{"title":"Index","description":"","products":[{"product_id":"archival-dialogues-reading-the-black-star-collection","title":"Archival Dialogues: Reading the Black Star Collection","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This catalogue is a complementary piece to the exhibition Archival Dialogues: Reading the Black Star Collection. It includes eight individual artist projects that share with us the respective artist's process of \\\u0026quot;reading\\\u0026quot; the Black Star Collection. Each of these sections begins with the reproduction of a Black Star image which played a key role in the individual artist's research. Just as each installation in the exhibition, each artist project in this book allows the viewer to experience the artist's dialogical relationship to the Black Star photographs, thus bringing these important historical objects into new focus within the multiple contexts of contemporary discourse.\u0026quot;}\" data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003eThis catalogue is a complementary piece to the exhibition \u003cem\u003eArchival Dialogues: Reading the Black Star Collection.\u003c\/em\u003e It includes eight individual artist projects that share with us the respective artist's process of \"reading\" the Black Star Collection. Each of these sections begins with the reproduction of a Black Star image which played a key role in the individual artist's research. Just as each installation in the exhibition, each artist project in this book allows the viewer to experience the artist's dialogical relationship to the Black Star photographs, thus bringing these important historical objects into new focus within the multiple contexts of contemporary discourse.\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This catalogue is a complementary piece to the exhibition Archival Dialogues: Reading the Black Star Collection. It includes eight individual artist projects that share with us the respective artist's process of \\\u0026quot;reading\\\u0026quot; the Black Star Collection. Each of these sections begins with the reproduction of a Black Star image which played a key role in the individual artist's research. Just as each installation in the exhibition, each artist project in this book allows the viewer to experience the artist's dialogical relationship to the Black Star photographs, thus bringing these important historical objects into new focus within the multiple contexts of contemporary discourse.\u0026quot;}\" data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003e\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eEditor:\u003c\/strong\u003e Peggy Gale\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eCurators:\u003c\/strong\u003e Doina Popescu and Peggy Gale\u003c\/span\u003e  \u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This catalogue is a complementary piece to the exhibition Archival Dialogues: Reading the Black Star Collection. It includes eight individual artist projects that share with us the respective artist's process of \\\u0026quot;reading\\\u0026quot; the Black Star Collection. Each of these sections begins with the reproduction of a Black Star image which played a key role in the individual artist's research. Just as each installation in the exhibition, each artist project in this book allows the viewer to experience the artist's dialogical relationship to the Black Star photographs, thus bringing these important historical objects into new focus within the multiple contexts of contemporary discourse.\u0026quot;}\" data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003eThe Image Centre, 2012\u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076370395147,"sku":"","price":35.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/ArchivalDialoguesCoverFINAL.jpg?v=1521139843"},{"product_id":"the-art-of-the-archive-ryerson-students-and-alumni","title":"The Art of the Archive: TMU Students and Alumni","description":"\u003cp\u003eThe works by students and recent graduates of the Toronto Metropolitan University School of Image Arts in this inaugural exhibition of The Image Centre deal with such varied subjects as the notion of family history, the evocation of childhood, the political history of the United States and the architectural standards of the spaces where archives are housed. More specifically, this diversity of themes reflects a common irrepressible desire: to explore the past by appropriating, reinterpreting and reproducing its emblematic objects in a manner that responds to what the French philosopher Jacques Derrida has called \"le mal d'archive\" or \"archive fever.\"\u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-userformat='{\"2\":4909,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;The works by students and recent graduates of the Ryerson University School of Image Arts in this inaugural exhibition of the Ryerson Image Centre deal with such varied subjects as the notion of family history, the evocation of childhood, the political history of the United States and the architectural standards of the spaces where archives are housed. More specifically, this diversity of themes reflects a common irrepressible desire: to explore the past by appropriating, reinterpreting and reproducing its emblematic objects in a manner that responds to what the French philosopher Jacques Derrida has called \\\u0026quot;le mal d'archive\\\u0026quot; or \\\u0026quot;archive fever.\\\u0026quot; By using archival images, depicting the structures that house them and exploiting their aesthetics, the participating artists investigate common notions of time, memory and history. Using their personal experiences as a point of departure, the artists contribute to a collective imagination through their creative experimentations. This booklet is the second in a series published by the RIC, and accompanies the exhibition The Art of the Archive, Ryerson Students and Alumni, curated by Gaelle Morel, Exhibitions Curator at the RIC. \u0026quot;}\"\u003eBy using archival images, depicting the structures that house them and exploiting their aesthetics, the participating artists investigate common notions of time, memory and history. Using their personal experiences as a point of departure, the artists contribute to a collective imagination through their creative experimentations.\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-userformat='{\"2\":4909,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;The works by students and recent graduates of the Ryerson University School of Image Arts in this inaugural exhibition of the Ryerson Image Centre deal with such varied subjects as the notion of family history, the evocation of childhood, the political history of the United States and the architectural standards of the spaces where archives are housed. More specifically, this diversity of themes reflects a common irrepressible desire: to explore the past by appropriating, reinterpreting and reproducing its emblematic objects in a manner that responds to what the French philosopher Jacques Derrida has called \\\u0026quot;le mal d'archive\\\u0026quot; or \\\u0026quot;archive fever.\\\u0026quot; By using archival images, depicting the structures that house them and exploiting their aesthetics, the participating artists investigate common notions of time, memory and history. Using their personal experiences as a point of departure, the artists contribute to a collective imagination through their creative experimentations. This booklet is the second in a series published by the RIC, and accompanies the exhibition The Art of the Archive, Ryerson Students and Alumni, curated by Gaelle Morel, Exhibitions Curator at the RIC. \u0026quot;}\"\u003eThis booklet is the second in a series published by the RIC, and accompanies the exhibition \u003cem\u003eThe Art of the Archive, TMU Students and Alumni,\u003c\/em\u003e curated by Gaelle Morel, Exhibitions Curator at the IMC.\u003c\/span\u003e \u003cbr\u003e \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eEditor\/Curator:\u003c\/strong\u003e Gaelle Morel\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eEssay Translator:\u003c\/strong\u003e James Gussen\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eThe Image Centre, 2012\u003cbr\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076431802379,"sku":"","price":5.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/ArtoftheArchive-web.jpg?v=1520543173"},{"product_id":"arthur-s-goss-works-and-days","title":"Arthur S. Goss: Works and Days","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}' data-sheets-value='{\"1\":2,\"2\":\"Guest Curators: Sarah Bassnett, Blake Fitzpatrick, John Bentley Mats\"}'\u003eThis book is the third in a series published by the RIC, and accompanies the exhibition \u003cem\u003eArthur S. Goss: Works and Days\u003c\/em\u003e, displayed in the University Gallery at The Image Centre from May to June 2 and June 19 to August 25, 2013.\u003c\/span\u003e \u003cbr\u003e \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}' data-sheets-value='{\"1\":2,\"2\":\"Guest Curators: Sarah Bassnett, Blake Fitzpatrick, John Bentley Mats\"}'\u003e\u003cstrong\u003eGuest Curators\u003c\/strong\u003e: Sarah Bassnett, Blake Fitzpatrick, and John Bentley Mats\u003cbr\u003e\u003c\/span\u003e \u003cbr\u003eThe Image Centre, 2013\u003cbr\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076494585867,"sku":"","price":5.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/ArthurSGossCover.jpg?v=1521139981"},{"product_id":"dispatch-war-photographs-in-print-1854-2008","title":"Dispatch: War Photographs in Print, 1854-2008","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eDISPATCH: War Photographs in Print, 1854-2008\u003c\/em\u003e examines the production of war photographs, the role of photojournalists, and their collaboration with picture editors in the press. From Roger Fenton's collodion plate photographs taken during the Crimean War (1853-1856) to Luc Delahaye's images of the recent conflict in Afghanistan (2001-present), the photographic representation of war has evolved dramatically in the occidental press over the past 150 years. By comparing original prints with their reproductions in magazines, and in exibiting other modes through which visual news is disseminated, \u003cem\u003eDISPATCH\u003c\/em\u003e reveals that taking a shot is only one step in the process of illustrating a war.