Middle English, from Old English huntian; akin to Old English hentan to seize
Date: before 12th century

transitive verb: 1 a: to pursue for food or in sport b: to manage in the search for game
2 a: to pursue with intent to capture b: to search out

Never before has the human race been as conscious of the distance to our origins as hunters-gatherers. As society reflects upon the need for radical change in the way we inhabit the Earth there is a growing interest in closing this gap, especially in the way we feed ourselves. Whereas 20 years ago this social consciousness was firmly rooted in the camps of herbivores, more recently the desire to affect change is of equal interest to carnivores.

This exhibition includes various 19^th and 20^th Century ruminations on 'hunting'. William Notman's studio was famous for photographically illustrating Canadian life to the world at large, so we include several examples from his "Moose Hunting" series, which are among his best-known staged studio sessions. Richard Harrington's work in the late 1940s and 1950s provides a glimpse at traditional hunting methods before society was altered drastically by Western life. Les Krims' work "The Deerslayers" was a landmark publication that laid bare the dark side of this American ritual in the 1970s. Vid Ingelevics' series "Platforms" documents raised hunting blinds that, to the casual observer, appear as earnestly made tree houses that dot the Ontario landscape. Terence Koh is best known for his work exalting the gay gaze and serves as a counterpoint to Benoit Aquin's work that venerates modern day hunting. Lastly, the work of Tina Clark cleverly re-presents benign table scraps as heroic trophies.

“Vintage Hollywood” features Willoughby’s intimate portraits of stars and directors which capture the dramatic moments of Hollywood cinema both on and off the screen. This exhibition will include some of his famous work from the sets of The Graduate, Rosemary’s Baby, Who's Afraid of Virginia Woolf?, They Shoot Horses Don't They?, and My Fair Lady. Also included are portraits of Frank Sinatra, Humphrey Bogart, Elizabeth Taylor, James Dean, Marilyn Monroe and Audrey Hepburn, which were originally shot for prominent magazine publications of the time.

In 2004, Willoughby received the Lucie Award for Outstanding Achievement in Still Photography for Motion Pictures. Popular Photography called him "the man who virtually invented the photojournalistic motion picture still". His work is included in many permanent collections, including: The Metropolitan Museum of Art, NY; The National Portrait Gallery, Washington, D.C.; The National Portrait Gallery, London, UK; The National Media Museum, Bradford, UK; The Bibliothèque Nationale de France, Paris; Musée de la Photographie, Charleroi, Belgium; The Academy of Motion Picture Arts & Sciences, Beverly Hills, CA.; The Museum of Modern Art, NY; The Tate Gallery Collection, London, and The Musée de la Photographie et de l'Image, Nice, France.

The gallery's first exhibition as representative for the Estate of Robert Giard (American, 1939-2002) will feature a key selection of vintage works from three genres. Giard's photographic career is best known for his broad survey of contemporary American gay and lesbian literary figures over the course of two decades. Giard came relatively late to the practice of photography. He received a B.A. in English literature from Yale and a M.A. in Comparative Literature from Boston University. For a time, he taught intermediate grades at the New Lincoln School in New York City. By 1972, entirely self-taught, he began to photograph, concentrating on landscapes of the South Fork of Long Island, portraits of friends, many of them artists and writers in the region, and the nude figure.

Giard's earliest landscape work eschewed a romantic view, choosing to photograph during the late autumn, winter, and early spring when many of the fashionable houses of "The Hamptons" were boarded up for the season. With the region largely depopulated, the surrounding grounds assumed for him "a mysterious, even somewhat sinister air." Among many notable images are twenty-four photographs made at The Creeks, the estate of artist Alfonso Ossorio.

All of Giard's work was made with similar intent. His studies of the male and female nude are less a classical and idealizing rendering of form than they are a description of a specific person. Giard saw this as subsuming "the nude under the heading of the portrait. Rather than being examples of 'the Nude,' they are pictures of people who are naked."

