Tag Archives: Contact Photography Festival

2012 Contact Photography Festival & Pattison Outdoor

26 Apr

As in past years, Pattison Outdoor is once again a major sponsor of Scotiabank CONTACT Photography Festival.

In a 2010 interview, Bob Leroux, a vice-preseident and general manager with Pattison spoke about the company’s relationship with the festival: “We’d absolutely support them … it is our goal to expand the partnership. We like what they stand for in terms of bringing ideas and thought. Why should it just be in a gallery?” More than ever, Mr. Leroux said, outdoor companies are trying to make public art a part of their business. In Montreal, CBS Outdoor works with a group called Mouvement Art Public (MAP): in between paid campaigns, instead of throwing in filler ads for its own network, CBS has allowed MAP to show artists’ work using its signs.

This year, Pattison is a sponsor of 4 Toronto public installation projects.

The festival runs throughout the month of May.

 

Art and Advertising Meet at the Contact Photography Festival

22 Jun

Permanent Error – Pieter Hugo

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South African photographer Pieter Hugo documents an expansive wasteland in Ghana and the inhabitants who live there. Rife with outdated technologies, this destitute slum known as “Sodom and Gomorrah” is also home to a marginalized community. Despite the devastatingly harsh realities depicted in Permanent Error (2010), many of these images are also aesthetically breathtaking classical portraits. Amidst the ravages of an industrialized world–mountains of discarded hard drives, keyboards, and monitors–locals confront the camera, revealing an inner strength and dignity.

The United Nations has stated that Western countries produce around 50 million tons of digital waste annually, and here the shocking consequences are exposed. As an installation situated within the urban surroundings of a parking lot, there is a heightened awareness of consumer culture and how the West has normalized its wasteful behaviours. Much of this debris is shipped over to developing countries, with the false promise that it will improve their economy. Many of the inhabitants in this wasteland survive by burning electronic components to extract copper and other precious metals, left with little choice but to create toxic firepits of melting plastic and black smoke. As a result, the surrounding landscape and rivers are contaminated with lead, cyanide, and mercury.

Marshall McLuhan theorized about the effects of technology and how its pervasiveness leads to new cycles of obsolescence and retrieval. He questioned what happens when a medium is pushed to its extreme. Hugo’s work reveals the dark underside of a culture that values “progress” above all else. This bleak graveyard of outdated electronic artifacts foreshadows an apocalyptic era, while harkening back to romanticized pastoral landscapes. These photographs are a stark reminder of the fragility of existence, not only of people and place, but of information and technology.

This was presented in partnership with Pattison Outdoor Advertising and Nikon Canada

Curated By Bonnie Rubenstein

Art & Adverising meet at the Contact Photography Festival

22 Jun

A Sign in the Northwest Passage – Kevin Schmidt

Presented as a billboard on The Power Plant’s south facade, Kevin Schmidt’s A Sign in the Northwest Passage (2010) documents the artist’s recent project made near Tuktoyaktuk, in the Inuvik region of the Northwest Territories. Aided by local guides and workers, the artist erected a large handcrafted cedar sign displaying an ominous text drawn from the Book of Revelations. Describing the decimation of the earth and humankind in vivid detail, it relays a warning that no one seems present to receive. This solitary sign–carrying an urgent message for the masses–references advertising culture and the city, yet is silenced by its surrounding barren landscape. Schmidt deliberately located this project on the ice above major oil reserves, where the potential for devastating exploitation is clearly implied. When the seasonal ice melted, this sign floated away to parts unknown, taking its cataclysmic message with it.

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Schmidt is a Vancouver-based artist exploring the highly constructed cultural codings of the Canadian landscape. In his work, the wilderness becomes a site for staging elaborate scenarios and conversely, elements drawn from the natural environment are represented in contemporary art spaces, taking on a decidedly unnatural air. Positioned outside The Power Plant as a billboard facing Lake Ontario, this work is imbued with a self-referential quality, invoking this displaced sign within the wild.

Schmidt’s work is included in The Power Plant exhibition To What Earth Does This Sweet Cold Belong? until May 29. He will also be the focus of a solo exhibition at the Justina M. Barnicke Gallery, U of T, from June 8 to August 20.