\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Authors: Kate Addleman-Frankel, Thierry Gervais, Gaelle Morel, Paul Roth\"}' data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003ePicture editors and art directors have always selected, trimmed, ordered and sequenced war photographs to suit their particular needs. This exhibition views these photographs not as windows open to the world, but as representations that are the product of changing editorial figures, aesthetic priorities and historical contexts.\u003c\/span\u003e \u003cbr\u003e \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Authors: Kate Addleman-Frankel, Thierry Gervais, Gaelle Morel, Paul Roth\"}' data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e: Kate Addleman-Frankel, Thierry Gervais, Gaelle Morel, and Paul Roth\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Authors: Kate Addleman-Frankel, Thierry Gervais, Gaelle Morel, Paul Roth\"}' data-sheets-userformat='{\"2\":4905,\"3\":[null,0],\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003eThe Image Centre, 2014\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076570968075,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/Dispatch_Cover.png?v=1521140575"},{"product_id":"the-faraway-nearby","title":"The Faraway Nearby","description":"\u003cp\u003e\u003cem\u003eThe Faraway Nearby: Photographs of Canada from The New York Times\u003c\/em\u003e \u003cem\u003ePhoto Archive \u003c\/em\u003epresents a century of Canadian history through photographs published in the United States’ “newspaper of record.” The book and related exhibition are drawn from a collection of nearly 25,000 photographs of Canadian subject matter from The New York Times Photo Archive, now at The Image Centre. Texts by an international team of authors explore how Canada’s visual identity was constructed—both from within and without—through the dissemination of images of major political events, iconic landscapes, notable figures, and the lives of everyday Canadians.\u003cbr\u003e \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eEditors\u003c\/strong\u003e: Denise Birkhofer and Gerald McMaster\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"The Faraway Nearby: Photographs of Canada from The New York Times presents a century of Canadian history through photographs published in the United States’ “newspaper of record.” The book and related exhibition are drawn from a collection of nearly 25,000 photographs of Canadian subject matter from The New York Times Photo Archive, now at the Ryerson Image Centre. Texts by an international team of authors explore how Canada’s visual identity was constructed—both from within and without—through the dissemination of images of major political events, iconic landscapes, notable figures, and the lives of everyday Canadians.\"}' data-sheets-userformat='{\"2\":15139,\"3\":[null,0],\"4\":[null,2,16777215],\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"14\":[null,2,0],\"15\":\"Times New Roman\",\"16\":10}'\u003eBlack Dog Publishing in partnership with The Image Centre, 2017\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076632801291,"sku":"","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/NYT_Cover.jpg?v=1520543318"},{"product_id":"human-rights-human-wrongs","title":"Human Rights Human Wrongs","description":"\u003cp\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"Using the 1948 Universal Declaration of Human Rights as a point of departure, HUMAN RIGHTS HUMAN WRONGS examines whether images of political struggle, suffering and victims of violence work for or against humanitarian objectives, especially when considering questions of race, representation, ethical responsibility and the cultural position of the photographer. Warning: Please be aware, this publication contains photographs that may be disturbing to viewers due to the graphic or violent nature of the subject matter. Viewer discretion and parental guidance are advised.\"}' data-sheets-userformat='{\"2\":4925,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003eUsing the 1948 Universal Declaration of Human Rights as a point of departure, \u003cem\u003eHUMAN RIGHTS HUMAN WRONGS\u003c\/em\u003e examines whether images of political struggle, suffering and victims of violence work for or against humanitarian objectives, especially when considering questions of race, representation, ethical responsibility and the cultural position of the photographer. \u003cbr\u003e\u003c\/span\u003e \u003cbr\u003eWarning: Please be aware, this publication contains photographs that may be disturbing to viewers due to the graphic or violent nature of the subject matter. Viewer discretion and parental guidance are advised. \u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eCurator:\u003c\/strong\u003e Mark Sealy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAssisted by Valerie Matteau\u003c\/span\u003e \u003cbr\u003eThe Image Centre, 2013\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis product is only available by cash donation at the The Image Centre\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4076780847115,"sku":"","price":10.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/HRHW_Cover.png?v=1520542925"},{"product_id":"robert-burley-the-disappearance-of-darkness","title":"Robert Burley: The Disappearance of Darkness","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"In the brief time Robert Burley spent documenting the industrial infrastructure supporting analog photography, the world embraced a digital age. Suddenly a global population abandoned their film cameras and began to create and share photographs using data-driven devices. Companies such as Kodak and Polaroid were reduced to shadows of their former selves as they attempted to adapt to this new era. Burley traveled the world to make photographic records of the places and events that marked this technological transition, understanding along the way that his own medium and art form was changing as well. Seventy-one of his atmospheric, large-format photographs transport viewers to rarely seen sites where the alchemy of the photographic process was practiced over the last century - from the Polaroid plant in Waltham, Massachusetts, to the Kodak-Pathe plant in Chalon-sur-Saone, France, the birthplace of photography itself. As both fine art and documentary, The Disappearance of Darkness is an elegiac reflection on the resilience of traditional art forms in the digital era and a vital commemoration of a century-old industry that seems to have disappeared overnight.\"}' data-sheets-userformat='{\"2\":4925,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003eIn the brief time Robert Burley spent documenting the industrial infrastructure supporting analog photography, the world embraced a digital age. Suddenly a global population abandoned their film cameras and began to create and share photographs using data-driven devices. Companies such as Kodak and Polaroid were reduced to shadows of their former selves as they attempted to adapt to this new era. Burley traveled the world to make photographic records of the places and events that marked this technological transition, understanding along the way that his own medium and art form was changing as well. Seventy-one of his atmospheric, large-format photographs transport viewers to rarely seen sites where the alchemy of the photographic process was practiced over the last century - from the Polaroid plant in Waltham, Massachusetts, to the Kodak-Pathe plant in Chalon-sur-Saone, France, the birthplace of photography itself. As both fine art and documentary, \u003cem\u003eThe Disappearance of Darkness \u003c\/em\u003eis an elegiac reflection on the resilience of traditional art forms in the digital era and a vital commemoration of a century-old industry that seems to have disappeared overnight.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"In the brief time Robert Burley spent documenting the industrial infrastructure supporting analog photography, the world embraced a digital age. Suddenly a global population abandoned their film cameras and began to create and share photographs using data-driven devices. Companies such as Kodak and Polaroid were reduced to shadows of their former selves as they attempted to adapt to this new era. Burley traveled the world to make photographic records of the places and events that marked this technological transition, understanding along the way that his own medium and art form was changing as well. Seventy-one of his atmospheric, large-format photographs transport viewers to rarely seen sites where the alchemy of the photographic process was practiced over the last century - from the Polaroid plant in Waltham, Massachusetts, to the Kodak-Pathe plant in Chalon-sur-Saone, France, the birthplace of photography itself. As both fine art and documentary, The Disappearance of Darkness is an elegiac reflection on the resilience of traditional art forms in the digital era and a vital commemoration of a century-old industry that seems to have disappeared overnight.