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Exibitions 1973

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Index of artists, authors and curators

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OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees

Exposition de groupe / Group exhibition
From February 10th 1973 to March 11th 1973
Vancouver School of Art - Student Exhibition

Michel Lambeth
From February 17th 1973 to February 23rd 1973
Encounter / Chemins de vie

The following document is only available in French :
"L’exposition se compose d’une collection de photographies du début du carrière de Michel Lambeth de 1954 à 1960; elles rendent la nostalgie du regard qu’il jette sur le cosmopolitisme ethnique de la communauté de Toronto et les quartiers de son enfance."
- Internal document (Optica)

Fletcher Starbuch, Olivier Watts
From February 20th 1973 to March 11th 1973
Two Ontario Photographers

Serge Laurin (Groupe d'Action Photographique, G.A.P.)
From February 26th 1973 to March 5th 1973
Parc Lafontaine

Pamela Harris
From March 6th 1973 to March 11th 1973
Admiral's Cove and Trout River (Newfoundland) / Admiral's Cove et Trout River (Terre-Neuve)

Guenter Karkutt
From March 12th 1973 to March 18th 1973
Camera in Abstract / Images abstraites

Exposition de groupe / Group exhibition
From March 12th 1973 to April 22nd 1973
The Responsible Eye, Three Decades of the Photograph as Document / Trois décennies de photographies documentaires (1930-1960)

Artists : Bob Adelman, Eve Arnold, Werner Bischof, Cornell Capa, Robert Capa, Wilmer Counts, Bruce Davidson, Elliott Erwitt, Robert Frank, Philip Jones-Griffith, Ernst Haas, Charles Harbutt, Erich Hartmann, Sergio Larrain, Erich Lessing, Helen Levitt, Constantine Manos, Wayne Miller, Inge Morath, James Pickerell, Marc Riboud, David Seymour, Dennis Stock, Vytas Valaitis

"The photographs in this show were not assembled with any particular thematic considerations in mind, nor are they part of a curatorial exercise to cast light on the history of the medium. Gathered from private collections, these photographs represent instead an approach : a conviction of the importance of the photograph as public statement and public document. In time, they span nearly thirty years, from the mid-thirties to the mid-sixties, a period that coincided roughly with the ascendancy of the large-circulation picture magazines. They are essentially public photographs, taken by working photographers with a view to having them reproduced in such a way to reach the largest possible audience. Yet they are at the same time strongly personal statements. Although there is little evidence that the photographers were trying to put an autographic stamp on their work, their personal viewpoints and intentions are apparent in many of these images. Today, as photography becomes increasingly academic and introspective, these pictures appear refreshingly spare, unpretentious, and humanistic. Sadly, perhaps, they represent a disappearing approach to the medium."
- Internal document (Optica)

Marc Brosseau, Alain Chagnon, Jean Fiorito (Le Groupe des Photographes populaires, G.P.P.)
From March 15th 1973 to April 15th 1973

"We often see in photographic magazines, photographers using things, models and human beings in the realisation of their work. This type of picture is in fact unilateral and the photographer through his photography obtains a egocentric feeling (jouissance égocentrique). The contact which must be established between the photographer and those photographed is the main thing. It should not only be a concerned use. All the dimensions of a communication between those two persons must be felt in the photography. He must not be satisfied only with a photo taken as an observer, but penetrating inside the people as to really grasp their reality. Once this reality is understood, our work must lead into a social implication. Through a greater knowledge of the context, we reach a point where our photo becomes a visual mean of thought on our society. The photographic magazines must not be our sole means of distribution, but we must also and mostly broadcast in the homes, the districts and the street of the concerned people. It is necessary that we give them back their images."
- "Portolio G.P.P.", Ovo, no 10, March-April 1973, pp.71-81.

- «Portolio G.P.P.», Ovo, no 10, mars-avril 1973, pp.71-81.

Chris Anstead
From March 15th 1973 to April 15th 1973
950 to 1122 Fillmore

Michael de Courcy
From March 19th 1973 to March 26th 1973
2,100 Block Arbutus Street / 2,100, rue Arbutus, Vancouver B.C.

The following document is only available in French :
"Travail réalisé à partir de la conception de Nathan Lyons sur la valeur de l’instantané comme forme photographique. [...] Fondé sur l’instantané (simple, clair et direct), l’exposition que nous présente Michael de Courcy nous offre vingt-cinq observations précises et spontanées de sa banlieue, rue Artubus à Vancouver."
- Internal document (Optica)

© Clara Gutsche + David Miller, "You Don't Know What You've Got 'Till It's Gone... The Destruction of Milton Park", vue de l'exposition en 1973 | 1973 Exhibition View.

