by June Lee
Capture Photography festival is an event that features local and international artists and their accomplishments as the media of photography and documentation. Dana Claxton, a Vancouver based artist, has contributed many of her works including her book Paris June Fourth, Fifth, & Sixth, Two Thousand & Six, which recounts her three day stay in Paris, France. Her book contains 77 black and white photographs taken from Parisian urban life, that investigate issues of gender studies, Western culture fetishes, and the commodification of aboriginal aesthetics in contemporary culture. Continue reading
by Zoya Mirzaghitova
Michael Asher, Pomona College Project
Pomona College in Claremont, California is not very well known; thought for a moment in history, more precisely 1969 to 1973, it became an avant-garde centre for radical and conceptual art. The moment was brief, many artists who participated went on to leave a mark in the history of art and at the end, the entire fine art department faculty at Pomona resigned or had their contracts terminated. Continue reading
A picture-perfect nuclear family holding hands on Miracle Beach, an unrecognizably cube-shaped Vancouver Public Library, the chalky pastels of roadside motels – these are images of a somewhat foggy past, at once familiar and yet completely alien. It is this feeling of recollection tinted with distance that we see in It Pays to Play: British Columbia in Postcards, 1950s-1980s, Peter White’s exhibition catalogue of B.C. Tourist postcards since the 1950s. These cards are blinding in their saturation and optimism, showing British Columbia not as it was, but as it aspired to be, with its beautiful scenery, urban landscapes, and leisurely visitors on display.
In his forward to the book counterpart of Jeremy Shaw’s DMT video installation, Clint Burnham notes that in the aftermath of Gulf War II, sentiments can quickly give way to nostalgia. In fiction of this era—Jonathan Safran Foer’s Extremely Loud & Incredibly Close, for example—characters default to nostalgia in a post-traumatic universe. The novel’s protagonist collects images, frequently of events that predate his own birth. In DMT, the work’s volunteers, 20- and 30-something acquaintances of Shaw’s who agreed to be filmed while tripping on the eponymous hallucinogenic drug, partake in a sort of “drug-stalgia,” or, as Burnham puts it (referencing a song by Shaw), they try to “get high like we used to.”