\"}' data-sheets-userformat='{\"2\":4925,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"In the brief time Robert Burley spent documenting the industrial infrastructure supporting analog photography, the world embraced a digital age. Suddenly a global population abandoned their film cameras and began to create and share photographs using data-driven devices. Companies such as Kodak and Polaroid were reduced to shadows of their former selves as they attempted to adapt to this new era. Burley traveled the world to make photographic records of the places and events that marked this technological transition, understanding along the way that his own medium and art form was changing as well. Seventy-one of his atmospheric, large-format photographs transport viewers to rarely seen sites where the alchemy of the photographic process was practiced over the last century - from the Polaroid plant in Waltham, Massachusetts, to the Kodak-Pathe plant in Chalon-sur-Saone, France, the birthplace of photography itself. As both fine art and documentary, The Disappearance of Darkness is an elegiac reflection on the resilience of traditional art forms in the digital era and a vital commemoration of a century-old industry that seems to have disappeared overnight.\"}' data-sheets-userformat='{\"2\":4925,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\"}'\u003e\u003cstrong\u003eContributor\u003c\/strong\u003e: Robert Burley\u003cbr\u003e\u003cbr\u003ePrinceton Architectural Press, 2014\u003c\/span\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4077110460427,"sku":"","price":50.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/DisappearanceOfDarkness_cover_4.jpeg?v=1520544988"},{"product_id":"the-edge-of-the-earth-climate-change-in-photography-and-video","title":"The Edge of the Earth: Climate Change in Photography and Video","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Increasingly and forebodingly, artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. The Edge of the Earth: Climate Change in Photography and Video features recent and historic work by a range of pioneering and visionary artists. Questioning traditional views and challenging our environmental consciousness, this in-depth publication and accompanying exhibition attempt to foster a reconsideration of climate change, envisioning the present crises and future consequences of humanity's harsh imprint on our planet.\u0026quot;}\" data-sheets-userformat='{\"2\":13117,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\",\"16\":10}'\u003eIncreasingly and forebodingly, artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. \u003cem\u003eThe Edge of the Earth: Climate Change in Photography and Video\u003c\/em\u003e features recent and historic work by a range of pioneering and visionary artists. Questioning traditional views and challenging our environmental consciousness, this in-depth publication and accompanying exhibition attempt to foster a reconsideration of climate change, envisioning the present crises and future consequences of humanity's harsh imprint on our planet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Increasingly and forebodingly, artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. The Edge of the Earth: Climate Change in Photography and Video features recent and historic work by a range of pioneering and visionary artists. Questioning traditional views and challenging our environmental consciousness, this in-depth publication and accompanying exhibition attempt to foster a reconsideration of climate change, envisioning the present crises and future consequences of humanity's harsh imprint on our planet.\u0026quot;}\" data-sheets-userformat='{\"2\":13117,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\",\"16\":10}'\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e: Benedicte Ramade, Paul Roth, TJ Demos\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Increasingly and forebodingly, artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. The Edge of the Earth: Climate Change in Photography and Video features recent and historic work by a range of pioneering and visionary artists. Questioning traditional views and challenging our environmental consciousness, this in-depth publication and accompanying exhibition attempt to foster a reconsideration of climate change, envisioning the present crises and future consequences of humanity's harsh imprint on our planet.\u0026quot;}\" data-sheets-userformat='{\"2\":13117,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\",\"16\":10}'\u003e\u003cstrong\u003ePublishers:\u003c\/strong\u003e Black Dog Publishing in partnership with The Image Centre, 2016\u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4077172523019,"sku":"","price":40.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/TheEdgeOfTheEarth-web.jpg?v=1520545405"},{"product_id":"wendy-snyder-macneil-the-light-inside","title":"Wendy Snyder MacNeil: The Light Inside","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This publication and accompanying exhibition brings renewed attention to the art and influence of pioneering American photographer and educator Wendy Snyder MacNeil (b. 1943), whose archive is preserved at the Ryerson Image Centre. MacNeil's austere, compelling images contributed significantly to the North American photography scene during the 1970s and 1980s. Restlessly experimental, she strove to portray complex identity and forge a more direct engagement between subject and viewer by pushing the formal boundaries of portraiture.\u0026quot;}\" data-sheets-userformat='{\"2\":15165,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"14\":[null,2,3355443],\"15\":\"Times New Roman\",\"16\":10}'\u003eThis publication and accompanying exhibition brings renewed attention to the art and influence of pioneering American photographer and educator Wendy Snyder MacNeil (b. 1943), whose archive is preserved at the The Image Centre. MacNeil's austere, compelling images contributed significantly to the North American photography scene during the 1970s and 1980s. Restlessly experimental, she strove to portray complex identity and forge a more direct engagement between subject and viewer by pushing the formal boundaries of portraiture.\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This publication and accompanying exhibition brings renewed attention to the art and influence of pioneering American photographer and educator Wendy Snyder MacNeil (b. 1943), whose archive is preserved at the Ryerson Image Centre. 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Restlessly experimental, she strove to portray complex identity and forge a more direct engagement between subject and viewer by pushing the formal boundaries of portraiture.\u0026quot;}\" data-sheets-userformat='{\"2\":15165,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"14\":[null,2,3355443],\"15\":\"Times New Roman\",\"16\":10}'\u003e\u003cstrong\u003eEditor\u003c\/strong\u003e: Shannon Anderson\u003cbr\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e: George Lange, Steve Marx, Eugenia Parry, Paul Roth, and Don Snyder\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;This publication and accompanying exhibition brings renewed attention to the art and influence of pioneering American photographer and educator Wendy Snyder MacNeil (b. 1943), whose archive is preserved at the Ryerson Image Centre. 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Restlessly experimental, she strove to portray complex identity and forge a more direct engagement between subject and viewer by pushing the formal boundaries of portraiture.\u0026quot;}\" data-sheets-userformat='{\"2\":15165,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"14\":[null,2,3355443],\"15\":\"Times New Roman\",\"16\":10}'\u003eThe Image Centre, 2016\u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":4077224067083,"sku":"","price":10.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/Wendy_Snyder_Macneil_Cover.png?v=1520543766"},{"product_id":"what-it-means-to-be-seen-photography-and-queer-visibility-zanele-muholi-faces-and-phases","title":"What It Means To Be Seen: Photography and Queer Visibility \/ Zanele Muholi: Faces and Phases","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Within LGBTQ communities, the camera has historically served several critical functions. 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This publication, issued alongside the Ryerson Image Centre's Summer 2014 exhibition season on the occasion of WorldPride 2014 Toronto, explores significant aspects of photography's function within and without queer culture over the last seventy-five years.\u0026quot;}\" data-sheets-userformat='{\"2\":13117,\"3\":[null,0],\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":[null,2,0]},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"11\":4,\"12\":0,\"15\":\"Times New Roman\",\"16\":10}'\u003eWithin LGBTQ communities, the camera has historically served several critical functions. 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This publication, issued alongside The Image Centre's Summer 2014 exhibition season on the occasion of WorldPride 2014 Toronto, explores significant aspects of photography's function within and without queer culture over the last seventy-five years.\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #ccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;Within LGBTQ communities, the camera has historically served several critical functions. 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The out-of-focus quality of her photographs transforms them into a stream of consciousness, generating a sense of collective memory. She considers this approach “a representation of our experience: a continuous prodding into something that escapes us continuously.”\u003c\/p\u003e\n\u003cp\u003eTurning away from the single image shown on the wall, her photographs are displayed inside cabinets, in portfolios or on sliding panels. This method creates new viewing possibilities, opens up narrative potential, and pushes the concept of the archive to reveal its potentially endless thematic categories and points of entry. 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The questions Lake raises are as relevant now, in the superficial age of social media, as ever before.