Evergon (aka Celluloso Evergonni)

Trout Temple

1984

Evergon (b. 1946) is a celebrated contemporary Canadian photographer with over 40 years of artistic production. Evergon is best known for his accomplishments across photography and n...

Evergon (b. 1946) is a celebrated contemporary Canadian photographer with over 40 years of artistic production. Evergon is best known for his accomplishments across photography and n...

Evergon (b. 1946) is a celebrated contemporary Canadian photographer with over 40 years of artistic production. Evergon is best known for his accomplishments across photography and n...

Barbara Astman (b. 1950) is a celebrated contemporary Canadian artist, best known for her innovative work using photography and its many utilitarian offshoots such as scanners and ph...

Attila Richard Lukacs (b. 1962) is one of Canada's most distinctive if not revolutionary Canadian figurative painters. Lukacs established his reputation in the 1980s by creating astonishing large-scale paintings that depicted skinheads, construction workers, and other masculine archetypes in elaborate and erotic scenes. The physical presence of the Lukacs' male subjects stands out as one of the artist's most distinctive aesthetic elements. With meticulous attention to form and proportions, Lukacs skillfully renders his young men with expressive brushwork and an intense, moody palette reminiscent of the old masters. Despite the monumental scale of his canvases, Lukacs begins his creative process with a much more intimate and modern day tool: the Polaroid. Because of its immediacy and simplicity it became an essential part of his process in the 80's and 90's. As a result the artist amassed a trove of over 1,200 Polaroids that depict lovers, friends, and anonymous models in a various poses that serve as a starting point for his paintings. In this grid of Polaroids, "Alex" is a young man posing nude on top of a tarp. The exceptional warmth and rich hues infuse this series of 12 Polaroids with a sensual and painterly quality, a characteristic that is undoubtably present throughout the artist's oeuvre. From 2009-2012 a large touring exhibition devoted to Lukacs' Polaroids was shown at several museums across Canada including Museum London and the Art Gallery of Alberta. Working with Michael Morris...

Andy Warhol began using the big-shot Polaroid camera in 1971 and continued using it religiously until his death in 1987. Despite the camera being discontinued in 1973, he continued t...

Classic Beauty - The Noble Thistle - Polaroid Photographic Print Framed by Pia Clodi The blue tones within her work should not be interpreted as coldness, as her works are full of f...

Waiting At The Bar - Still Life Black and White Photographic Print Framed Like many of Pia Clodi’s works, this black and white photograph evokes a human presence, even when one cann...

Bird Print - Still Life Black and White Photographic Print Framed Pia Clodi’s works have a beautiful way of breathing life into the everyday. Taking moments from throughout her life...

Polaroid transfer, unique 1/1 print.

'October rain' Photographed using a black and white Polaroid. From Limited edition of 20. Printed on archival Hahnemühle Photo Rag Baryta paper. Signed both front and back with Ce...

David Levinthal Title: Untitled Edition: 2/5 Hand signed, numbered and dated in ink on recto Date: 1997 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 28 X 22 in. Framed: 36 X 30 inches This depicts a still life of African American Blackface iron toys from his provocative, controversial photo series. This body of work is drawn from David Levinthal’s project Blackface, dating from 1995-1998, it featured blackface Polaroids of his original memorabilia, drawn from the artist’s African American Americana personal collection, that are the Polaroid’s subject matter. Levinthal’s collection of black memorabilia evolved into Blackface, a stimulating and controversial body of work. The title, according to Levinthal, “makes reference to the many facades, poise and physicality of these figures.” The title is also taken from the name of a journal of a black film-making company and is a term referring to both blacks and whites. Traditionally associated with minstrel, these images were used to perpetuate negative stereotypes. Levinthal’s work was originally intended to be exhibited at Philadelphia’s ICA in 1997. However, the show was cancelled when it became a cause célèbre as a result of its controversial subject-matter. Subsequently, images from the series were exhibited at the International Center of Photography and at Janet Borden, Inc. in New York. Levinthal’s initial inspiration for Blackface was D.W.Griffith’s 1915 film “Birth of a Nation,” a groundbreaking film of its time and a watershed moment in the cultural wars. It’s extreme and racist depictions of African Americans fueled a debate over the efficacy and motivation of using racially charged images that continues to reverberate in our culture today. Levinthal’s Blackface was originally intended to be a series based on “Birth of a Nation,” but the focus of the work shifted to the inscription of racially charged identities – what these collectibles convey, how they function within society, and how they continue to polarize social attitudes – within material objects produced and packaged as consumer goods. Levinthal works using a 20 x 24 inch Polaroid Polacolor ER Land Film which results in a large format Polaroid...