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 Adam Broomberg & Oliver Chanarin, Shirley 1, 2013. Broomberg and Chanarin’s billboards bring Shirley out of history and into a sea of contemporary consumer imagery. The portraits are juxtaposed with a graphic play of tonal and colour scales, and overlaid with the label “normal.” The new images hijack the representational space of urban advertising to raise questions about the relationship between the social and the technical, and the possibility that politics is bound up with our material history.
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.
 Andrew Wright, Untitled Photograph #4, 2013. Courtesy of the artist and Patrick Mikhail Gallery. Nox Borealis (2012) is perhaps the most surprising and difficult-to-fathom work in Penumbra. Despite the generous size of these large-format, nearly 1:1 ratio images taken in Iqaluit, we can see very little. They are almost completely black, challenging our stereotype of the “Great White North.” Equally disorienting is Wright’s decision to present these monoliths as self-supporting sculptures standing in the middle of the gallery, rather than hanging on the wall. What these works are supposed to be, show, or obscure, and how they were made, remain open questions. However we respond to such specific puzzles, all of Wright’s images extend our field of vision simply, magically, and profoundly.
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.
 Sara Angelucci, Aviary (Red-headed Woodpecker/endangered), 2013 In Aviary, Angelucci adapts known photographic genres and biological taxonomies to entirely new fictional ends. In this work she reveals other species not yet known to any system of taxonomy, suspended photographically in a state of perpetual becoming. Aviary’s photographs originate from several collections of popular Victorian-era cartes de visite and cabinet card portrait photographs. These historical documents are meticulously interwoven with details from images Angelucci took of extinct and endangered North American birds preserved in the Royal Ontario Museum’s ornithology collection.
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.
 Canadian photographer Stan Douglas is named the 2013 Scotiabank Photography Award winner. (L to R) Scotiabank President Brian Porter, renowned Canadian photographic artist Edward Burtynsky, 2013 Scotiabank Photography Award Winner Stan Douglas and Globe and Mail Arts and Life Editor Gabe Gonda. (CNW Group/Scotiabank) TORONTO, May 16, 2013 /CNW/ – Scotiabank is thrilled to announce that Vancouver’s Stan Douglas has been named winner of the third annual Scotiabank Photography Award. The tightly guarded secret was revealed at a ceremony held Thursday evening at Toronto’s Ryerson Image Centre. The prestigious prize provides the winner with $50,000 in cash, a primary Scotiabank CONTACT Photography Festival exhibition in 2014 and book to be published worldwide by international art publisher Steidl. The Scotiabank Photography Award is Canada’s largest annual peer reviewed celebration of excellence in Canadian contemporary photography.
“Stan Douglas has helped define and enrich the Canadian art and photography landscape with his outstanding artwork,” said Edward Burtynksy, Chair of the Scotiabank Photography Award jury and co-founder of the award. “He has pushed the limits of contemporary photography and will continue to have an incredible impact on the world of photography both here in Canada and abroad. He joins an exclusive group that includes Lynne Cohen and the late Arnaud Maggs as winners of this award. ” Continue reading →
 JJ Levine, Elisha 2012, from the series Queer Portraits Queer Portraits is a series of colour photographs that capture the relationships Levine has with their community of friends, lovers, and siblings. The portraits are shot in domestic settings and are characterized by saturated colours and discursive backgrounds. Levine’s own identity informs their approach to gender, sexuality, and queer space; and the resulting project expresses fierceness, beauty, and resistance through the confrontational gaze of the subjects and the aesthetic of their queer culture.
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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