Ultimately, it would be in the area of the portrait that Giard's career made its most indelible mark. In 1985, after seeing a performance of Larry Kramer's The Normal Heart, which dealt with the crisis of AIDS in the gay community, Giard was moved by a sense of urgency. He decided that he would put his talents as a photographer to use for the gay and lesbian community "by recording something of note about our experience, our history, and our culture." Synthesizing his life-long interest in literature and his interest and involvement in gay issues, Giard set about documenting in straightforward, unadorned, yet sometimes witty and playful portraits, a wide survey of significant literary figures, and brash new writers on the scene.

A selection of these portraits, culled from the five hundred examples he had amassed, was published by MIT Press in 1997 as the anthology Particular Voices: Portraits of Gay and Lesbian Writers, and served as the companion volume to the New York Public Library's 1998 exhibition of the same title. Broadly documenting the flowering of gay and lesbian academic writing, fiction, poetry, and playwrighting, his collection of portraits included such iconic figures as Edward Albee, Allen Ginsberg and Adrienne Rich as well as then emerging novelists such as Sapphire, David Leavitt, Shay Youngblood, and Michael Cunningham.

Robert Giard was the recipient of many grants and awards. The published version of Particular Voices won a Lambda Literary Foundation Award for Best Photography/Art Book in 1997. His works are in collections of the National Portrait Gallery, the Library of Congress, the New York Public Library, the San Francisco Public Library, and the Brooklyn Museum. The Robert Giard Archive was acquired by the renowned Beinecke Rare Book and Manuscript Library at Yale University.

The event will be comprised of readings by local authors and will be open to the public, free of charge, at the Stephen Bulger Gallery and CAMERA.

The five authors who will be participating are Jim Bartley, Nila Gupta, Elizabeth Ruth, Richard Vaughan and Zoe Whittall.

Jim Bartley is a playwright, novelist and book critic. His play Stephen and Mr. Wilde, based on Oscar Wilde's visit to Toronto, has been produced across Canada and on CBC Radio. His first novel, Drina Bridge, was published in 2006. Jim contributes a books column to Toronto's Xtra Magazine, and his "First Fiction" review column for The Globe and Mail has introduced over 300 new writers to Canadian readers. He is at work on his second novel.

Nila Gupta was born in Montreal and spent several childhood years in India before immigrating back to Canada in 1967. In 2004 she won the Ontario Arts Council K.M. Hunter Award for Literature. She currently teaches and is enrolled in the M.F.A. in Creative Writing Program at the University of Guelph-Humber. Poet, playwright and scholar, Gupta has had work published in numerous journals and anthologies; The Sherpa and Other Fictions is her first short story collection.

Elizabeth Ruth lives and works in Toronto, Canada. Her short fiction has been widely published in literary journals and anthologies, and she frequently writes book reviews and conducts author interviews for various newspapers. Ruth is the author of two critically acclaimed novels, Ten Good Seconds of Silence, and Smoke. She is also the editor of the anthology, Bent On Writing: contemporary queer tales. Ruth teaches creative writing through the Humber School for Writers and the University of Toronto.

RM Vaughan is a Toronto-based writer and video artist originally from New Brunswick. He is the author of eight books and a contributor to over 50 anthologies. His videos and short films play in galleries and festivals across Canada and around the world. Vaughan comments on art and culture for a wide variety of publications and writes a weekly celebrity-interview column for The Globe and Mail. His latest book is Troubled: A Memoir in Poems (Coach House, 2008)

Zoe Whittall — originally from Montreal, where she attended Concordia — now lives in Toronto. Her previous books include The Emily Valentine Poems and The Ten Best Minutes of Your Life, both volumes of poetry. She edited the anthology Geeks, Misfits & Outlaws. Whittall has written for The Globe and Mail, the National Post, and NOW Magazine. Her first novel is Bottle Rocket Hearts (Cormorant Press).

"from today, painting is dead!" Paul Delaroche, June, 1839

When the invention of photography was announced to the public on January 7, 1839 it created a sensation for both its advocates and adversaries. At present, photography is arguably more popular than ever, but it is also at the end of an era. Digital systems are rapidly making analog materials obsolete. This exhibition includes the work of three artists who are each commemorating this milestone event in the history of art and technology.