\u003c\/p\u003e\n\u003cp\u003ePublished by Steidl \u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":20527113371702,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/scotiabank-photography-award-suzy-lake-ryerson-image-center-001.jpg?v=1559662659"},{"product_id":"the-black-star-collection-card-set","title":"Black Star Collection: Card Set","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis card set includes ten 5x7\" folded cards with envelopes, each featuring a photograph reproduction from the Black Star Collection. To preserve the historical accuracy of the original captions, American spelling, grammatical errors and outdated language have been maintained.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Black Star Collection\u003cbr\u003e\u003c\/strong\u003eAssembled over a period of eighty years at the Black Star photo agency in New York City, the photographs in the Black Star Collection represent the personalities, events, and conflicts of the twentieth century. The collection, acquired in 2005 for Toronto Metropolitan University, comprises nearly 300,000 photographs by more than 6,000 different image-makers, including many seminal figures of twentieth-century photojournalism. 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For decades he has reinvigorated street photography and reportage through keen observation and an empathetic eye for social subjects. Initially a painter and filmmaker, Waddell brings questions about the very notion of realism to picture-making. He often references pictorial histories, such as early photography or classical painting, acknowledging that observation is informed by recognition and an unconscious awareness of existing images.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWorking with both analogue and digital tools, Waddell’s highly considered approach involves experimenting continuously with new processes and materials. The subtlety of his photography is amplified by a painterly sensibility that emphasizes qualities of light. Illumination becomes a reference to photographic perception as well as to human vision. Consistent across his work are close affinities between a print’s subject matter and its material qualities. At times, Waddell’s layered images allude to the act of photography itself—as evident in his large gelatin silver prints depicting underground caverns lit from within.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWaddell takes on the challenges of having single images carry dense meaning. Looking at one of his mise-en-scènes is a richly rewarding sensory experience, as close scrutiny animates uncanny details. While his images are to some extent staged, chance elements infiltrate each picture. He finesses the dynamic between controlled and wild elements in images at once precise and ambiguous.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHelga Pakasaar\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExhibition\u003cbr\u003eRyerson Image Centre, Toronto, September 16–November 28, 2020\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCo-published by Steidl and Scotiabank Photography Award, Toronto\u003cbr\u003ePublished 04\/2020\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e228 pages, 120 images\u003cbr\u003eHardback\u003cbr\u003e24.6 x 30.5 cm\u003cbr\u003eEnglish\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":32811907219510,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/stephen-waddell-scotiabank-photography-award-005.jpg?v=1601479206"},{"product_id":"scotiabank-photography-award-dana-claxton","title":"Scotiabank Photography Award: Dana Claxton","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book consolidates our understanding of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/steidl.de\/Artists\/Dana-Claxton-1422344347.html\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/steidl.de\/Artists\/Dana-Claxton-1422344347.html\"\u003eDana Claxton\u003c\/a\u003e’s dominant and recurring themes—indigenous history, culture, beauty and spirituality. While Claxton’s art often alludes to the destructive legacy of colonialism, it also celebrates the resurgence of First Nations’ presence and contemporary identity. What emerges is an artist delivering works of ever greater power and conviction. With her expansive and genre-defying practice—photography, videos, mixed-media installations, text works, performances and curatorial work—she continues to critically reimagine the space of the gallery to be accessible for wider Indigenous audiences and to uphold new understandings of beauty.\u003c\/p\u003e\n\u003cdiv class=\"col-sm-12 col-md-6 col-md-push-1\"\u003e\n\u003cdiv class=\"authorBiography\"\u003e\n\u003cp\u003eBorn in 1959, Dana Claxton is Lakota Hunkpapa Sioux and her family reserve is Wood Mountain Lakota First Nations. Claxton is a critically acclaimed, award-winning artist and filmmaker, working across film, video, photography, single and multi-channel video installation and performance art. 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She is Head and Associate Professor in the Department of Art History, Visual Art and Theory at the University of British Columbia.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExhibition\u003cbr\u003eThe Image Centre, Toronto, September 15–December 4, 2021\u003c\/p\u003e\n\u003cp\u003eCo-published by Steidl and Scotiabank Photography Award, Toronto\u003cbr\u003ePublished 06\/2021\u003c\/p\u003e\n\u003cp\u003e214 pages, 157 images\u003cbr\u003eHardback\u003cbr\u003e24.8 x 30.5 cm\u003cbr\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":39709183475766,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/ScreenShot2021-09-27at4.12.58PM.png?v=1633020022"},{"product_id":"since-1839-eleven-essays-on-photography","title":"Since 1839... Eleven Essays on Photography","description":"\u003cp\u003e\u003cstrong\u003eBy: Clément Chéroux\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated by: Shane B. Lillis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEssays on a range of photographic topics by the recently appointed chief curator of photography at MoMA.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis volume offers a selection of essays by the renowned photography historian Clément Chéroux. Chéroux, appointed chief curator of photography at the Museum of Modern Art (MoMA) in New York in 2020, takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. The texts, published together in one volume for the first time and newly translated into English, reflect the breadth of Chéroux's thinking, the rigor of his approach, and his endless curiosity about photographs.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9\/11, Chéroux shows that the same six images were seen again and again in the press. 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Miller\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe recreation of a landmark in 1930s documentary photography.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe 1939 book\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChanging New York\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Berenice Abbott, with text by Elizabeth McCausland, is a landmark of American documentary photography and the career-defining publication by one of modernism's most prominent photographers. Yet no one has ever seen the book that Abbott and McCausland actually planned and wrote. In this book, art historian Sarah M. Miller recreates Abbott and McCausland's original manuscript for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChanging New York\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby sequencing Abbott's one hundred photographs with McCausland's astonishing caption texts. This reconstruction is accompanied by a selection of archival documents that illuminate how the project was developed, and how the original publisher drastically altered it.\u003c\/p\u003e\n\u003cp\u003eMiller analyzes the manuscript and its revisions to unearth Abbott and McCausland's critical engagement with New York City's built environment and their unique theory of documentary photography. The battle over\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eChanging New York\u003c\/i\u003e, she argues, stemmed from disputes over how Abbott's photographs—and photography more broadly—should shape urban experience on the eve of the futuristic 1939 World's Fair. Ultimately it became a contest over the definition of documentary itself. Gary Van Zante and Julia Van Haaften contribute an essay on Abbott's archive and the partnership with McCausland that shaped their creative collaboration.\u003c\/p\u003e\n\u003cp\u003eCo-published with MIT Press\u003c\/p\u003e\n\u003cp\u003e450 pp. | 7 in x 9 in\u003cbr\u003e150 colour photos\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.photographynetwork.net\/books#:~:text=Author%3A%20Sarah%20M.,Miller\u0026amp;text=*Winner%20of%20inaugural%202021%20PN%20Book%20Prize!,-*%20Finalist%20for%20CAA's\u0026amp;text=The%201939%20book%20Changing%20New,of%20modernism's%20most%20prominent%20photographers.\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cstrong\u003eWinner of the 2021 Photography Network Book Prize\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cem\u003e\"The documentation of Abbott and McCausland’s original vision, and how that vision was muted and reworked by its publisher and federal sponsors, is both enraging and revelatory, and Miller’s commentary gives bold insight into how the project as it was originally intended articulated a new theory of documentary photography.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.collegeart.org\/programs\/awards\/barr-smaller-museums\" data-mce-href=\"https:\/\/www.collegeart.org\/programs\/awards\/barr-smaller-museums\" target=\"_blank\"\u003eWinner of the CAA's 2022 Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections and Exhibitions\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":39758878375990,"sku":"","price":45.