CONTACT Photo Fest: Turf

April 1-May 14 2019​ |Opening Reception May 2

Darren Calabrese, Carl MacNeil, Dinao MacCormick, Chad Tobin, Steve Wadden

A collaborative exhibition of fictional, documentary, and contemplative photographs exploring literal and abstract concepts of home. It combines selections from ongoing personal projects of five Canadian photographers from the East Coast who comprise the Hot Fog Collective.

On a spectrum between place and feeling, individual meanings of home emerge. Turf asks how the individual shapes the place, and how the place shapes the individual.

The artists illustrate relationships with land, identity, community, and changing geographic and social landscapes. While raising questions about intuition and perception, they imagine home as a sense of being and creative process as a means of transportation.

Curated by Hot Fog Collective

Darren Calabrese

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Atlantic Canadians are a coastal people. Living on the periphery, we are connected through our relationship with the sea – an existence that is both isolating and freeing. The tensions of living off the sea have long existed, but today the region is suffering through an historically high rate of unemployment that is forcing many to fight to hold onto their livelihoods, communities, and identity. This is a movement full of stories that, in concert, are both stark and life-affirming. Calabrese works to explore the relationships and communities formed along the eastern coastlines, which he believes are a pathway not only to our history, but to our future.

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Noir/Chroma Spotlight: Alan Dunlop

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Alan Noir

What is your process?

For several years now I have been pursuing my own creative vision, looking for ways to break the rules of traditional photography and transport the viewer to an alternate, more abstract reality. I think this quote by actress Mary Lou Cook says a lot “Creativity is inventing, experimenting, growing, taking risks, breaking the rules, making mistakes and having fun”.
My work has evolved from blending multiple images into collage-like works using Photoshop to – more recently – capturing fragmented images in-camera.

Do you see common themes in all of your work?

Whether photographing nature, people or the city streets the common theme is to explore time space and motion.

In your opinion, what makes an image powerful.

There are many elements that make a good picture, it can be the quality of the light, the angle, the subject matter, the overall composition.
Ultimately a good photograph, in my opinion, is one that makes people stop, take a second look and ask questions. It should communicate something to the viewer, draw them in, tell a story, and arouse some emotion.

Alan Chroma

Endangered

Endangered
November 12-December 24
Reception: November 15 | 6-9pm
Artist Talk: December 4 | 6-7:30pm

Artists: Monica Glitz and Philip Jessup

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Philip Jessup

Monica Glitz and Philip Jessup are two contemporary Canadian photographers who have devoted their bodies of work to exploring the sublime in endangered spaces that—at least for now—have been saved by government conservation efforts.

Glitz has photographed UNESCO World Heritage sites over the past twenty years, from Angkor, Cambodia to Easter Island, Chile to Stonehenge, England. Her images look back in time and capture the awe of ancient splendor.
Jessup has photographed significant natural landscapes endangered by sea level rise that governments are seeking to conserve, from Sian Ka’an Biosphere Reserve, Mexico to Mandalay National Wildlife Refuge, Louisiana to Assateague Island National Seashore, Virginia. His images express the beauty we could lose if we don’t turn the tide on climate change.

Local communities benefit from tourism and other services generated by the archaeological sites and natural landscapes these two photographers visit. For instance, indigenous Mayan guides and lobster fishermen have formed business cooperatives to promote thriving local businesses.

Both photographers have developed unique styles that distinguish their respective bodies of work. Glitz made the curatorial decision to pursue producing her images using a historical, and very permanent, printing process. Her images are printed using gum bichromate, a hand coated process that will last hundreds of years, perhaps outliving the subject matter. Jessup shoots in medium format and strives for brilliant color and arresting spatial compositions that hark back to the Japanese woodblocks of Hirosige.

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Monica Glitz

Call for Submissions: Noir/Chroma

Jan 3 – Feb 28 2019
Opening reception January 17 2019

The Connections Gallery is seeking submissions for a two month exhibition in early 2019.

This exhibition, Noir/Chroma, showcases exquisite black and white images and images exploring colour. No specific theme.

Photographers will each have one 30″x37″ mounted print.

