Publications on Photography

Alphabetical listing




19th-Century British Photographs from the National Gallery of Canada 
Lori Pauli with John McElhone

britishphoto19.gifspacerThird in a series of publications featuring iconic works from the Gallery’s collection and situating them within a historical and social context. Photographs by some of the medium’s earliest practitioners, including William Henry Fox Talbot, Hill and Adamson, Anna Atkins, and Julia Margaret Cameron, are illustrated and examined. Also explored are the various photographic processes discovered at the time, among them salted paper prints, daguerreotypes, albumen silver prints, collotypes, carbon prints, and woodburytypes. With over 200 illustrations and dozens of individual presentations, this publication provides a complete overview of this crucial period in the development of photography.

National Gallery of Canada (01/2011) 168 pp approx 200 bw ill. 10.5 x 8 in softcover  978-0-88884-886-4  $49.00 Can.  $55.00 U.S. (39 €)




19th Century French Photographs from the National Gallery of Canada

James Borcoman

spacerThe range of photographic vision in the National Gallery’s collection of 19th Century French photographs is vast. The collection extends from topographical photographers who made little pretense to art but, because of the sensitivity and skill produced work that transcends the original purpose, to those who considered themselves as artists and the photographs they produced as art. With over 200 illustrations, this abundantly illustrated publication features an original essay on the development of photography in 19th Century France as well as sixty-six individual presentations. Among the dozens of photographers discussed are Eugène Atget, Edouard Baldus, Maxime Du Camp, Gustave Le Gray, Charles Nègre, and Auguste Salzmann. James Borcoman is the Curator Emeritus of Photographs for the National Gallery and the author of several books including monographs on Eugène Atget and Yousuf Karsh. After Modernist Photographs from the National Gallery of Canada, this is the second publication in a series devoted to the Gallery's photography collection.

National Gallery of Canada (01/2010) 168 pp 250 ill (100 col) 10.5 x 8 in softcover 978-0-88884-873-4  $49.00 Can. $55.00 U.S.





Jocelyne Alloucherie: Climates
Diana Nemiroff, Johanne Sloan and Jocelyne Alloucherie

alloucherie.gifspacerThe Climates series can be described as an “imaginarium of the north” that lies between fiction and reality. Blurring the boundaries between drawing, photography, sculpture, and architecture, Montreal artist Jocelyne Alloucherie explores the mythic dimensions of space as it is experienced in memory and the imagination. The three new bodies of Alloucherie’s work presented here, Land of Mist, Land of Blood, and Land of Snow are distillations of place; each communicates a general climate or feeling rather than a particular geographical location. Jocelyne Alloucherie’s intellectual rigour and distinctive artistic vision have won her an important place in the visual arts in Canada. She has received numerous awards and distrinctions, including the Governor General’s Award in Visual and Media Arts and the Prix Paul-Emile Borduas. In English and French.

Carleton University Art Gallery (09/2012) 80 pp 40 col. ill. 9.5 x 6.5 in softcover  978-0-7709-0555-2  $25.00 Can. $29.00 U.S.






American Photographs 1900-1950 from the National Gallery of Canada

Ann Thomas

americanphoto.gifspacerComposed of just over 100 photographs, this exhibition catalogue celebrates the exceptional contribution that American photographers made to the history of art in the 20th century. Made from 1900-1950, these photographs represent an extraordinary fertile period in photography's evolution. It includes stunning works by Edward Steichen, Clarence White, Paul Strand, Walker Evans, Margaret Bourke-White, Dorothea Lange, Berenice Abbott, Lisette Model, Weegee and the members of New York's Photo League. A scholarly essay is accompanied by dozens of individual presentations that discuss provenance, history, technique, as well as details of the life and times of each artist. This magnificently illustrated publication is the fourth in the series dedicated to the National Gallery's extensive photography collection.