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/RICBooks-4-Cover-ForWebsite.jpg?v=1636125007"},{"product_id":"the-birth-of-the-idea-of-photography","title":"The Birth of the Idea of Photography","description":"\u003cp\u003eBy: François Brunet \u003cbr data-mce-fragment=\"1\"\u003eTranslated by: Shane B. Lillis\u003c\/p\u003e\n\u003cp\u003eA milestone work that examines the democratic idea of photography and its expansion in common culture, particularly in the United States; generously illustrated.\u003cbr\u003e\u003cbr\u003eThis influential text by French historian and theorist François Brunet considers the invention and history of photography as the birth of an idea, rather than a new type of image. This “idea photography” combines a logical theme—that of an art without artistry—and the democratic political promise of an art for all. Officially endorsed by the 1839 French law on the daguerreotype, this idea reverberated throughout the nineteenth century in Europe and America. Brunet shows how emerging image technologies and practices in France and Britain were linked to this logical\/political construction of photography, from the earliest researches of Nicéphore Niépce, Louis-Jacques-Mandé Daguerre, and Henry Fox Talbot up to the turn of the twentieth century. The parallel development of the Kodak camera and Alfred Stieglitz's “straight” vision in the United States then fulfilled, while also depreciating, the utopian promise of photography for all. This history reached a provisional climax with the reflections on images by Ralph Waldo Emerson, Hippolyte Adolphe Taine, Sigmund Freud, Henri-Louis Bergson, and Charles Sanders Peirce, reflections that both demonstrated the novelty of photography and forecast many later debates on its technology and aesthetics.\u003cbr\u003e\u003cbr\u003eThe Birth of the Idea of Photography has been enriched with more than fifty photographs, reproduced in color, from North American and European collections. This edition also features a new preface by the author.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCo-published by: The Image Centre and the MIT Press, 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e304 pp. | 7 in x 9 in50 color illus.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":39758886731830,"sku":"","price":40.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/RICBooks-3-Cover-FINAL.jpg?v=1636125240"},{"product_id":"the-eye-of-history-when-images-take-positions","title":"The Eye of History: When Images Take Positions","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy: Georges Didi-Huberman\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAn exploration of the interaction of aesthetics and politics in Bertolt Brecht's “photoepigrams.”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFrom 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to “take a position” about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.\u003cbr\u003e\u003cbr\u003eDidi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams—a “documentary lyricism” that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing—a process Didi-Huberman calls a “dialectic of the monteur.” These works are examples of “the eyes of history”—when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e282 pp. | 7 in x 9 in\u003cbr\u003e49 b\u0026amp;w illus.\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":39758888960054,"sku":"","price":40.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/RICBooks-2-web.jpg?v=1636125426"},{"product_id":"the-public-life-of-photographs","title":"The \"Public\" Life of Photographs","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eEdited by: Thierry Gervais\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn exploration of the relationship between how photographs are made available to the public and how they are received and understood.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eDo we understand a photograph differently if we encounter it in a newspaper rather than a book? In a photo album as opposed to framed on a museum wall? The “Public” Life of Photographs explores how the various ways that photographs have been made available to the public have influenced their reception. The reproducibility of photography has been the necessary tool in the creation of a mass visual culture. This generously illustrated book explores historical instances of the “public” life of photographic images—tracing the steps from the creation of photographs to their reception.\u003cbr\u003e\u003cbr\u003eThe contributors—international curators and scholars from a range of disciplines—examine the emergence of photography as mass culture: through studios and public spaces; by the press; through editorial strategies promoting popular and vernacular photography; and through the dissemination of photographic images in the art world. The contributing authors discuss such topics as how photographic images became objects of appropriation and collection; the faith in photographic truthfulness; Life magazine's traveling exhibitions and their effect on the magazine's “media hegemony”; and the curatorial challenges of making vernacular photographs accessible in an artistic environment.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCo-published by: The Image Centre and the MIT Press, 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe “Public” Life of Photographs is the first volume in a series called RIC Books, which is co-published by the The Image Centre (IMC) and the \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMIT Press\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003eContributors: Geoffrey Batchen, Nathalie Boulouch, Heather Diack, André Gunthert, Sophie Hackett, Vincent Lavoie, Olivier Lugon, Mary Panzer, Joel Snyder\u003c\/p\u003e\n\u003cp\u003e300 pp. | 7 in x 9 in\u003cbr\u003e45 color illus., 45 b\u0026amp;w illus.\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":39758892105782,"sku":"","price":40.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/RIC-Books-PublicLife-FrontCover.jpg?v=1636125708"},{"product_id":"sunil-gupta-from-here-to-eternity","title":"Sunil Gupta: From Here to Eternity","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"What does it mean to be a gay Indian man? This is the question that follows me around everywhere I go and is still ever present in my work\" - Sunil Gupta\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoint winner of the 2021 Kraszna-Krausz Photography Book Award\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFrom Here to Eternity\u003c\/em\u003e traces Sunil Gupta’s life through his personal archive: the snapshots, postcards, letters, posters, and news clippings collected during his long career in photography and activism. These fragments of ephemera are annotated with Gupta’s handwritten notes, mapping a four-decade-long journey investigating the question what does it mean to be a gay Indian man?\u003cbr\u003e\u003cbr\u003eMoments from protests, the black arts movement in Britain, the fight for representation in photography and beyond, and Gupta’s work around queer visibility in India are shared – alongside mementoes from friends, family and relationships. What emerges is a powerful, and deeply personal, record of the artist’s struggles, victories, and a life lived through the complex politics of social change.\u003cbr\u003e\u003cbr\u003ePublished to accompany the major exhibition From Here to Eternity: Sunil Gupta. A Retrospective at The Photographers’ Gallery, London 9 Oct 2020 – 24 Jan 2021; and touring to The Image Centre Gallery, Toronto autumn 2021.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAbout the artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBorn 1953 in New Delhi, India, Sunil Gupta relocated to Montreal, Canada, before studying at the Royal College of Art in London. He has been using photography as a critical practice since the 1970s, focusing on race, migration, and queer issues. Gupta’s work has been widely exhibited, and can be found in many private and public collections, including the George Eastman Museum (Rochester, USA), the Tokyo Metropolitan Museum of Photography (Japan), the Royal Ontario Museum (Toronto, Canada), the Tate (London, England), and the Museum of Modern Art (New York, USA).\u003cbr\u003e\u003cbr\u003eHe received his PhD from the University of Westminster, UK, and is a Visiting Tutor at the Royal College of Art.\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":40092658040886,"sku":"","price":25.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/products\/BGD_MN_19_85_SRC_HD.jpg?v=1651000662"},{"product_id":"ward-81-voices","title":"Ward 81: Voices","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWard 81\u003c\/em\u003e, photographed in 1976, was \u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003eMary Ellen Mark’s first independent long-term project. Mark and writer Karen Folger Jacobs set out to document the lives of the women in this locked ward at the Oregon State Hospital in Salem—the only one in the state. Every day for five weeks, Mark photographed and Jacobs interviewed the women on Ward 81. At night they slept in an empty adjacent ward.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWard 81: Voices\u003c\/em\u003e, an expanded edition of the original 1979 book, includes previously unpublished photographs, excerpts from interviews with patients and recorded conversations between Mark and Jacobs, as well as new essays examining the influence of their project.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWard 81\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas always been considered one of the best examples of Mark’s ability to portray subjects living on the edges of society with compassion. The inclusion of the women’s voices gives invaluable insight, not only into the lives of the patients, but also into Mark and Jacobs’ experiences and the challenges they faced during their collaboration.