The goal of this project, "Disappearance of Darkness", is to create a photographic record of a rapidly disappearing manufacturing infrastructure dedicated to the production and use of photochemical materials. The images presented here document the final year of the Kodak Canada facility in Toronto. This facility, which was made up of 18 buildings on a 5 hectare site, had a one hundred year history of producing photographic films and papers. It was sold in 2006 and demolished in the summer of 2007.

Michel Campeau

With this work, "Darkroom", Campeau articulates the decline of photography by concentrating on the obsolescence of private darkrooms. His investigation is like that of an accident expert, one who scrutinizes the incongruity of darkrooms and throws the spotlight on the bric-à-brac of plumbing and electricity, the ventilation-system engines, the posted iconography, the splattering of silver salts, the wear of equipment and the countdown of timers that seem to defy the disappearance of the panchromatic spectre. Campeau's project is the first to be selected for a monograph by Martin Parr, the artistic director of a new series of books published by Nazraeli Press.

Alison Rossiter

In this work, "Lament", Rossiter has been creating photographic objects that rely on the intrinsic qualities of old papers and films. She has been buying expired photo papers from throughout the 20^th Century and processing them without any additional exposure, in search of light fog or dark fading. She has also been collecting expired sheet film of different makes and sizes to make photograms. The remarkable photographs she produces are silver abstractions of minimal imagery and are the result of light leaks, age, and circumstantial damage.

The gallery is pleased to present its third exhibition of work by André Kertész since being asked to represent the Estate in 2003. We will be exhibiting a selection of Polaroid SX-70's that have never previously been available for sale.

Kertész and his wife, Elizabeth, immigrated to New York in October 1936 from Paris where he was the most celebrated photographer of his time. Although Elizabeth was soon to become successful with her cosmetics firm, Kertész's photographic work was initially misunderstood by American editors and was, aside from certain individuals, essentially ignored by the photographic community. In the early 1960's, Kertész retired from his job as a staff photographer for Condé Nast's House and Garden Magazine, a position far below his artistic capabilities but had been his bread and butter for 15 years. He was then able to devote himself fully to his artistic photography and by the mid 1970's had again arrived at the top of his profession.

His gratification in being able to substantially thank Elizabeth for her years of financial and emotional support was short-lived, for she died of cancer in 1977 after 18 months of suffering.

Having devoted himself to Elizabeth's care, her death left Kertész a broken man, but the gift of a camera and film from Graham Nash and the Polaroid Corporation reawakened his artistic impulses. At the age of 84, using this small camera, he was able to work quickly and autonomously. The intimate size of the SX-70 resembled the small prints he had made during his early years, but as a mature artist these tiny frames played out more complex emotions and expanded his apartment into a new world of discovery.

This exhibition will coincide with the WW Norton publication of: André Kertész The Polaroids, by Robert Gurbo. Concurrent exhibitions are at Southeast Museum of Photography; Stephen Daiter Gallery, Chicago; and Bruce Silverstein Gallery, New York.

Our fourth exhibition by Mark Ruwedel features his work depicting desolate desert dwellings and contemplates the definition of shelter itself. Essentially tragic in tone: the evidence that the images present describes the fragility of human endeavor in this landscape and suggests the stories of anonymous individuals and their desire to make a home "in the wilderness", however transitory. ("Just because you wander in the desert, it does not mean there is a promised land" – Paul Auster). The photographs depict small, often eccentric, abandoned houses and other, more temporary shelters, ranging from camps inside of old military bunkers to the hastily made havens of illegal immigrants. Many of the houses appear to have been disemboweled and a sense of unseen violence predominates. Collectively, these pictures address the collision of promise and reality in the American desert. As with his other work in the American desert, Ruwedel presents a seemingly abandoned landscape where he unearths minute footprints.