National Gallery of Canada (12/2011) 170 pp 100 bw ill. 10.5 x 8 in softcover  978-0-88884-889-5   $49.00 Can. $55.00 U.S. (39 €€)






Nicolas Baier

Gilles Godmer, Olivier Asselin, Nicolas Baier, Emmanuel Galland & Stéphane Aquin

nbaierbr.gifspacerTwo of Canada's most prestigious art institutions have for the first time collaborated on a comprehensive publication as a celebration of this uncommon new talent. Baier is interested in the beauty of the world. He reveals this beauty by means of the newest of means at the pictorial artist's disposal (digital photography) as well as the oldest (composition, colour and form). At first a painter and then a photographer, he has long mastered digital photography. His increasingly discreet use of that technology has transformed his photographic œuvre into a far more malleable medium, more analogous to painting. His photographs are a stunning example of technology at the service of imagination. Three essays, an artist's statement, an interview and numerous colour plates provide analysis, opinion and visual delight.

Musée d'art contemporain de Montréal (2006) 144 pp 61 col. ill. 10.5 x 9 in softcover 2-551-22757-7  $39.95 Can./U.S






James Casebere
Réal Lussier & Douglas Bohr

jamescasebere.gifspacerSince the early 1980s the American artist has been making photographs of miniature constructions of the built environment, with images ranging from suburban interiors to institutional structures. Casebere is interested in the point at which photography, architecture and sculpture intersect. He was one of the first "post modern" artists to become known for creating images for the camera, a methodology currently being explored by photographers like Gregory Crewdson and Thomas Demand. English and French.

Musée d'art contemporain de Montréal (2003) 28 pp 9 col. ill. 10.5x7.5 in 2551216796  $11.95 Can./U.S.







Melvin Charney
Pierre Landry, David Harris & Gilles A. Tiberghien

mcharneybr.gifspacerSince the 1960s Melvin Charney has created an immense body of work that, while profoundly architectural, has always transgressed into other disciplines. Consequently, like his drawings, sculptures and installations, his photographs are fueled by a strong commitment to the urban environment. This publication tracks four decades of a singular and multidisciplinary oeuvre through Charney's photographs, demonstrating their visual power as well as their place in his overall artistic vision.With hundreds of images to guide us, this publication outlines Charney's trajectory from his earliest photographs of Montreal's old neighbourhoods in the 1950s, through to his use of photographic assemblages in architectural settings, his painted photographs of industrial sites and his gigantic outdoor constructions melding photography with aluminum and wood. With three essays and artist's commentary. In English and French.

Musée d'art contemporain de Montréal (2002) 182 pp ill. 9.5x6.5 in 255121453X  $39.95 Can./ $34.95 U.S.





Lynne Cohen: Faux indices
François LeTourneux

cohen.gifspacerPunctuated with nearly two dozen full-colour plates, this publication features forty photographs by Lynne Cohen, most of them recently produced. Since the early 1970s, Cohen has been using a box camera to photograph “found” interior spaces, always empty of occupants, which the works’ titles usually do not specifically identify. Over the years, interiors and public or semi-public places- skating rinks, dance halls, hotel lobbies, men’s clubs - have given way to more complex, less readily accessible environments, such as classrooms, science laboratories or military installations. Despite the sometimes disturbing nature of the places pictured, the artist underscores the humour, artifice and illusion that lie therein, documenting her “fascination with how the world echoes art.” The publication's subtitle 'Faux Indices' or 'False Clues' underscores the discernment required of the viewer. Lynne Cohen is an American-born Canadian artist currently based in Montréal. In English and French.

Musée d'art contemporain de Montréal (01/2013) 72 pp 40 col. ill. 9.5 x 7.5 in softcover  978-2-551-25362-3  $19.95 Can. $24.95 U.S.




Nan Goldin
Paulette Gagnon & Éric Mézil

ngoldinbr.gifspacerThis publication, produced in collaboration with the Collection Lambert in Avignon France, provides a unique perspective on the transformation of Goldin's œuvre with photographs produced since 1972, a film and two slide shows. Drawn essentially from the Collection Lambert, a unique collection built by art dealer Yvon Lambert, both exhibition and publication testify to a privileged relationship. In his essay, Mézil describes the artist/dealer bond that produced Goldin's first show in Paris and encouraged her to undertake radically different work, including landscapes and still lifes.