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExhibition: The Image Centre, Toronto, January 25–April 1, 2023\u003c\/p\u003e\n\u003cp\u003eMary Ellen Mark and Karen Folger Jacobs\u003cbr\u003eEdited by Martin Bell, Julia Bezgin and Meredith Lue\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by Steidl \u003cbr\u003e288 pages, 141 images\u003cbr\u003eHardback \/ Clothbound\u003cbr\u003e30.5 x 30.5 cm\u003cbr\u003eEnglish\u003cbr\u003eISBN 978-3-96999-013-1\u003cbr\u003e1. 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Working primarily with photography—both rediscovered and new, but also video, documentary film, sound, performance, publishing, found objects and installation art—Bowen introduces us to a re-reading of white historic and archival facts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCo-published by \u003cmeta charset=\"utf-8\"\u003eSteidl and Scotiabank Photography Award, Toronto\u003cbr\u003e234 pages, 390 images\u003cbr\u003eHardback\u003cbr\u003e24.8 x 30.5 cm\u003cbr\u003eEnglish\u003cbr\u003eISBN 978-3-96999-073-5\u003cbr\u003e1. 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In doing so, this volume illustrates how she uses the inherent mobility of images and the forces of diasporic thinking to bring disparate worlds together in poetic relation and create conditions for a different future.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFeatured works include \u003cem\u003eFugitive (Unbidden)\u003c\/em\u003e (2004), which calls up stereotypes imposed on Asian Canadians and Asian Americans through popular culture in the context of intergenerational histories of war; and \u003cem\u003eLong Time So Long\u003c\/em\u003e (2022), in which, wearing traditional Korean masks that have been fused with ubiquitous emojis, Yoon performs against the background of an industrial waste plant that is also a natural bird habitat, to reimagine new ways of being in relation to nature and one another.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCo-published by Steidl and Scotiabank Photography Award, Toronto\u003cbr\u003e228 pages, 230 images\u003cbr\u003eHardback\u003cbr\u003e24.8 x 30.5 cm\u003cbr\u003eEnglish\u003cbr\u003eISBN 978-3-96999-218-0\u003cbr\u003e1. 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Preserved at The Image Centre at TMU, the images include iconic stills of the American Civil Rights movement by Charles Moore, among thousands of ordinary photographs that were classified by theme in the agency's picture library. While the move of the collection from a corporate photo agency to a public cultural institution enables more access, researchers must still face the size of the collection, its structural organization, the materiality of the prints, and the lack of ephemera. Facing Black Star aims to fruitfully highlight this tension between research expectations and challenges.\u003c\/p\u003e\n\u003cp\u003eCoeditors Thierry Gervais and Vincent Lavoie have gathered local, national, and international researchers ranging from graduate students to established scholars and curators to illuminate the staggering range of the collection, from its disquieting record of the Nazis' rise to power to its visual archive of climate change. Each contribution highlights methodological, epistemological, and political issues inherent to conducting research in photographic archives and collections, such as indexing protocols and their impact on research, the photographic archive as a place of visibility and invisibility, and the photographic archive as a hermeneutic tool. Shedding new light on current issues in the theory and history of photography, this impressive volume containing 100 images will not only discuss the subjects portrayed in the photographs but will also address the history of photojournalism, the role of such a photographic archive in our Western societies, and ultimately photography as a medium.\u003c\/p\u003e\n\u003cp\u003eLike the other volumes of the IMC Books series (MIT Press\/The Image Centre [formerly the Ryerson Image Centre]), this publication will appeal as much to academics of visual history as it will to photography enthusiasts in general.\u003c\/p\u003e\n\u003cp\u003eCo-published by The Image Centre and the MIT Press, 2023\u003cbr\u003ePublished: June 13, 2023\u003cbr\u003e304 pp., 7 x 9 in, 100 color photos\u003cbr\u003eHardcover\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":40790224076854,"sku":"","price":45.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/IMCBooks-6-Cover-Front-HighRes.jpg?v=1686921119"},{"product_id":"scotiabank-photography-award-ken-lum","title":"Scotiabank Photography Award: Ken Lum","description":"\u003cp\u003e This book presents over four decades of\u003cspan\u003e Ken Lum\u003c\/span\u003e’s multidisciplinary practice, which spans conceptual art to installation and delves into universal themes of identity and urban life. Lum’s influential work, with its focus on cross-cultural dialogue and the complexities of the modern world, resonates globally—be it painting, sculpture, photography, or public art projects that engage with individual and collective identity in the context of historical trauma and the complications of memory. Shaped by a keen sense of humanity and a wide knowledge of history and literature, Lum is a visionary who has consistently challenged societal norms, the ruling classes, religious suppression and racism, among other horrors which we continue to inflict upon each other. This publication presents a sweep of Lum’s photographic series, at once descriptive and disruptive, personal and political, including “Portrait\/Logos” (1984–86), “Portrait\/Repeated Text Works” (1993 to present) and “Image Mirrors” (2021); as well as his work with Monument Lab, a public art project he co-founded with urban geographer Paul Farber which fosters critical conversation around the past, present and future of monuments.\u003c\/p\u003e\n\u003cp\u003ePublished by Steidl\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42597764530230,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/ken-lum-scotiabank-photography-award-2024-005_jpg.png?v=1715956216"},{"product_id":"spa-arnaud-maggs","title":"Scotiabank Photography Award: Arnaud Maggs","description":"\u003cp\u003eThis is the second in a series of annual publications published by Steidl celebrating the winner of the Scotiabank Photography Award, Canada’s largest contemporary photography award for an established Canadian artist. Scotiabank is a leader among Canadian corporations and is recognized internationally for its charitable donations and philanthropic activities. The award was established by photographer\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/steidl.de\/Artists\/Joseph-Beuys-0607101318.html\"\u003eJoseph Beuys\u003c\/a\u003e, 100 Profile Views (1980); Kunstakademie (1980); André Kertész, 144 Views (1980); Hotel (1991); Répertoire (1997); Contamination (2007); The Dada Portraits (2010) and his most recent series After Nadar (2012). Together they convey current theories related to the study of the history of photography, which stress the importance of using first generation objects as research tools to re-examine history.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/steidl.de\/Artists\/Arnaud-Maggs-0809184457.html?SID=JYHEVQ627f9b\"\u003eArnaud Maggs\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003ebrings viewers face to face with books, ephemera, and portrait studies, skilfully photographed, re-presented and gracefully shared with us as works of fine art.\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42987702878262,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/9783869305912_1_jpg.png?v=1724186325"},{"product_id":"scotiabank-photography-award-stan-douglas","title":"Scotiabank Photography Award: Stan Douglas","description":"\u003cdiv class=\"col-sm-12 col-md-3 col-md-push-1\"\u003e\n\u003cdiv class=\"authorAbstract\"\u003e\u003cstrong\u003eStan Douglas\u003c\/strong\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col-sm-12 col-md-6 col-md-push-1\"\u003e\n\u003cdiv class=\"authorBiography\"\u003e\n\u003cp\u003e\u003cem\u003eStan Douglas\u003c\/em\u003e, born in 1960, is a visual artist who lives and works in Vancouver. Since the late 1980s his films, videos and photographs have been seen in exhibitions internationally, including Documentas IX, X and XI and three Venice Biennales (1990, 2001, 2005). Douglas’s work has been the subject of numerous solo exhibitions at prominent institutions worldwide. Major museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Solomon R. Guggenheim Museum, New York, and the Tate Gallery, London. Stan Douglas is currently Core Faculty in the Graduate Department of the Art Center College of Design in California.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993264558134,"sku":null,"price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/9783869307480_1_jpg.png?v=1724249218"},{"product_id":"phil-bergerson-american-artifacts","title":"Phil Bergerson: American Artifacts","description":"\u003cdiv class=\"a-expander-content a-expander-partial-collapse-content a-expander-content-expanded\" data-expanded=\"true\"\u003e\n\u003cspan class=\"a-text-italic\"\u003eAmerican Artifacts\u003c\/span\u003e\u003cspan\u003e is a complex and poetic photographic portrait of America as it simmered its way through the first decade of the twenty-first century. It reflects that span of years some have called the “lost” decade. \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eAmerican Artifacts\u003c\/span\u003e\u003cspan\u003e is a personal exploration by an empathetic neighbor - the Canadian documentary photographer Phil Bergerson (Born Toronto, 1947).