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BERENICE ABBOTT
2012
Editions Hazan, Paris; and distributed by Yale University Press, New Haven and London
Jeu de Paume and the Ryerson Image Centre
240
Gaëlle Morel
Foreword:  Doina Popescu and Marta Gili; Essays: Gaëlle Morel, Sarah M. Miller, Terri Weisman.

$50 plus tax

Famous for her tireless fight for the recognition of Eugène Atget, the American photographer Berenice Abbott (1898-1991) is also prominently known for her documentary project Changing New York (1935-1939). The exhibition Berenice Abbott (1898-1991): Photographs presented at the Jeu de Paume and by the Ryerson Image Centre at the Art Gallery of Ontario explores the different stages of Abbott’s expansive career through more than one hundred and twenty photographs. To accompany this retrospective, the catalogue focuses on four significant phases of the artist’s output: Abbott’s modernist portraiture of the 1920s, which grew out of her life at the centre of bohemian, artistic and intellectual circles in Paris and New York; her urban and architectural documentation of New York during the devastating economic crisis of the 1930s, which culminated in the book Changing New York; and Abbott’s rarely seen, yet riveting photographic experiments, created in the 1950s, while employed by the Massachusetts Institute of Technology in Boston, a period of Cold War politics and increased emphasis on scientific research in the United States.

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ARCHIVAL DIALOGUES: READING THE BLACK STAR COLLECTION
2012
Ryerson Image Centre
125
Doina Popescu and Peggy Gale
Peggy Gale
Introduction:  Doina Popescu;  Essays: Jennifer Allen, Peggy Gale, Hito Steyerl; Artist Pages:  Stephen Andrews, Christina Battle, Marie-Hélène Cousineau, Stan Douglas, Vera Frenkel, Vid Ingelevics, David Rokeby, Michael Snow.

$65 plus tax

The catalogue is a complementary piece to the inaugural exhibition, which was on view at the Ryerson Image Centre from September 29 – December 16, 2012. It includes eight original artist projects that share with us the respective artist’s process of “reading” and being inspired by the Black Star Collection of approximately 292,000 black and white press prints that tell the cultural, social and political history of the 20th century. 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 multiple contexts of contemporary discourse.

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THE ART OF THE ARCHIVE
2012
Ryerson Image Centre

Gaëlle Morel
Alyssa Bistonath, Kyle Brohman, Julia Callon, Jenna Edwards, Tara Ernst, Daniel Froidevaux, Elisa Julia Gilmour, Ben Lenzner, Marc Losier, Eugen Sakhnenko, Kate Tarini, Andrew Williamson

47

Gaëlle Morel

$5 plus tax

The works by students and recent graduates of Ryerson University School of Image Arts 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.”

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HUMAN RIGHTS HUMAN WRONGS
2013
Ryerson Image Centre
207
Mark Sealy
Introduction: Doina Popescu and Gaëlle Morel; Essay: Mark Sealy

FREE with the purchase of any other RIC book

Sixty-five years after the Universal Declaration of Human Rights, we celebrate and engage with its core articles and the history of the twentieth century as seen through press photography between 1945 and 1995, from Margaret Bourke White’s photographs of Buchenwald published in LIFE, to the genocide in Rwanda. The period is examined through the photographs in the Black Star Collection at Ryerson University. Guest Curator, Mark Sealy offers a cutting edge, in-depth analysis of simultaneous events around the globe, bringing together over 300 press prints that function as a catalytic enquiry into humanitarian photographic practice, addressing the question of how photographs have historically functioned in raising awareness of man’s inhumanity to man. The curator critically considers the cultural meaning these photographs produce and the visual legacy they leave behind.

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THE DISAPPEARANCE OF DARKNESS: PHOTOGRAPHY AT THE END OF ANALOG ERA
2013
Princeton Architectural Press, New York, in collaboration with the Ryerson Image Centre
175
Robert Burley
Foreword: Doina Popescu and Gaëlle Morel; Essays: Robert Burley, Alison Nordström, François Cheval, Andrea Kunard

$50 plus tax

In the brief time Robert Burley spent documenting the industrial infrastructure supporting analog photography, the world embraced a digital age. 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-Pathé plant in Chalon-sur-Saône, France, the birthplace of photography itself.

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ARTHUR S. GOSS: WORKS AND DAYS
2013
Ryerson Image Centre
47
Blake Fitzpatrick and John Bentley Mays
Essays: Sarah Bassnett, Blake Fitzpatrick and John Bentley Mays

$5 plus tax

Arthur S. Goss (1881-1940) was an all-around Canadian urban photographer of the early twentieth century. His output was divided between expressive images on the one hand and instrumental images on the other. Active in the Toronto Camera Club between 1904 and 1915, he produced photographs in keeping with the atmospheric photo-pictorialism movement then in vogue throughout urban North America and Europe around the turn of the twentieth century. Much more abundant, however, was the imagery he produced in the course of his employment as Toronto’s official photographer from 1911 to 1940. The fastidious care he lavished on the pictorial work, in contrast to his unromantic, workaday approach to the civic photography, clearly indicates that, in his mind, the former was art and the latter was not.

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BLACK STAR
2013
Lumiere Press in partnership with the Ryerson Image Centre
84
Essays: Peter Higdon and Michael Torosian

$375 plus tax

A limited edition, handmade book, produced by Lumiere Press in Toronto, Black Star is edited and designed by publisher, photographer and author, Michael Torosian. An introduction by RIC Collections Curator Peter Higdon honours the longstanding collecting activity practiced by the School of Image Arts, and now by the Ryerson Image Centre, in developing its historically significant holdings of photography.

The central essay written by Michael Torosian addresses the European origins of the New York-based Black Star photo agency and its relationship to the rise of the picture magazine in North America. The remarkable character of the agency’s founders and their role in transplanting the picture magazine to North American culture in 1936 is examined in depth. Their successors, one of whom continues to direct the Black Star photo agency today, are profiled, and photographers, both recognized figures from the history of photography and those lesser known, are discussed and represented in a selection of powerful images from the collection.