This exhibition is being printed in its entirety by Bob Carnie, each photographer will receive their mounted print once the show comes down. There are two choices for production methods of images. The hybrid historical-contemporary Lambda will be used to produce the black and white silver gelatin prints, or artists can have their work printed via inkjet for black/white and colour. Bob will work together with the photographers to choose their best image and printing method. Promoting the printer/photographer dynamic, printing will be a collaborative effort.

Logistics

Each artist will have either:

1- 28×28” approx. Lambda print mounted on 30″x37″ art board

OR

1- 30″x37″ inkjet print mounted on the same size board

Exhibition fee + Production: $700 plus tax


Submissions

Send up to 5-10 JPEGS

Bio

Statement


Contact

Carissa Ainslie carissa@alternativephotoservices.com

Portfolio Workshop December 2018

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What: Portfolio Workshop

Where: Alternative Photo Services at 1840 Danforth Ave, Toronto

When: December 27-December 30 2018

Spots: Minimum 4 maximum 6

Cost: $1,000 plus tax + materials (material list provided upon request)

This workshop is for anyone who is looking to build a portfolio of alternative prints. Students will be printing their own work under the guidance of printer Bob Carnie using gum bichromate and/or platinum palladium.

Print sizes range from 8×10 all the way up to 20×28.

Once the prints are finished, they will be custom matted using cotton rag 4 ply board.

To sign up or ask a question, email Bob or Carissa

bob@alternativephotoservices.com

carissa@alternativephotoservices.com

Vancouver and Capture!

Carissa just returned from Vancouver where she was stationed for ten days. We rented a pop up space for two weeks in Chinatown, installing Series, Clearcut and Ipseity.

Series

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SERIES brings together five photographers with five different stories to tell. Salina Kassam, Thomas Brasch, Larry D. Hayden and Skip Dean have explored their own environments through the photographic medium.


Clearcut

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The intersection of man and nature is a dominant theme in Matthew Plexman’s work. Clearcut captures the evolution of an old logging road in northeastern Ontario: old sections are blocked off and new routes added, leading to new areas of logging activity. The borders between clearcut and forest are abrupt at first—open areas of chewed-up earth and toppled trees abut untouched woodland. Over time, the process of healing begins and the borders blur. Plexman attempts to find beauty and symmetry in the tension between destruction and regeneration, inviting dialogue about the conflict inherent in our dependence on nature for both resource extraction and emotional sustenance.


 

Meeting New People

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Carissa had the pleasure of meeting some really interesting folks on her travels. Sally Buck and Kent Lins popped up their photos in cube vans every weekend during the Capture Photo Fest.

She also got a fantastic tour of the new Emily Carr University campus by photo studio tech Geoffrey, and met up with Kathy from Beau Photo.

With a bit of down time, she also got to take in some of the sights of Vancouver and Whistler.

 

 

Artist Spotlight: Lauren Young

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

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Statement

I think the mark of a good image is if it tells a good story. When I look at these images, I see a story about the relationship between young girls. It’s about the things we go through, the people we love or hate, and the looks we give each other when something interesting happens. I wanted to capture these faces so that I could look back on them and see the differences between ourselves now and then. This project allows me to document such a prevalent time in the lives of the people closest to me as we go through such pivotal shared experiences.

How has your photographic process been informed by your experiences

I photograph the things I see in life, the moments I experience. My goal for every picture I take is to capture an intimate moment shared between me and the subject, this is why having some sort of relationship with the subject is quite important to me. I am constantly trying to have unique experiences with those whom I photograph. Being a teenage girl myself, it makes the most sense for me to take pictures of my closest friends as they go through the same things I am.

Artist Spotlight: Janet Holmes

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

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Statement

I have always loved animals, but for many years I was afraid to get involved with animal rescue because I couldn’t imagine how I would deal with the heartbreak. A few years ago, I decided that animals needed me more than I needed to be comfortable, and I began volunteering for animal rescue groups as a photographer and caregiver.
In January 2017, during my volunteer shift at the Wild Bird Fund in New York City, I met a hen who was suffering from severe and chronic reproductive illness. I discovered that her ailments were common for chickens like her. As I learned more about chickens, I discovered a network of vegans (primarily women) who rescue and care for them. I thought about how so many women still struggle to control their own bodies and obtain adequate reproductive health care, and how people in turn are socialized to exploit hens’ reproductive systems. Even across species, it seems that society expects to dictate how females use their own bodies.
And so I began photographing these chickens and their rescuers to pay tribute both to the birds who have suffered so much and the women who invest so much love, time and money caring for them.