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, Australia; and the Vancouver Art Gallery, Vancouver, BC. Ruwedel is currently an Assistant Professor at California State University, Long Beach, CA.

The gallery is pleased to present our first solo exhibition of work by Mary Ellen Mark. Since the early 1970's, Mark has traveled extensively to make pictures that reflect a high degree of humanism. Today, she is recognized as one of our most respected and influential photographers. Her images of our world's diverse cultures have become landmarks in the field of documentary photography. Mark's portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. Moreover, Mark's photo essay on runaway children in Seattle became the basis of the academy award nominated film Streetwise (1985), with her husband, Martin Bell, as director and cinematographer.

Our exhibition, Ward 81, will showcase work from one of Mark's earliest series. In 1975, she was assigned by a magazine to do a story on the making of One Flew over the Cuckoo's Nest (1975), which was shot on location at the Oregon State Hospital. While there, she briefly got to know the women of Ward 81.

Ward 81 is the women's security ward of the hospital and is the only locked ward for women in the state. The women on this ward are considered either dangerous to themselves or to others. In February of 1976, Mark and Karen Folger Jacobs, a writer and social scientist, were given permission to live on the ward in order to photograph and interview the women. They spent thirty-six days on Ward 81. A monograph of this work was published by Simon and Schuster in 1979.

In 2005, Phaidon released Mark's 15th book, Exposure, which was a compendium of her iconic portraits of America. She has exhibited internationally for over 4 decades and her work is found in the permanent collections of most major institutions. Amongst her many awards and grants, she has been the recipient of: the Cornell Capa Award from the International Center of Photography; the Infinity Award for Journalism; an Erna & Victor Hasselblad Foundation Grant; a John Simon Guggenheim Fellowship; and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography.

This exhibition celebrates the work of three gifted photographers and displays diverse pursuits of leisure.

Jaret Belliveau, born Moncton, New Brunswick, 1981; BFA, NSCAD, 2006. Belliveau's previous series have explored the internal workings of his own family's struggle with cancer – "Familial Endurance"; and "Expect Delays", which documents a cross-country journey with his brother David, in the wake of their mother's death. Here we exhibit a selection from "Dirt Squad" which, taken over a period of three years, documents one teenage group's use of their free time. This project serves as a microcosm of youth and youth culture, emphasizing the personal conflict of the self within the group and society.

It also asks if modern community structures and family dynamics are strong enough to support and nurture the 21^st Century teen.

Marco Bohr, born Wiesbaden, Germany, 1978; BA, Ryerson University, 2003; MA, Royal College of Art, 2007. Much of Bohr's practice concerns the contemplation of the landscape. By incorporating the role of a Flaneur he pays attention to the individual's engagement of seeing rather than in what they are seeing. Often working in the destination of ancient pilgrimages, his photographs present the grandeur of these locations that are set amidst the periphery of the urban and natural landscape and where his subjects are engaged in a quest for spectacle, but appear to be longing for somewhere else. Also an accomplished portraitist, Bohr is building an international archive of individual icons who serve to depict modern living.

Scott Conarroe, born Edmonton, 1974; BFA Emily Carr Institute, 2001; MFA, NSCAD, 2005. Conarroe has lived on Canada's east and west coasts, in a village midway between, and in the country's southernmost region. Although each series of work has had its own set of issues and conceptual parameters, they have all revolved around an interest in photography's balancing of two ephemeral phenomena: time and light. His work enjoys the pallet and pace of dusk, where exposures can last for several minutes and the sky's colour shifts - when electric lamps and twilight commingle as complements and competitors. His photographs are a representation of space and collectively they form treatises on civic design, the seasons and Canadian living.

OPENING RECEPTION: Thursday, June 14th, 2007, 5-8pm

The gallery is pleased to announce its representation of the Estate of Richard Harrington (Born 1911, Hamburg, Germany – Died 2005, Toronto, Canada) and our first exhibition of his work.

