Photography in Canada:

  07 April – 17 September 2017

Experience the diversity of Canadian photographic practice and production from 1960 to 2000. Bringing together more than 100 works by 71 artists — including Raymonde April, Edward Burtynsky, Lynne Cohen, Angela Grauerholz, Michael Snow, Jeff Wall and Jin-me Yoon — it explores how the medium articulated the role of art and the artist in an ever-changing world, along with differing ideas of identity, sexuality and community. Formulated around themes such as conceptual, documentary, urban landscape and portrait, this exhibition celebrates the enormous growth of the practice, collection and display of photography over more than four decades.

Jin-me Yoon, Souvenirs of the Self (Lake Louise), 1991, printed 1996, chromogenic print laminated to Plexiglas, 192.7 × 232.8 cm. CMCP Collection, National Gallery of Canada. Purchased 1996

PhotoLab 2: Women Speaking Art

  07 April – 10 September 2017

Words figure strongly in contemporary art, as medium and message. For women artists in the 70s, 80s and 90s, text is used to explore the contexts of who is speaking and why; convey issues of social concern; provoke response; inform; and most importantly stimulate viewers to an active role of questioning. Images reflect on the social positioning of the female subject, and women’s sometimes awkward subjection to the camera’s gaze. By employing strategies of appropriation, exploiting time-based media, and fragmenting narrative, their artworks represent the social realm as a challenged and challenging site, where women’s role is especially under constant question and scrutiny.

PhotoLab 2 invites visitors to explore the power of language through fourteen video and photographic works by Lorna Boschman, Susan Britton, Sara Diamond, Guerrilla Girls, Jenny Holzer, Mary Kunuk, Shelley Niro, Lorna Simpson, Lisa Steele and Carrie Mae Weems.

The Advantages of Being a Woman Artist, poster, Art Metropole Collection, gift of Jay A. Smith, Toronto, 1999. COPYRIGHT ©1985-2017 GUERRILLA GIRLS

On Tour

Clocks for Seeing:
Photography, Time and Motion

  18 february 2017 - 18 June 2017  •  Art Gallery of Alberta

The invention of photography has had a profound effect on the way we see and know the world. In many ways, this is due to the medium’s relation to time. Photography has opened a window that allows us to see “what was” in ways that were inconceivable before its invention, irrevocably altering our connection to the past. Our histories and memories, both collective and personal, are now shaped by photography and the glimpse (however fragmented and imperfect) it enables into the past. At the other end of the spectrum, photography has extended human vision by allowing us to see the dynamics at play in the tiniest slivers of time. The motion and flux of things that once were beyond the capacity of human perception are now knowable through the frozen moment of the photograph. Clocks for Seeing: Photography, Time and Motion considers the relationship between time and photography through a selection of historical and contemporary photographs that encompass practices ranging from science to art

Organized by the Canadian Photography Institute of the National Gallery of Canada as part of the NGC@AGA exhibition series

Eadweard Muybridge, “Annie G.” galloping, c. June 1884 11 May 1886, printed November 1887, collotype, 48.1 x 61.1 cm; image: 21.9 x 33.1 cm. Gift of Dr. Robert W. Crook, Ottawa, 1981. National Gallery of Canada, Ottawa. Photo © NGC

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