\u003cbr\u003e\u003cbr\u003eMuch like the discovery process of the archaeologist, Bergerson describes his photographic approach as sifting through the remains of a culture – sifting through the shards of artifacts left behind by a rushing humanity as it made its way through the streets of a tumultuous America. His book is a collection of these message shards - often ironic, sometimes full of pathos. All represent the concerns of a struggling humanity: their fears, desires, and hopes with many images vibrating between reality and metaphor. A variety of recurring themes are reflected in photographs of shop window displays, and in the objects and signs from the forgotten corners of hundreds of towns and cities he visited.\u003cbr\u003e\u003cbr\u003eIn organizing his 120 color photographs to best portray the complexity of America, Bergerson turned to the art of sequencing as his primary expressive, vehicle. Working in the sequencing traditions of Walker Evans, Robert Frank and Nathan Lyons, Bergerson has orchestrated the dynamic interplay between several inter-spliced themes in order to project their multi-layered meanings.\u003cbr\u003e\u003cbr\u003eThe book’s photographic sequence is bracketed by two powerful pieces of writing, beginning with Margaret Atwood’s brilliant writing on debt from \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003ePayback\u003c\/span\u003e\u003cspan\u003e, and ending with Nathan Lyons’ insightful essay on “Sequencing”.\u003cbr\u003e\u003cbr\u003ePhil Bergerson has photographed for over 30 years. His work has been exhibited internationally and is found in many prestigious collections, including the National Gallery of Canada, the Bibliotheque Nationale in Paris, and the Canadian Museum of Contemporary Photography. His photographs have been published in \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eThe New Yorker\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eThe New York Times Magazine\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eToronto Life\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eThe Walrus\u003c\/span\u003e\u003cspan\u003e Magazine, and his book, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eShards of America\u003c\/span\u003e\u003cspan\u003e was published in September 2004. From 1975 - 2007, Bergerson was a professor of photography at Toronto Metropolitan University in Toronto where he established and organized the annual international Kodak Lecture Series on photography. In 1979, he organized Canadian Perspectives, a National Conference on Photography in Canada, and in 1983, the first International Symposium on Photographic Theory. He has also arranged several photographic study trips to Europe and Asia.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"a-expander-header a-expander-partial-collapse-header\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993271734326,"sku":"","price":34.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/bergson_americanartifacts.webp?v=1724249297"},{"product_id":"ted-serios-the-minds-eye","title":"Ted Serios: The Mind's Eye","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eForeword by Paul Roth. Text by Mikita Brottman, Clément Chéroux, Mark Alice Durant, Emily Hauver, Ellie Howard, Beth Saunders.\u003c\/p\u003e\n\u003cp\u003eThe extraordinary story of the Chicago bellhop who attempted to transfer mental images to Polaroid film:\u003c\/p\u003e\n\u003cp\u003eOur thoughts are known to us, and us alone. But for a brief period in the 1960s, Ted Serios (1918–2006) attempted to prove that his inner reality could be documented. Serios demonstrated an ostensibly psychic act termed “thoughtography,” involving the transfer of mental images onto undeveloped Polaroid film. In studies supervised by respected Denver-based psychiatrist Dr. Jule Eisenbud, Serios produced over 1,000 anomalous photographs, a feat that has never been fully dismissed or wholly verified. Existing as an uncomfortable knot in time, the details of the Serios phenomenon can’t be disentangled without questioning the social conditions that produced it in the first place.\u003c\/p\u003e\n\u003cp\u003eContextualizing Serios’ story within the twilight zone of 1960s America,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTed Serios: The Mind’s Eye\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econsiders the reaches and restraints of belief and explores the multiple dimensions at play in the Serios phenomenon, including interpersonal relationships, scientific methods, photographic technologies, state militaristic operations and popular culture. Rather than seeking absolute truth, the volume allows the reader to arrive at their own conclusions through a series of thematic essays, narrative photographic stories, select ephemera and contemporary cultural artifacts. -Artbook\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993274355766,"sku":"","price":20.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/ted-serios-the-mind-s-eye-71.jpg?v=1724249425"},{"product_id":"ted-serios-the-minds-eye-copy","title":"Coded Territories","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis collection of essays provides a historical and contemporary context for Indigenous new media arts practice in Canada. The writers are established artists, scholars, and curators who cover thematic concepts and underlying approaches to new media from a distinctly Indigenous perspective.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThrough discourse and narrative analysis, the writers discuss a number of topics ranging from how Indigenous worldviews inform unique approaches to new media arts practice to their own work and specific contemporary works.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993279074358,"sku":null,"price":34.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/71kurS8zShL._SL1400.jpg?v=1724249547"},{"product_id":"scotiabank-photography-award-lynne-cohen","title":"Scotiabank Photography Award: Lynne Cohen","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLynne Cohen, born in 1944 in the US and living in Canada since 1973, has been photographing public and private interiors for the past four decades. She has exhibited extensively and has held major retrospectives in Canada, France and Switzerland. Cohen’s books include \u003c\/span\u003e\u003cem\u003eOccupied Territory\u003c\/em\u003e\u003cspan\u003e (1988), \u003c\/span\u003e\u003cem\u003eNo Man’s Land\u003c\/em\u003e\u003cspan\u003e (2001), \u003c\/span\u003e\u003cem\u003eCamouflage\u003c\/em\u003e\u003cspan\u003e (2005) and \u003c\/span\u003e\u003cem\u003eCover\u003c\/em\u003e\u003cspan\u003e (2009). She has received many awards, including the inaugural Scotiabank Photography Award (2011) and the Governor General’s Award in Visual and Media Arts (2005).\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993293197366,"sku":"","price":67.5,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/9783869304496_1_jpg.png?v=1724249824"},{"product_id":"ed-burtynsky-oil","title":"Burtynsky: Oil","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution.” \u003c\/span\u003e\u003ca href=\"https:\/\/steidl.de\/Artists\/Edward-Burtynsky-1033424853.html?SID=xyHVKUced73f\"\u003eEdward Burtynsky\u003c\/a\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":42993296474166,"sku":"","price":95.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/edward-burtynsky-oil-corcoran-005_jpg.png?v=1724249924"},{"product_id":"scanning-processing-fee-copy","title":"Scanning \u0026 Processing Fee (no tax)","description":"Per Item","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":43031818600502,"sku":null,"price":25.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"lee-miller-fashion-in-wartime-britain","title":"Lee Miller: Fashion in Wartime Britain","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"a-text-bold\"\u003eOne hundred photographs explore Lee Miller’s prolific fashion photography during World War II. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eLee Miller “has borne the whole weight of our studio production through the most difficult period in Brogue’s history,” wrote British \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eVogue\u003c\/span\u003e\u003cspan\u003e editor Audrey Withers in the summer of 1941. 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Lee Miller’s recently transcribed appointment diaries and accompanying text by British \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eVogue\u003c\/span\u003e\u003cspan\u003e Archives’s Robin Muir, fashion historian Amber Butchart, and Miller’s granddaughter, Ami Bouhassane, provide a wealth of new information about the artist's prolific wartime fashion portfolio. \u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":43079831945270,"sku":"","price":52.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/fashion-bookcover-square.jpg?v=1727283064"},{"product_id":"precarious-joys","title":"Precarious Joys","description":"\u003cp class=\"uppercase vendor__link\"\u003e\u003ci\u003ePrecarious Joys\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eaccompanies the 2024 edition of the Toronto Biennial of Art — a city-wide exhibition that this year focuses on artists’ responses to the impact of colonialism on everyday life. Featuring over 120 full-colour images of artwork — including works by Ahmed Umar, Charles Campbell, Dineo Seshee Bopape, Maria Hupfield, Sonia Boyce, Tessa Mars, and Winsom Winsom — as well as a series of conversations between artists, curators, activists, educators, and cultural organizers,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePrecarious Joys\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ehighlights the connections and common practices that appear across the art featured in the Biennial.\u003c\/p\u003e\n\u003cp class=\"uppercase vendor__link\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdited by Dominique Fontaine \u0026amp; Miguel A. 