Musée d'art contemporain de Montréal (2003) 96 pp 60 col. ill.11x8 in softcover 2551217547 $39.95 Can./U.S.







Pascal Grandmaison: Double Take
Sara Knelman & Diana Nemiroff

pascalgrandmaisonbr.gifspacerKnown for his coolly distanced photographic portraits, Grandmaison’s new work explores the connections between the economy of the image – its materials and formal and technical conventions – and the social and economic structures that govern our everyday environment. This abundantly illustrated monograph follows the artist’s interrogation of the mechanics of film and photography, as well as the tensions between the realism of the images and the abstract codes underlying their representation. In English and French.

Carleton University Art Gallery (02/2009) 164 pp col. ill. 10.5 x 7 in hardcover 978-0-7709-0524-8  $40.00 Can. $42.95 U.S.







Pascal Grandmaison

Pierre Landry and Reid Shier

pascalgrandmaison.gifspacerSince the late 1990s, Pascal Grandmaison has carved out a reputation as one of the most meticulous and innovative artists of his generation. His work suggests a new approach, not only to photography and video, but also to the way his pieces are exhibited. Often based on the portrait genre, Grandmaison's art is distinctive for its formal strategies such as the close-up and white background. In the introduction, director Marc Mayer writes, "In his world we are very far from the materialistic concerns of pop art. The faces, hair and clothes of Grandmaison's sitters are so much of our time that our ephemeral culture seems more present here than in most other recent art that strains so hard to achieve timelessness. In English and French

Musée d'art contemporain de Montréal (2006) 126 pp 50 col. ill. 10.5 x 9 in softcover 2-551-22891-3  $29.95 Can./U.S.





Angela Grauerholz: The Inexhaustible Image
Martha Hannah with Marnie Fleming & Olivier Asselin

grauerholz.gifspacerThe work of Angela Grauerholz occupies an important place in Canadian and international photography. From the 1980s on, her search to redefine the art of photography has taken various forms including portraits and interior and exterior scenes with or without people. Yet regardless of the subject, her work gives an impression of timelessness with images that are both commonplace and sublime. This retrospective publication covers twenty years of production and highlights Grauerholz’s major photographic and installation works. Three critical essays discuss the work in relation to time, memory and representation. Born in Germany and a graduate of the Kunstschule Alsterdamm, Angela Grauerholz lives and works in Montreal where she is director of the Centre de Design at Université du Québec à Montréal. She has exhibited most notably at Documenta IX, the 1995 Carnegie International and at Chicago’s Museum of Contemporary Photography. In English and French.

National Gallery of Canada (05/2010) 240 pp 150 ill. 9 x 6 in Hardcover 978-0-88884-875-8 $25.00




Tanya Harnett: Persona grata
David Garneau

personagrata.gifspacerTanya Harnett’s new series of photographic works explore the many and diverse layers of her being through self-portraiture. Harnett reflects on her First Nations heritage and how it has been culturally defined and redefined through the parameters of a westernized education. The complexity of this history is subtly but relentlessly pursued through the lens of the camera.

Southern Alberta Art Gallery (01/2009) 58 pp 19 col. ill. 9 x 6 in softcover 978-1-894699-41-9  $20.00 Can. $21.95 U.S.







Inhabiting: The Works of Isabelle Hayeur
Serge Bédard

isabellehayeur.gifspacerEach photographic work by Isabelle Hayeur incorporates several images, using software to form an apparently seamless representation. Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs. Isabelle Hayeur has exhibited, most notably, at Mass MoCA and Musée d'art contemporain de Montréal. Co-published with the Musée national des beaux-arts du Québec. In English and French.

Oakville Galleries (07/2006) 48 pp 16 col. ill. 11.5 x 10.5 in Hardcover ISBN: 1-894707-24-9  $35.00 Can./U.S.