Presented in partnership with The Power Plant Contemporary Art Gallery. Curated By Gregory Burke & Jon Davies

Running until August 21

The Power Plant
231 Queens Quay W
Toronto, M5J 2G8
(416) 973 4949

Contact Photography Festival Spotlight: Hank Willis Thomas

23 May

Hank Willis Thomas makes artworks that visually decode the “what goes without saying” generalizations of race, class and history as seen in advertising. Appropriating the language of mass media, his photographs are reinserted back into the world of images, but with the added dissonance of the artist’s critique.

For CONTACT, Thomas commandeers billboards and street level posters at the corner of Front and Spadina to present images from three related series. The 16 works take a critical look at a range of issues relating to the representation of black identity in photography. In Fair Warning (2010), Thomas repurposes imagery from cigarette campaigns featuring African American models from the mid 1970s to the early 1990s. The Rebranded series (2010) looks at the ways “blackness” has been sold over generations. Remember Me (2010), presents a series of altered postcards, circa 1919, which honours the struggle of the anonymous millions who stood strong, during a period when society at large was designed to keep them down. Reviving images from the past for consumption in the present, Thomas’ CONTACT project challenges the voice of mainstream media by putting advertising’s influence to new use.

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Hank Willis Thomas (born in Plainfield, NJ, 1976) is the winner of the first ever Aperture West Book Prize for his monograph Pitch Blackness (2008). His work was featured in the 30 Americans exhibition at the Rubell Family Collection in Miami 25 Under 25: Up-and-Coming Photographers. He has exhibited in galleries and museums throughout the U.S. and abroad and is represented by Jack Shainman Gallery in New York.

Presented in partnership with Pattison Sign Group.

American Able

23 May

From the Torontoist: American Able Disses Fashion Advertising, Apparently by Wyndham Bettencourt-McCarthy

“These are photos of my friend Jes,” says photographer Holly Norris about her series American Able, which is part of CONTACT 2010’s Contacting Toronto exhibit, and is being shown on TTC Onestop screens in fifty subway stations. “She has a disability. She is really hot. What’s shocking?”

Norris’s attitude reflects the ethos of American Able, a project that catches your eye and then asks why you’re staring. The series depicts twenty-five-year-old model Jes Sachse, who has the genetic disorder Freeman-Sheldon syndrome, re-enacting a range of American Apparel advertisements notorious for featuring barely clothed hipster nymphets.

“American Apparel claims to use employees, friends, and fans of the company—not professional models-—and they claim they don’t airbrush, which positions their models as ‘regular women,’” says Norris. “However, their models all fit into a specific idea of what a ‘regular woman’ is, so I wanted to address that.”

AA ads do conform to the standard advertising norms, almost exclusively featuring women who are young, thin, and semi-naked. Yet Norris and Sachse (who has her own show in CONTACT, The Justice League of Gawkamerica), saw a more elusive absence. For a company that advocates the representation of real women, no AA models have visible physical disabilities.

Part of the goal of American Able, Norris says in the introduction to the series on her website, is to address how women with disabilities are frequently represented in an asexual way. “We’re talking about how people with disabilities are unseen,” Norris says about the project. “Media exists throughout public and private space and is creating notions of who sexy people are and whom we should find attractive, yet there are many, many people who go unrepresented in the media.”

While some critics of AA ads have argued that they disenfranchise women though sexual objectification, the twist of American Able is the empowerment Norris displays in the portraits of Sachse. “Jes said she enjoys self-rep work because, while she can’t control people’s gazes when she goes to the grocery store to buy milk, she can control and manipulate the gaze when she creates the image,” Norris says.

The photographs will appear on TTC Onestop screens on subway platforms this Saturday, May 20, and on Monday, May 31. They’re likely to garner some stares, but that, says Norris, is all part of the plan. “This has the potential to make people do a double take and question how this differs from a regular ad, as [the photos] will be mixed in with advertising and media,” says Norris. “I hope the realization that it’s a spoof makes people question and critique why they only ever see able-bodied people in fashion advertising.”

The issues of advertising and body image reflected in American Able are coupled with the lighthearted fun of dress-up. In each portrait, Sachse evokes the titillating sexuality that made AA such a successful company, showing us that she’s just another girl rocking a deep-V. Says Norris: “At the end of the day, American Able is just sexy and fun.”

Ad images courtesy of Holly Norris.

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