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Three authors lent themselves to the game of writing with different perspectives on Pocreau's work, making it vast and intriguing.\u003c\/p\u003e\n\u003cp\u003eFollowing an artistic residency at the Mont-Mégantic Observatory, the artist's relationship with art and, by extension, the world, was profoundly transformed. His attitude as a researcher leaves room for the indefinable and the impermanent through the beauty of the image.\u003c\/p\u003e\n\u003cp\u003e\"Despite spending a lot of time preparing for a scientific experience, on those glorious nights at the Observatory, beautiful even when it was cloudy, what I saw astounded me. 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Gutsche’s work often explores personal relationships, urban landscapes, architecture, and cultural values, with a focus on the realities behind appearances; in her words, “Whether I photograph people or uninhabited spaces, I attempt to map the inner landscape of emotions as well as describe specific places.” Notable series include “Milton Park” (1970–73), which aimed to save a threatened Montreal neighborhood; “Convents” (1990–2009), a deep dive into communities of nuns in Quebec; and commissions to document both crumbling industrial infrastructure and the construction of Montreal’s famed Canadian Centre for Architecture founded by Phyllis Lambert.\u003c\/p\u003e\n\u003cp\u003eCo-published with Scotiabank Photography Award, Toronto\u003c\/p\u003e\n\u003cp\u003e244 pages, 190 images\u003c\/p\u003e\n\u003cp\u003eHardback\u003cbr\u003e24.8 x 30.5 cm\u003c\/p\u003e\n\u003cp\u003eEnglish\u003c\/p\u003e\n\u003cp\u003eISBN 978-3-96999-452-8\u003cbr\u003e1. 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We discover the behind-the-scenes of a trip, the encounters that changed a life, the publication context of a legendary book, the political commitment of a photographer, or even the improbable scenario of an image that has become iconic.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAddressed to as much the reader who would like to discover documentary photography, as to the specialist who would like to complete his knowledge, \u003c\/span\u003e\u003cem\u003eMagnum Photos 75 Years\u003c\/em\u003e\u003cspan\u003e is a collection of anecdotes and singular stories which reveals a great fresco of this mythical press agency, thanks to the work led by the author Philippe Séclier. The book is also distinguished by its original shape: evoking photographs without ever showing them but only by summoning them through the text. You will have to unfold the front and back endpapers of the book to discover the images hidden inside...\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublisher: ‎XAVIER BARRAL\u003cbr\u003ePublication date: Sept. 15 2022\u003cbr\u003eLanguage: English\u003cbr\u003eISBN-10: ‎2365113370\u003cbr\u003eISBN-13: ‎978-2365113373\u003cbr\u003eItem weight: 468 g\u003cbr\u003eDimensions: ‎ 14.1 x 2.2 x 22.1 cm\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":43981597507638,"sku":null,"price":40.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/Screenshot2024-05-24at8.29.24PM.png?v=1754945989"},{"product_id":"tereska-and-her-photographer","title":"Tereska and Her Photographer","description":"\u003cp\u003e\u003cstrong\u003eA Story by Carole Naggar with Photographs by David \"Chim\" Seymour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTereska and Her Photographer: A Story\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis a photobook that presents a fictional story by Carole Naggar about the extraordinary parallel lives of Magnum photographer and co-founder David “Chim” Seymour and Tereska Adwentowska, a young Polish girl who was the subject of Chim’s most famous photograph.\u003c\/p\u003e\n\u003cp\u003eIn September 1948, while on assignment for UNICEF to report on Europe’s children, Chim photographed Tereska at a primary school in Warsaw, Poland. Millions of readers saw Tereska’s picture when it was published in \u003cem\u003eLife\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003emagazine in December of the same year, and were moved by her plight. She had received a shrapnel wound during the Wola massacre, and her image became emblematic of children’s fate during World War II. In the aftermath of the war, Chim tried to discover her full name and story. However, both Chim and Tereska met absurd deaths before ever meeting again.\u003c\/p\u003e\n\u003cp\u003eBased on historical facts,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTereska and her Photographer\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a fiction built as a small opera, where all the characters in Chim and Tereska’s lives bring their various voices to the narrative. They include: Tereska, Chim, Tereska’s parents (whose father was a Freedom Fighter during Warsaw’s Uprising), Doctor Stanislaw Wiktor Sierpiński (a survivor of Otwock’s massacre), Enrique Meneses, Jr. (a journalist who explored Chim and journalist Jean Roy’s deaths in Egypt), and several others. The book’s chronology is nonlinear, weaving vignettes from 1948 and the present with those from Chim’s youth and Tereska’s early childhood. David “Chim” Seymour’s photographs, along with several anonymous historical images, are inventively presented and arranged by award-winning book designer Ricardo Báez with striking typography by Juan Mercerón.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePLEASE NOTE: This book has an intentional hole that runs from the front cover to the back cover. It is part of the book’s inventive design and symbolizes how David “Chim” Seymour died—shot by Egyptian military at the Suez Canal.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarole Naggar\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ehas worked as a writer, curator, educator, and photography historian since 1971. She was a co-founder and special projects editor of Pixelpress (1999-2006) and is a regular contributor to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAperture\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emagazine (1988-present) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Lightbox\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2013-2017). She is currently the series editor for the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMagnum Legacy Biography\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseries, publishing biographies of Eve Arnold, Bruce Davidson and Inge Morath. She has published biographies of George Rodger, David “Chim” Seymour and Werner Bischof.\u003c\/p\u003e\n\u003cp\u003eAmong her recent publications are\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSaul Leiter: In My Room\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Steidl, 2018),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMagnum Photobook: Catalogue Raisonné\u003c\/em\u003e, with Fred Ritchin (Phaidon, 2017),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVoyage à Kyoto\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(PixelPress, 2015) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBruno Barbey: Passages\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(La Martinière, 2015). Her memoir\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRécits Instantanés\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill be published in 2019. She is currently working on a book of photographs by George Rodger on the Bergen-Belsen camp.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid “Chim” Seymour\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(born Dawid Szymin, 1911–1956) is known for his images from the Spanish Civil War, for co-founding Magnum Photos with Henri Cartier-Bresson, Robert Capa and George Rodger, and for his project “Children of War” with UNICEF that captured the plight of children in the aftermath of World War II. Seymour became president of Magnum after Capa’s death in 1954 and held this post until his own death in 1956 by Egyptian machinegun in the aftermath of the Suez Crisis.\u003c\/p\u003e\n\u003cp\u003ePublisher: ‎ Russet Lederman Inc.\u003cbr\u003ePublication date: ‎2019\u003cbr\u003eEdition: ‎ First Edition\u003cbr\u003eLanguage: ‎ English\u003cbr\u003eISBN-10: ‎ 0997359633\u003cbr\u003eISBN-13: ‎ 978-0997359633\u003cbr\u003eItem weight: ‎ 454 g\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":43981698498614,"sku":null,"price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/81oFQ6I743L._UF1000_1000_QL80.jpg?v=1754951009"},{"product_id":"magnum-a-world-of-photography","title":"Magnum: A World of Photography","description":"\u003cp\u003e\u003cem\u003eChock full of contact sheets, slides and notes, this exclusive look into the Magnum archives uncovers hidden treasures by Robert Capa, Eve Arnold, Leonard Freed and more\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eYou've seen that photo of James Dean in Times Square before you saw it on this book's cover. 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With each chapter dedicated to one photographer, from the firm's inception to the present day,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMagnum\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers a behind-the-scenes look into the archives of Robert Capa, Elliott Erwitt, Inge Morath, Leonard Freed and more.\u003c\/p\u003e\n\u003cp\u003eEdited by Felix Hoffmann\u003cbr\u003eText by Nadya Bair, and Renée Mussai\u003cbr\u003ePublished by: Steidl\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePublished with Foto Arsenal Wien\u003cbr\u003eImprint: Artbook \/ D.A.P.\u003c\/p\u003e","brand":"The Image Centre","offers":[{"title":"Default Title","offer_id":44242560876598,"sku":null,"price":60.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2808\/2580\/files\/Screenshot2025-10-21at3.52.08PM.png?v=1761076884"}],"url":"https:\/\/shop.theimagecentre.ca\/collections\/index.oembed?page=6","provider":"The Image Centre","version":"1.0","type":"link"}