New Entries

This section enables you to view documents recently put online: articles and essays written specifically for the Web or reposted from recent issues, reactions to articles that have appeared on the website or in the magazine, complete content of previous issues, new reviews, and more. A great way to keep up! All of these articles may also be consulted elsewhere on the website according to section and category.

  • Linda-Marlena Bucholtz Ross, Lumber, 2010, impression jet d’encre, 89 cm x 131 cm. © Linda-Marlena Bucholtz Ross

    Linda-Marlena Bucholtz Ross, La beauté sauvage des chantiers de Montréal – Dan Antonat

    September 11, 2017 [originally published in French in CV92 in Fall 2012] — You can read it by switching over to the French version of this page.

  • Martha Langford and John Langford, A Cold War Tourist and His Camera, McGill-Queen’s University Press, 2011, 196 p

    Martha Langford and John Langford, A Cold War Tourist and His Camera – Peter White

    September 7, 2017 [originally published in CV92 in Fall 2012] — On the one hand, there are the snaps by career civil servant Warren Langford who, in 1963, unaccountably found himself part of domestic and overseas military-civilian familiarization tours of Cold War hot spots.1 On the other hand, there are his daughter Martha, an authority in the scholarly study of vernacular photography, and son John, a political scientist whose expertise includes public sector ethics…

  • Benoit Aquin, La motocyclette, Mongolie-Intérieure, Chine, 2006, © Benoit Aquin, courtesy of Stephen Bulger Gallery

    Stephen Bulger, The State of the Contemporary Photography Market – Jacques Doyon

    September 5, 2017 [originally published in CV92 in Fall 2012] — Stephen Bulger studied at Ryerson University in Toronto. He was the founding director of the Ryerson Gallery, where he managed over thirty exhibitions. in 1994, he opened the Stephen Bulger gallery to exhibit and sell contemporary and historical photographs, with a special emphasis on the documentary tradition and Canadian historical photographs.

  • Edward Burtynsky, Oil Refineries #3, Oakville, Ontario, Canada, 1999, épreuve chromogénique / c-print, permission de l’artiste / courtesy of the artist © Edward Burtynsky

    Edward Burtynsky, Oil – Sylvain Campeau, Between the Perceptible and the Ethical

    August 28, 2017 [originally published in CV91 in Spring 2012] — The images are supreme. Of rather respectable dimensions – when they are not downright immense – and brightly coloured, they please us, dazzle us, force us to admire them. They show landscapes, openings into our immediate environment. But this environment does not have the bucolic accents of yore, for it is increasingly occupied by signs of exploitation of natural resources. Its wild – truly wild ...

  • Meyer, Photo-montage mad in india, Inde, 2008. © Meyer

    Tendance Floue : MAD IN INDIA – Bruno Chalifour, A Future to Define

    August 23, 2017 [originally published in CV91 in Spring 2012] — Tendance Floue is a collective of French photographers open to the world and the power of expression who reject labels and preconceptions. They are fascinated by the aesthetic possibilities that documentary photography, which they see as subjective, may offer them – whence, no doubt, the name of their group: “Tendance” (tendency), which tends toward without ever reaching the goal, and “Floue” (vague or blurred), resolutely ...

  • Jacky George Lafargue & Louis Couturier, Le voyage du jour dans la nuit / Journey of a Day into the Night, 2006, images tirées de la vidéo / images from video, permission de / courtesy of Centre SAGAMIE © Jacky George Lafargue & Louis Couturier

    Jacky Georges Lafargue et Louis Couturier, Resolute Bay : Voyage du jour dans la nuit – Sonia Pelletier, A Wall of Snow, or Northern Studies Visited

    August 21, 2017 [originally published in CV91 in Spring 2012] — Jacky Georges Lafargue and Louis Couturier’s project Resolute Bay – Voyage du jour dans la nuit finds a way to take viewers on a sort of voyage to the far reaches of our country and an encounter with people who live in a remote Inuit village with only about two hundred inhabitants…

  • Nadia Seboussi, Le dernier été de la raison, 2012, vue de l’installation (détail) / installation view (detail). © Nadia Seboussi

    Nadia Seboussi, Le dernier été de la raison – Pierre Rannou, Looking Back at the Image

    August 16, 2017 [originally published in CV91 in Spring 2012] — When we enter the exhibition space at the UQAM gallery, what we see first are two television screens with headphone sets, and then we see two more screens on the wall to the right. As we continue to look around, we note the large-format photocopies of newspaper front pages on two of the four walls and, standing alone on the left side of the exhibition ...

  • Leila Alaoui, Sans titre, de la série No Pasara [Vous ne passerez pas], 2008, impression à jet d’encre, avec l’aimable concours de la Fondation Leila Alaoui, Marrakech (Maroc) ; Galleria Continua, San Gimignano (Italie), Beijing (Chine), Les Moulins (France) et La Havane (Cuba) ; et VOICE Gallery, Marrakech (Maroc)

    Leila Alaoui – Claudia Polledri

    June 20, 2017 [originally published in French in CV106 in Spring 2017] — You can read it by switching over to the French version of this page.

  • David Askevold, Two Hanks, 2003, Performance documentation / Photographies prises lors de la performance, Canada Gallery, New York, courtesy of / permission de Collection of the estate of the artist and Canada Gallery, New York. © David Askevold

    David Askevold, Disorientation Artist – Robert Evans

    August 9, 2017 [originally published in CV91 in Spring 2012] — David Askevold’s work is variously labelled as post-minimal, conceptual, narrative, story art, and post-movement, although none of these is adequate. Westerns, country-and-western music, poltergeists, ghosts, spirits, games, rules, narratives, dreams, history, geography, scientific imaging, and anthropology all inform his work. The list of materials and approaches with which he worked is similarly eclectic…

  • Kiripi Katembo, Avancer, de la série Un regard, 2009, permission des Rencontres de Bamako 2011. © Kiripi Katembo

    Les Rencontres de Bamako, Biennale africaine de la photographie – Dominique Fontaine

    August 7, 2017 [originally published in CV91 in Spring 2012] — You can read it by switching over to the French version of this page.