How has your photographic process been informed by your experiences

As I spent more time experiencing animals as individuals through the lens of my camera, I began questioning how I could profess to love them yet continue exploiting them for food, clothing and other materials. I committed to become vegan and use photography to advocate for animal liberation.

My values as a vegan influence the subjects I photograph, the materials I use, and how I make photographs. For example, I avoid as much as possible any materials (like gelatin in traditional film and certain papers) that are derived from animals. As part of my photographic process, I sit with my animal subjects, witnessing their existence and importance as individuals, not objects. I invite them to experience me through sight, smell, touch and taste – on their own terms and in their own time. When possible, I photograph them at eye level to emphasize the parity between (human) viewer and subject.

In this series of portraits, I’ve expanded the frame to include animals with their rescuers. My goals are to highlight the deep bond between chickens and their people, pay tribute both to the birds who have suffered so much and the people who have invested so much time, money, love and tears in rescuing and caring for the birds, and encourage viewers to see chickens as sensitive beings worthy of our respect and protection.

50% of the profits from sales of work in this series will be donated to The Microsanctuary Movement’s Hen Reproductive Health Care Fund (www.microsanctuarymovement.org) to help caregivers cover the cost of contraception and other reproductive health care services provided by veterinarians.

 

Artist Spotlight: Shelagh Howard

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

ThreeGraces_1086©ShelaghHoward

Statement

When photographing the body rather than focusing on the face, the image for me
becomes much more about the essence of people, rather than about the individual being
photographed. The blurred motion shadows that follow and surround these figures evoke our ability to carry within us multitudes – often simultaneously, always over time. We can be with others but alone, or alone but connected. A single moment can embody rage, calm, love, uncertainty, passion, and fear, as well as memories of previous moments. A fleeting instant in a person’s life can arguably be documented by a portrait. It is the question of exploring the diversity of experience that we hold within us that this work examines.

How has your photographic process been informed by your experiences

We all move through the world in our bodies. They carry evidence of our genetics, as
well as the ways we choose to alter, adorn and present them. I have walked through the
world as a girl and then as a woman, and there is no question that this experience has
influenced the way I have been seen, as well as the way I have perceived myself. With
the #metoo movement gaining force all around us, the fact that being a woman carries
with it many vulnerabilities and disadvantages needs no introduction nor debate. The flip side of that is the powerful sisterhood that women possess, evidenced by the phenomenal support for the women’s marches we have seen in the past year, and also in the way we have cared for each other on a daily basis, throughout history. We are daughters, sisters, mothers, friends, mentors, partners. As communicators and nurturers, we touch, hold, listen and hear. We struggle, are joyous, hurt, and soothe, ourselves and each other. We are naked often literally, but also figuratively: raw, open and vulnerable with each other in a way will always fascinate me, and which I am driven to explore and to capture.

 

Sharing / Le Partage Bernard Marenger

January 18-31 2018 Opening January 19 from 6-9pm

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Bernard Marenger est photographe professionnel depuis plus de 45 ans. Il a fait ses débuts dans l’un des plus prestigieux studio de photographie publicitaire à Montréal pour ensuite ouvrir son propre studio au centre-ville. Il a collaboré à plusieurs des meilleures campagnes publicitaires au Québec et au Canada pour des clients aussi prestigieux que Postes Canada, Imperial Tobacco, Labatt, Rona, SAQ etc.

Cette expérience a conduit Bernard Marenger à une démarche artistique très personnelle; à une vision plus sensible de la société et aussi, de la nature et des êtres qui la façonnent.

Doué d’une grande réceptivité à notre environnement, Bernard Marenger a su en capter vivement toute l’intensité.

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