Holly King: Edging Towards the Mysterious

Linda Jansma and Francine Paul

hollyking.jpgspacerFor twenty five years Holly King has been creating photographic works that are immediately recognizable for their integration of numerous other disciplines, particularly painting, sculpture and scenography. Working from models and miniature sets that are powerfully illuminated and then photographed, King’s imposing large-scale photographs offer an intimate vision of perfect landscapes that hover between memories of real places and nostalgia for imaginary sites. Historical, cinematographic and painterly references - notably Caspar Hauser Friedrich and JW Turner - abound in her richly detailed works. This ten-year mid-career retrospective is comprised of four of her most recent series: Twisted Roots, Mangroves: Floating Between Two Worlds, Grand Canyon: Unscene and the recently completed English Cliff series. King states that her photographs are a “celebration of sublime beauty in nature” aware that her goal is not the dominant trend in contemporary art. Holly King’s photographs have been widely shown, notably at the Montreal Museum of Fine Art, The Canadian Museum of Contemporary Photography and the Centre Georges Pompidou, Paris. She has been teaching in the Painting and Drawing Department of Montreal's Concordia University since 1983. This monograph is the first major overview of her work in nearly two decades and accompanies an exhibition that will travel the country during 2016 and 2017. Published in collaboration with Thames Art Gallery, Musée des beaux-arts de Sherbrooke, Galerie Art Mûr, and Musée du Bas-Saint-Laurent. In English and French. 

The Robert McLaughlin Gallery (01/2016) 120 pp 70 col. ill. 10.5 x 9.5 in hardcover   9781926589893   $35.00 Can. $39.00 U.S.




Lisa Klapstock: Liminal

Alison Nordström & Scott McLeod

klapstockliminal.jpgspacerLisa Klapstock's photographic practice challenges visual perception of everyday urban environments. This splendid first monograph, illustrated with dozens of colour plates, presents several series produced from the late 1990s to today. "Living Room" documents the hidden life of urban back lanes. "Threshold" - scenes shot through holes in backyard fences - reveals views that are invisible to the naked eye. "Ambiguous Landscapes" juxtaposes stark landscapes with and without the human figure (Klapstock herself). While the work is highly formalized and richly textured, Klapstock's overriding concern is the gray area between private and public and how, as both artist and woman, one inhabites that space. In English and French.

Southern Alberta Art Gallery / Kamloops Art Gallery (04/2006) 96 pp 57 col. ill. hardcover1-894699-33-5  $20.00 Can./U.S.




Katherine Knight: Wind and Water
Cheryl Sourkes

katerineknight.jpgspacerAward winning photographer Katherine Knight captures natural landscapes of Central and Eastern Canada in intimate portraits. These geographic settings are combined with notions of memory and narrative, achieved either through direct intervention, as in her exploration of the force of wind and its effect on secondary objects, or through spontaneously captured moments. Rejecting the tradition of grand panoramic scenes, Knight gives voice to specific forms and vantages, encompassing space in intimate ways in a more anti-heroic, proto-feminist tradition. Her vision strikes a balance between a persevering life force and the threat of death from the ineluctable power of natural forces. In English and French.

The Ottawa Art Gallery (2004) 56 pp. 65 ill. 8 x 8 in softcover 1-894906-13-6  $15.00 Can./U.S






Arnaud Maggs: Identification
Josée-Drouin Brisebois, Rhiannon Vogl and Charles A. Stainback
 
arnaudmaggs.gifspacer.gifInternationally acclaimed photographer Arnaud Maggs is best known for detailed, grid-like portrait studies that betray a stark intimacy. These include 64 Portrait Studies (1978) and 48 Views (1981-83), a series that included such Canadian celebrities as Yousuf Karsh and Leonard Cohen. In 1973 after a career as a graphic designer (Maggs designed the album cover for Jazz at Massey Hall released by Charles Mingus in 1955), Arnaud Maggs decided to become a visual artist at the age of 47. For nearly 40 years his work has been marked by questions of mortality and reverberates with historical and anthropological meaning. This first career-overview showcases Maggs’ monumental photographic installations, documentation of found ephemera, books, typography, classification systems and diagrammatic drawings. Among the many projects featured are: his internationally acclaimed portraits of Joseph Beuys (1989); Notification (1996), photographs of the envelopes used for the mailing of death notices in 19th century France; and Nomenclature (2006), photographs of two seminal studies on colour published in the 19th century. Published to accompany the National Gallery of Canada's major 2012 retrospective, this abundantly illustrated monograph features two original essays, an interview with the artist, and a commented biography detailing four decades of a singular artistic practice. Arnaud Maggs has exhibited, most notably, at the Art Gallery of Ontario, Musée d’art contemporain de Montréal and The Power Plant. In English and French.