Harrington's career as a writer, journalist and photographer spanned over forty years, during which time he visited over 120 countries. He is perhaps best known for his photographs of the Canadian arctic taken during numerous trips by dog-sled between 1948 and 1953. In particular, it was his 1950 visit to Padlei (on the west shore of Hudson Bay) where he witnessed the starvation of people affected by changing caribou migration patterns, which brought his work to international attention.

In addition to the above-mentioned work, our exhibition will include vintage photographs from the South Seas made during several trips in the 1950's; China, from trips made in the mid-1960's; as well as a documentary story depicting Western Canadian cattle ranching from the late 1960's.

Harrington's photographs have appeared in more than 24 books. His work has been collected and exhibited by such organizations as the National Archives of Canada, the Smithsonian Institution and the Museum of Modern Art. In 2001, Richard Harrington was made an Officer of the Order of Canada.

The Stephen Bulger Gallery is pleased to announce a special workshop with Alex Webb and Rebecca Norris Webb titled FINDING YOUR VISION.
The workshop includes a cocktail reception on Friday May 25^th as well as a lecture by the Webbs at 6:30 pm.

Opening Reception: Thursday, May 3rd, 2007 5-8pm

The gallery is pleased to announce an exhibition of new work by Sarah Anne Johnson entitled "The Galapagos Project". As with her previous series, "Tree Planting," Johnson explores the landscape between our utopian ideals vs. the reality of human existence.

Johnson's photographs were taken over two separate trips, while living and working with other volunteers in an agricultural rehabilitation mission on the Galapagos Islands. As did the early Darwinian scholars, Johnson uses a variety of media to best illustrate her observations of this alleged paradise. Her installation technique mixes colour and black & white documentary-style photographs which avoid the exoticism of a National Geographic feature and concentrate on the reality of the struggle and poverty of the region. The familiar ideals of Paradise are presented through Johnson's imagination as she crafts figures out of Sculpey that animate elaborate tableaux. Presenting them as a salon-style installation, the fragmented narrative enables the viewer to reflect on their own tangible evidence of the chasm that exists between aspiration and result.

An exhibition of this work in progress was shown in the summer of 2006 at PLUG IN ICA, Winnipeg, under the title Either Side of Eden, with an accompanying essay by Steven Matijico.

Sarah Anne Johnson was born in Winnipeg, Manitoba, in 1976. In 1997, she received her Associates Degree from the American Academy of Dramatic Arts, New York, NY. In 2002, she received her B.F.A. from the University of Manitoba and in 2004 her M.F.A. from the Yale School of Art, New Haven, CT.

Johnson's "Tree Planting" was exhibited at New York's Julie Saul Gallery in 2005 to wide praise, and the entire 64-print installation was purchased by the Guggenheim Museum. Upcoming exhibitions of this work are scheduled for Nice, France and the National Gallery of Victoria, Melbourne, Australia. Her work has also been collected by the Canadian Museum of Contemporary Photography, the Winnipeg Art Gallery, the Spencer Museum of Art and Yale University.

OPENING RECEPTION: Thursday, March 22, 2007, 5-8 pm

The gallery is pleased to announce our third exhibition of work by Laura Letinsky. In this series, "Somewhere, Somewhere", Letinsky photographs peoples' former and future homes, capturing spaces that display remnants of the previous owners' lives and are also an empty stage upon which future lives will inhabit.

Marnie Fleming, in her essay that accompanied Letinsky's exhibition of this work at Gairloch Gardens, describes these photographs as being "… empty and full at the same time." As in her previous projects, Letinsky concentrates on the domestic arena. Although the homes have been devoid of the previous owners' material possessions, the spare remnants entice the viewer to speculate on the complexity of the lives that lived within these walls as well as their own material-mindedness. Through her mastery of light and colour, she transforms the overlooked into something beautiful. Letinsky states that she is "fascinated with how the camera sees and shows our world, moreover, how it instructs us, and how seeing, wanting, having, and knowing are intertwined."

