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 Arthur S. Goss, June 13, 1930, St. Clair Ave. During his long tenure as Toronto’s official photographer, Arthur S. Goss created thousands of images that capture in minute detail the Victorian city’s ambitious re-invention of itself as a 20th-century Canadian metropolis. Goss is hardly unknown to Toronto gallery-goers: his telling pictures of slum dwellings, the destitute immigrants who populated them, and other dark elements of Toronto’s historical passage to modernity have been featured in local shows since 1980. Crafted in collaboration with the City of Toronto Archives, this exhibition is focused on the aspect of Goss’ work that occupied most of his time and creative energy—the routine production of visual documents for city departments and agencies.
This guest post by Samantha Detwiler is brought to you by CONTACT festival. For the complete schedule of events and exhibition, visit www.scotiabankcontactphoto.com.
 © Edward Burtynsky The Canadian Museum of Nature in Ottawa will be featuring Edward Burtynsky’s Oil from June 1 to September 2. These 50 large-scale beautiful (and sometimes disturbing) images document the life cycle of oil and illustrate its influence on our culture.
Samsung has released the source code for the NX2000 and NX300 mirrorless cameras. They are the first major manufacturer to release their source code to the public. Open source means that the code is available to anyone who wants to download it and make modifications. Programmers can tweak and add features, share the results, and maintain and update the code to keep the system current long-term.
 Sara Angelucci, Aviary (Heath Hen/extirpated), 2013 Photography provides a record of history but also offers a unique mode of storytelling. But what happens when the history of a photograph is forgotten or when no one is left to tell its story and darkness is all that remains? In Provenance Unknown, Toronto-based artist Sara Angelucci offers a space of contemplation between what is knowable about the human form in the photograph, and what can be imagined from the other side.
This guest post by Samantha Detwiler is brought to you by CONTACT festival. For the complete schedule of events and exhibition, visit www.scotiabankcontactphoto.com.
 Smoke on the Water 2013 © Neil Dankoff Through June 23, Lonsdale Gallery in Toronto is presenting Neil Dankoff’s Reflections of Camp. Having attended summer camp as a youth, the artist celebrates six camps in Northern Ontario with this work: Camp Arowhon, Camp Tamakwa, Camp Tamarack, Camp Timberlane, Camp Walden and Camp White Pine. Reflections of Camp captures the beauty of nature and kindles memories of weeks spent at summer camp.
 Martin Parr, GB, Scotland, Isle of Mull, Ulva, 2008, © Martin Parr / Magnum Photos For this new commissioned series, Parr toured through several of Toronto’s food-centric shopping locations and created a portrait of the city through the tastes we share. Stops included the historic St. Lawrence and Kensington markets, of significance to many of the city’s immigrant communities, past and present. The tour also brought the artist to Chinatown and the organic farmer’s market at Dufferin Grove Park. Popping in and out of big-box stores and tiny food stalls, camera in hand, Parr followed his ravenous documentary instinct, snapping away at products on the shelves and on the plates of hungry diners.
This guest post by Samantha Detwiler is brought to you by CONTACT festival. For the complete schedule of events and exhibition, visit www.scotiabankcontactphoto.com.
 © Barbara Cole Bau-Xi Gallery in Vancouver is presenting Barbara Cole’s Underworld through June 1. The Toronto-based artist explores figure transformation in her work and has been photographing the human figure in the medium of water over the last decade. Cole explains, “Photography affords me the ability to play with notions of time and place. By seeing through water, rather than through air, I am able to re-envision the nature of our relationship to our surroundings.”
 Arnaud Maggs, Kunstakademie (detail 361), 1980, gelatin silver print, courtesy of Susan Hobbs Gallery In Arnaud Maggs (Steidl, 2013), Maia-Mari Sutnik notes that Maggs “achieved a landmark” with his portrait work in 1980. Assembled into a large-scale grid installation—a format now synonymous with the artist—Kunstakademie is a series of 148 black-and-white frontal and profile-view portraits of students at the Staatliche Kunstakademie in Düsseldorf, Germany. These austere presentations are both a taxonomy of the human face and a visual archive of a student group associated with a now-famous school closely linked to the history of conceptual art.
This guest post by Samantha Detwiler is brought to you by CONTACT festival. For the complete schedule of events and exhibition, visit www.scotiabankcontactphoto.com.
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