National Gallery of Canada (05/2012) 240 pp 180 ill 11.5 x 9.5 in softcover 978-0-88884-8-98-7  $65.00 Can.  $69.00 U.S. (52 )






Modernist Photographs from the National Gallery of Canada
Ann Thomas

modernistphoto.gifspacerThis original publication, which focuses on the early decades of the twentieth century, is the first in a new series devoted to the study of photographic masterpieces from the National Gallery of Canada's international collection. Examining the expansive, innovative and often contradictory modernist ethos that shaped the creation and use of photographic art from 1900 to 1940, this generously illustrated publication highlights dozens of works from Germany, England, Czech Republic, United States, France, Russia, Hungary, Japan and Canada. An introductory essay describes the development of photography artistically, technically and socially. Following the essay, 79 individual works are presented within the context of their times. Each is illustrated with a full-page duo tone plate. Among the artists are some of the world's greatest photographic innovators, notably Eugène Atget, Margaret Bourke-White, Brassaï, Walker Evans, Dorothea Lange, Lisette Model, Alexander Rodchenko and Edward Weston

National Gallery of Canada (2007) 200 pp 250 ill. (98 col.) 10.5 x 8 in softcover 978-088884-829-1  $49.00 Can./U.S.





Alain Paiement
Anne-Marie Ninacs

apaiementbr.gifspacerAlain Paiement creates a topography of space through an exercise in photographic mapping and by detailing the contents of the places depicted in minute collages. His impossibly aerial views of familiar yet roofless architectural environments, such as an apartment, are carefully composed constructions of multiple shots that compress the building, its occupants and their activities into one seamless image. With this conceptual tour de force, Paiement provides the viewer with a privileged perspective situated somewhere between the voyeuristic and the divine. Paiement's work has been shown on numerous occasions in North America and in Europe. He participated in the third Tokyo Photography Biennial and in the Kunsthalle in Krems, Austria. In 2003 the Canadian Centre for Architecture showed his work as part of its Tangent e exhibition. In English and French.

Galerie de l'UQAM (2002) 143 pp 58 ill. (50 coul.) 24 x 19 cm 2-920325-10-8  $25.00 Can./U.S.





Phantom Presence: Contemporary Photography in New Brunswick
Karen Ruet & Terry Graff

phntompresence.jpgspacerThis overview of the work of 16 contemporary photographers explores the “phantom” qualities of the art form through a diversity of approaches, technologies and aesthetic viewpoints. Refutin g the widespread belief that photography offers a realistic reproduction of the world, these artists create work that is elusive, deceptive, and mysterious. Their work captures shadows or reflections of the past that somehow exists in the present, proving photography to be an uncanny medium. Two original essays are interspersed with individual presentations of each artist. The artists: Jaret Belliveau, Kyle Cunjak, Oliver Flecknell, Rachael Flett, Julie Forgues, Mathieu Léger, Evan Rensch, Karen Stentaford, Christina Thomson, Carol Collicut, Amanda Dawn Christie, Frédéric Gayer, Paul Griffin, Peter Gross, Annie France Noël, Sophie Polanski and Vitaly Korneeva, Neil Rough, and Karen Ruet. In English and French

Beaverbrook Art Gallery (06/2014) 102 pp 87 ill. (54 col.) 11 x 9 in softcover   9780920674901   $14.95 Can. $17.95 U.S.