Laura Letinsky was born in Winnipeg, Manitoba, in 1962. In 1986 she received her B.F.A. from the University of Manitoba and in 1991 her M.F.A. from the Yale School of Art, New Haven, CT. Currently, she holds the position of Professor and Chair, Department of the Visual Arts at the University of Chicago. She has exhibited internationally, and her work is in the permanent collections of: Amon Carter Museum, TX; Art Institute of Chicago, Chicago, Il; Canadian Museum of Contemporary Photography; LaSalle Bank Photography Collection; Microsoft Art Collection, Seattle, WA; Museum of Fine Art, Houston; San Francisco Museum of Art; the Winnipeg Art Gallery; and Yale University Art Gallery, New Haven, CT to name a few.

OPENING RECEPTION: Thursday, February 15, 2007, 5- 8pm

Volker Seding is one of Canada's most accomplished photographers. 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. His project the Zoo Portfolio remains one of the most interesting documents of modern day exhibitions of wild animals. Near the end of this 10-year colour project, Seding began to recognize a few of his images seemed better suited to black and white photography. Remaining a visitor to zoos (his childhood home was adjacent to the Berlin zoo), a few years ago Seding began adding again to this series.

"Since I was a kid the Zoo has always been a magical place for me. Where else can one go where life on this planet is presented in such density? Sadly, it is also a place where some of the animals make their last stand. There is no doubt that we have become the agents of natural selection and control what species will survive. Not long ago we respected the animals because we depended on them for our survival."

His work has been exhibited widely across North America and through Europe and can be found in numerous important institutions and private collections. This is our third exhibition of his work.

For over 20 years Robert Burley has been exploring the presence of nature within North American cities. Each project has been an investigation of the physical landscape as a transition between city and country: The "Don Valley" (1980-84) investigates a natural ravine used as an urban transportation corridor. "O'Hare Airfield" (1984-89) surveys a flat, mid-western prairie adapted to an infrastructure for human flight. "Viewing Olmsted" (1990-96) explores the sculpted earthworks of a nineteenth century landscape architect who created pastoral parks within the confines of densely populated cities.

Burley's most recent photographs scrutinize another edge of the city by looking outward from the shorelines along the Great Lakes. Using a large format camera and long exposures in the light of early dawn, his images examine the places where land, water and sky meet. Burley's large-scale photographs break down the tangible properties of deep space and are altered by the effects of time. Created on the shores of Lakes Ontario, Erie, Huron, Michigan and Superior, these contemplative views offer visual relief to the eye, address the formal issues of rendering space and speak to the artist's relationship with these sites.

This series began as a commission through the Art-at-Work Program in 2002 and received funding from the Ontario Arts Council and Ryerson University. Robert Burley has been exhibited in galleries and museums around the world and is included in numerous public and private collections.

By the age of four Dave Heath had been abandoned by both of his parents. By the age of fifteen he had lived in a series of foster homes and, finally, in an orphanage. At this early age, Heath knew that he wanted to be an artist seeing this as the best way to experience the world and come to define himself within it. In May 1947, Heath saw Ralph Crane's photo-essay in LIFE Magazine called "Bad Boy's Life". Struck by the success of how succinctly these pictures connected to a deeply felt shared experience, Heath knew he wanted to become a photographer.

Working in the street, Heath used its inhabitants to capture individual moments in tightly structured compositions that are charged with the importance of their individuality and the seriousness of their situation. Early on, he was inspired by the ability of a sequence of photographs vs. a single image to evoke the complexity of his story. At the age of 21 he composed his first maquette called '3' and in the intervening years worked his subsequent photographs into elaborate sequences culminating in 1961's A Dialogue With Solitude.

This exhibition concentrates on work made on trips financed through the Guggenheim Fellowship Grants he received in 1963 and 1964. The Gallery will display his 1963 portfolio/sequence in the form of its original camera ready set made to scale for the 1963/1964 Contemporary Photographer winter issue. We will also show a sample of the some 350 gang-proofs made from his 1964 bus trip across the United States as well as the maquette for his 1969 sequence Beyond the Gates of Eden.