Photography in Canada 1960-2000
Andrea Kunard

canphotoE.jpgspacerThis fifth and final volume in the series dedicated to the National Gallery of Canada’s immense photography collection documents the emergence of the medium as a recognized artistic discipline in Canada. The creation and growth of this unique collection reflects the enormous development in the practice, collection and display of photography over the latter half of the 20th century. Prior to this time, government institutions, commercial establishments and the legal, medical and journalism professions prized it for its documentary value. As a result, photographs rarely entered the collections of major institutions. This changed in the 1960s when art became more vigorous and dynamic. Photography especially articulated probing, contentious ideas of art, the artist, identity, sexuality and community. Art institutions, themselves undergoing radical transformation, acted as an interface between artist and public, and attempted to articulate movements and trends in art and photography. With dozens of full-page plates each accompanied by an individual abstract, the publication offers a scholarly essay providing artistic, cultural and historical context. Artists featured include those at the forefront of the changes in the 1960s and 1970s, as well as more contemporary figures who continue to push at the limits of the definition of the medium. They include Roy Arden, Raymonde April, Ed Burtnysky, Carol Condé and Karl Beveridge, Evergon, General Idea, Rodney Graham, Angela Grauerholz, Geoffrey James, Suzy Lake, Ken Lum, Gabor Szilasi, N.E. Thing Co, Ian Wallace and Jin-me Yoon.


About The Canadian Photography Institute:
The National Gallery has been collecting photographs for decades, first under the auspices of the National Film Board’s Still Photography Division founded in 1939, then through the Canadian Museum of Contemporary Photography, founded in 1985. Both collections have since been integrated into the main collection. In 2015, the National Gallery established the Canadian Photography Institute (CPI), a research centre dedicated to the history, evolution and future of photography. Built on the foundation of the Gallery’s Collection of more than 50,000 photographs and 146,000 negatives and augmented by recent donations, the CPI will house one of the world’s most comprehensive collections of photographs representing the entire history of the medium and revealing the most important stories of the modern era.

The Canadian Photography Institute of the National Gallery of Canada (03/2017) 200 pp col. & bw plates 10.5 x 8 in softcover   9780888849489   $49.00 Can. $49.00 U.S.




Kelly Richardson: The Last Frontier
Kelly Gordon, Holly E. Hughes and Alistair Robinson

richardson4.gifspacerThis first retrospective publication features an extensive look at the UK-based Canadian born artist’s audiovisual installation works of the last fifteen years, and accompanies a international solo exhibition. Richardson’s works play with the idea of the hyper-real, a notion that due to our increased use of new media can no longer be distinguished from the real or the constructed. In particular she is fascinated by the way in which we connect with landscape, and within her deeply layered practice, she draws on devices from Hollywood science-fiction and horror, landscape painting and wildlife cinematography. The results are complex cinematic installations that present us with locations that appear real but have been subtly doctored with CGI, animation and sound to create an unsettling, otherworldly atmosphere. The lack of any physical human presence enhances the work; often making the scenarios feel like a post-apocalyptic future. Works by Kelly Richardson have been exhibited and screened at notably Albright-Knox Art Gallery, Hirshhorn Museum and Sculpture Garden, Art Gallery of Ontario, and the Sundance Film Festival.  Kelly Gordon is associate curator at the Hirshhorn Museum (Washington DC). Holly E. Hughes is curator of the collection at Albright-Knox Art Gallery (Buffalo NY). Alistair Robinson is programme director at the Northern Gallery for Contemporary Art (U.K.) .
Available in four different covers as shown.

Southern Alberta Art Gallery (02/2013) 160 pp 60 col. ill. 8.5 x 12 in hardcover  978-1-894699-57-0  $50.00 Can. $56.00 U.S.





David K. Ross : Attaché

Josée Bélisle

davidkross.gifspacerPublication of the first solo exhibition of the Montreal artist whose photographs offer an inspired reflection on the packing and storage of artworks. This new series documents a crucial step in museography, while revisiting one of the great moments in contemporary art history. The project revolves around a particular object that is threatened with obsolescence: the traditional packing crate, individually painted a specific colour “attached” to a specific museum. Some ten empty crates from nearly as many institutions are thus documented in detail and become the subject of high-resolution colour images. The quality of the surfaces reproduced and their large size reveals pictorial gestures that recall the major issues involved in abstract painting, be it abstract expressionism, colour field painting or monochromatic abstraction.

Musée d’art contemporain de Montréal (05/2010) 64 pp 25 x 20 cm softcover  978-2-551-23938-2   $19.95 Can. $25.00 U.S.






August Sander: Objective Romantic
George Steeves

sander.gifspacerConsidered one of the great 20th century photographers, August Sander’s career spanned the pre-World War I, Weimar and National Socialist periods. Sander’s grand project was to compile a collective portrait of the German people and he set about this task by photographing persons from all walks of life, according to his own idiosyncratic and constantly changing categories of social “types.” While his portraits record the social stratifications of the era, his perceptive, dignified treatment of each sitter overrides the prevailing distinctions between classes and races. George Steeves traces Sander’s career chronologically, showing how the photographer’s personality won the trust of his sitters and protected him from Nazi persecution. It concludes with a discussion of the posthumous editions of Sander’s projected People of the 20th Century (more than 600 portraits), the book he had always dreamed of but was unable to realize. Steeves’s long experience as a portrait photographer informs the sharp insights provided in his interpretation of specific photographs such as A Middle-Class Family, Cologne, 1923. In the manner of Eugenia Parry, Steeves’s entirely fictional account of Sander’s portrait session with General Stieff reveals an uncanny empathy with Sander’s professional methods. Contains an extensive bibliography.

MSVU Art Gallery (09/2013) 48 pp 17 bw ill. 10 x 8 in softcover  978-1-894518-69-7  $25.00 Can. $29.00 U.S.




Michael Schreier: Storyteller / Waiting for Words

Emily Falvey

schreier.gifspacerMichael Schreier’s photographic art represents several years’ inquiry with particular reference to his birthplace, Vienna, Austria. His portraits and photographs of architectural details offer powerful entry into another place and another time: the Holocaust. In her essay, Falvey probes this compelling work with a discussion of the “refusal to depict what cannot or should not be represented realistically; an art of respectful silence before sublime history.” Schreier’s work navigates these troubled aesthetic waters. In English and French.

The Ottawa Art Gallery (07/2010) 52 pp 10 x 8 in softcover/souple 978-1-894906-38-8  $20.00 Can. $23.95 U.S.







George Steeves: Photographs

Ingrid Jenkner & Peter Schwenger

For over twenty years the Canadian photographer has been creating staged eroticized performances with himself and his friends as subjects. Positioned at the convergence of disciplines, Steeves's practice is marked by a frank, unidealized nudity within a context of cultural erudition. Presented here for the first time (and nearly never presented at all), the Excavations series has affinities with the work of Robert Mapplethorpe and Pierre Molinier, yet is distinguished by Steeves's meticulous theatricalization.

Mount Saint Vincent University Art Gallery (03/2007) 48 pp 25 ill. 11 x 8 in sofctcover 978-1-894518-37-6  $20.00 Can./U.S.





Gabor Szilasi: The Eloquence of the Everyday
David Harris

szilasieng.gifspacerOver the course of the last 50 years Gabor Szilasi has created a remarkable body of photographic work. His photographs, which are found in numerous private and public collections, have been sustained by an unwavering belief in the humanistic and documentary value of the medium. This publication uncovers the essence of Szilasi’s artistic vision through his observations of urban and rural life and his recordings of the connections between culture and community. While much of the work was undertaken for specific projects, it is gathered here so as to reveal larger patterns of social interaction and cultural values that only become apparent when photographs taken over time are brought together. Published in conjunction with a major touring exhibition, this lavishly illustrated monograph contains over 260 images, including 121 plates. Born in Budapest in 1928, Gabor Szilasi lives and works in Montreal. David Harris specializes in architectural and landscape photography and is the author of numerous publications, including, Eugène Atget: Unknown Paris (2003) and Eadweard Muybridge and the Photographic Panorama of San Francisco, 1850–1880 (1993).

National Gallery of Canada (2009) 250 pp 260 ill. 11.5 x 9 in softcover 978-0-88884-866-6  $25.00 Can. U.S.