This two-day workshop will provide training in both the aesthetic concerns as well as the technical aspects involved in making successful portraits.

With an emphasis on photographing people in their own environments, this workshop will teach you how to establish collaborative relationships with your subjects. Drawing from his own history and subjects, Shelby will illustrate how he transforms a standard portrait session into an event that produces photographs which include psychological and emotional elements. Although rooted in the documentary tradition, Shelby’s photographs are his personal, expressive view of the human condition.

Participants will be given a demonstration by Shelby using a 4”x5” view camera, where he will show how he arranges his lighting and uses Polaroid to better collaborate with his subject. Participants produce their own portraits with a model and receive a critique of their work.

You will leave this workshop with increased confidence in approaching your future subjects. Through Shelby’s demonstrations of his sophisticated lighting techniques you will gain a better understanding of what you need to do in order to become a serious image maker, and you will have the opportunity to use utilize them yourself in a portrait session. All formats, and colour and/or black & white are welcome.

Shelby Lee Adams was born in Hazard, Kentucky in 1950, and received his MFA from Massachusetts College of Art, Boston. His photographs have been shown in over fifty solo and numerous group exhibitions, both nationally and internationally. His work is included in many private and museum collections, and he has been awarded two National Endowment for the Arts grants.

ITINERARY:
Friday, August 18th 6-8pm, introductory cocktail reception.
Saturday, am – participant print introduction; slide presentation by Shelby
Saturday, pm – lighting demonstrations; photographing models
Sunday, am – theory
Sunday, pm – critique

Continental breakfast; light lunch included both days
Class limit 15
Cost $350.00 + taxes

Please bring a camera, plenty of film at ASA 400, and a portfolio of 10 images to share.

Location: Stephen Bulger Gallery/CAMERA call 416-504-0575 to register by July 22nd.

We are proud to present the first solo exhibition of photographs by Bruce Davidson. This esteemed social documentary photographer's varied projects over the last 50 years have influenced and inspired a generation of photographers.

This is the first time that Davidson's work has been shown in Canada, and as such we are presenting an overview of his extensive career. We have chosen to focus on five projects that span over 40 years and that are all centered in New York City.

The series Brooklyn Gang was inspired by a newspaper article detailing the lives of teenage gang members on the streets of New York City. Davidson spent several months during the summer of 1959 hanging out with "The Jokers" and documenting the isolated and sometimes violent world that they inhabited.

Between 1961 and 1965, Davidson focused his lens towards the Civil Rights Movement in the project that has come to be known as Time Of Change. Our exhibition highlights photographs taken in New York that reveal the daily lives of African-Americans and the rallies that were their tools for change.

In 1966, the neighborhood of Spanish Harlem was renowned to be one of the worst in the city for poverty and crime. With an 8x10" camera in hand, Davidson slowly came to know and photograph the residents, buildings, and alleyways of East 100^th Street.

Beginning in the spring of 1980, Davidson began to photograph the New York subway system. Photographed on all of the different lines at all hours of day and night, the colour photographs in Subway capture the participants in a culture of strangers: friendly, violent, beautiful, and bizarre.

The photographs of Central Park read like a love poem to the heart of New York City. They are filled with an abundance of life in the forms of people, flora, and fauna, and are complete with the dark corners and moments of beauty that constitute life.

Born in Oak Park, Illinois in 1933, Bruce Davidson studied at the Rochester Institute of Technology and Yale University. While stationed in Paris in the mid-1950s, he met Henri Cartier-Bresson, one of the founding members of the Magnum Photo Agency. After military service, in 1957, Davidson worked as a freelance photographer for Life Magazine and in 1958 became a member of Magnum Photos. His work has been published in more than ten monographs and has been exhibited widely both in North America and abroad.

In conjunction with Pride Week 2006, we are pleased to announce the launch of a new book of photographs by Hank O'Neal. He began documenting the annual New York gay parade in 1974 as it passed his recording studio at 173 Christopher Street in Greenwich Village. From 1974 to 1983 he photographed the parade six times and accumulated approximately 1500 ph