Margaret Watkins: Domestic Symphonies
Lori Pauli with an introduction by Joseph Mulholland
 
watkinseng.jpegspacerOnly recently has Margaret Watkins (1884-1969) come to be cited in the annals of twentieth-century photography. She is remembered as a formidable teacher at the Clarence H. White School of Photography and as an active member of the Pictorial Photographers of America. But it is her photographs - now considered key works in the history of early advertising photography and classic examples of modernist photography - that have earned her special recognition within the history of the medium. Watkins unsettled the established art world of the time with images such as still-life studies of dirty dishes in a kitchen sink and a shower hose in a bathroom. Even more surprising for some was the discovery that this photographer, who pushed the limits of modern photography in 1920s New York, had been born and raised in Canada. This publication accompanies the first major retrospective exhibition of the work of Margaret Watkins with loans from major public and private collections, including the Watkins estate and the Amon Carter Museum of American Art. With nearly 100 plates, many never before published, and a thorough telling of Watkins’ extraordinary life, this publication is a much-needed monograph on the once-lost work of a compelling artist.

National Gallery of Canada  (10/2012) 164 pp 120 bw ill. 11.5 x 9 in softcover  978-0-88884-903-8 $49.00 Can. $54.00 U.S.





Andrew Wright: Pretty Lofty & Heavy All At Once
Carol Payne, Randy Innes, Ola Wlusek and Michelle Gewurtz

wright.jpgspacerFour distinct exhibitions featuring Andrew Wright’s multimedia works form the backbone of this superbly produced exploration of an artistic practice preoccupied with the discourses of photography. Wright's multivariate photographic, sculptural and video work decipher the visual opportunities that photographic technologies make possible, while drawing on theoretical models of the photographic that are less concerned with its ability to depict than with its more digressive properties. Scholars set out to show that Wright's work is located within key contemporary discourses on the status of photography, art, and the image. The artist’s contributions to the publication are multiple: his photographs are reproduced as full-colour plates that cleverly punctuate texts; and as pieces that attend to the history of the medium itself, his images reflect and refract off of the silvered pages interspersed throughout the book. Works discussed appeared in different configurations in Penumbra, a mid-career survey at the 2013 CONTACT Photography Festival at The Art Museum University of Toronto, Selected Diptychs & Multiples at the Thames Art Gallery (2014), Tableaux photographiques non-titrés at Patrick Mikhail Gallery, Montréal (2015) and Pretty Lofty & Heavy All At Once, The Ottawa Art Gallery (2015). Andrew Wright has exhibited across Canada and abroad in solo exhibitions including: Presentation House, Vancouver; London Gallery West, UK; Prefix ICA, Toronto; University of California, Berkeley. Wright's work was also shown at Beijing's Today art Museum. In 2011, he won the inaugural Gattuso Prize at Scotiabank CONTACT Photography Festival in Toronto. Essays in English and French.

The Ottawa Art Gallery (07/2016) 144 pp col. ill. 9.5 x 7 in softcover   9781894906517   $30.00 Can. $30.00 U.S.





Arnold Zageris: On the Labrador
Linda Jansma and Carla Garnet

zageris.gifspacerArnold Zageris's large format photographic colour prints focus on arctic and sub-arctic regions of Canada. Zageris captures the images using a traditional large format 4x5 view camera, technology that is unsurpassed for landscape photography in this digital age. The method allows for fine details and subtle nuances of form and texture to emerge. Although the colours and contrasts may appear enhanced, these works have no special filters or treatments. Zageris states his commitment is “to search and find the quality of light that can inspire the imagination.” His combination of traditional technique and methodical patience lends him the ability to show us a world we may not see otherwise; an extraordinary view of a geographic region not often traveled. Produced with the Art Gallery of Peterborough. Arnold Zageris has exhibited widely, notably at The Rooms (St. Johns), Espace Création, (Montreal), and the Canadian Museum of Nature (Gatineau.)

Robert McLaughlin Gallery (06/2012) 44 pp 32 col. ill. (3 fold-outs) 10.5 x 8.5 in softcover   978-1-926589-14-5   $15.00 Can. $17.00 U.S.