Clara Gutsche, David Miller
From May 7th 1973 to May 30th 1973
You Don't Know What You've Got 'Till It's Gone... The Destruction of Milton Park / «...En vue de villes... qui te soient natales, la destruction de Milton Parc»

"In the summer of 1972 Concordia Estates demolished the residential core of Milton-Park and many of the small businesses on Park Avenue. The elderly Victorian houses which held the richness of three generations of accumulated experiences are irreplaceable. For over 80 years these houses and the neighbourhood stores served as reference points and established a continuity in the life of the community as a whole and in the lives of the residents who had made Milton-Park their home. Here children had stayed to make their homes and to bring up their own children. Without outside interference Milton-Park could have continued its growth as a community indefinitely."
- Document from the Association de la Communauté Centre Ville

Go to publications catalogue.

Exposition de groupe / Group exhibition
From May 14th 1973 to May 20th 1973
John Abbott College Student Exhibition

Exposition de groupe / Group exhibition
From May 21st 1973 to May 27th 1973
Loyola College Student Photographic Exhibition

Exposition de groupe / Group exhibition
From May 28th 1973 to June 10th 1973
C.E.G.E.P. du Vieux-Montréal Student Exhibition

Tom Paskal
From June 4th 1973 to June 30th 1973
Too Cold for Tears / Trop froid pour pleurer

The following document is only available in French :
"L’artiste construit une séquence narrative - photographique et littéraire - qui raconte l’univers de quatre familles de Shawbridge (i.e. Grand Nord) qu’il a fréquentées."
- Internal document (Optica)

Tom Brown
From June 11th 1973 to June 30th 1973
Ocean Limited

The following document is only available in French :
"[...]Lors de son exposition au Musée d’Art Contemporain en juin 72, la revue Ateliers du Musée a publié un texte fragmenté sur [Tom Brown], que nous reproduisons en partie avec les réajustements qui s’imposent. Le voici : Thomas Brown, jeune photographe montréalais de 28 ans, poursuit depuis dix ans des recherches en perception visuelle et s’applique à parfaire son éducation en ce sens. En 1967, il obtient un baccalauréat en psychologie perceptuelle du Bowdoin College, Brunswick, Maine, et s’oriente de plus en plus vers la photographie. Il continue ses études au Institute of Design du Illinois Institute of Technology de Chicago où il obtient un 1969 une mâtrise en sciences photographiques. Ses œuvres [...] font aussi partie de plusieurs collections publiques et privées (dont celle du MoMA) [...]. De son travail photographique, il écrit : ‘Aussi étrange que cela puisse parâtre, je vois la nécessité d’une photographie expérimentale au même niveau que ‘I Love Lucy’; c'est-à-dire imaginaire. Les niveaux de communication sont cependant aussi différents que ceux de Karlheinz Stockhausen et de la musique de ‘Soirée canadienne’. La photographie abstraite est aussi profitable qu’engageante et qu’impliquante.’"
- "Thomas Brown", Ovo, no 14, September-October 1973, p.7.

- «Thomas Brown», Ovo, no 14, septembre-octobre 1973, p.7.

Michael Schreier
From July 7th 1973 to September 15th 1973
Free Icons 2

"Enclosed you will find the front page of a local newspaper, including one of my images in its journalistic message*. Well, the icon has moved complete circle, from found image to contrived image, to found image and the photograph extended. As a result of this publication, I’ve received an anonymous letter suggesting that I use ‘my old lady in my work’ as an alternative. There was external suggestion that the exhibit be taken down or at least that particular image. It is the first time that there has been genuine response to a piece of work as opposed to general comments [...]."
- Internal document (Optica) : correspondence between Michael Schreier and William Ewing, April 15th 1973

* "HU-MOO-OR It depends on how you look at it, of course. ‘It’s supposed to be humor... some laugh at it... others are quite disturbed.’ That is the comment of the attendant at the National Film Board photo gallery, 150 Kent Street. The composite photo depicting the Queen with dairy symbols is by Michael Schreier, a teacher of photography and cinematography at the University of Ottawa [...]."
- The Ottawa Journal, April 9th 1973, [front page].

Richart Butt
From July 23rd 1973 to August 12th 1973
Recent Work

Exposition de groupe / Group exhibition
From July 23rd 1973 to August 12th 1973
Nova Scotia College of Art and Design Student Exhibition

Artists : Robert Burns, Jean-Pierre Camus, Laura Carter, Alan Carrier, Charles Clark, Blaine Coombes, Victor Hayes, Chris Hegedus, Peter Horton, Martha Langford, Heather MacMillan, Agnes McKenna, Paula McKenna, Lisa Maille, Joy O'Brien, Eddie Orr, Tiiu Poder, Sanford Robinson, Hilda Rooseboom, Ralph Saulnier, Hal Skaarup, Peter Sheppard, Mike Wood, Craig Wright

George Legrady
From August 13th 1973 to September 2nd 1973
Fort George

"Fort George, in wake of the James Bay Project; Fort George, Quebec, an island on the coast of James Bay. Population : 1,700. Inhabited by 1,400 Eastern Cree Indians, 16 Metis families, 70 Eskimoes. Approximately 100 Ehites, who are mostly in temporary residence, in charge of : the Hudson’s Bay store, the restaurant, the Catholic church, the residential school, the federal school, the airport, the motel, the new Hydro-Quebec camps. The Indians are responsible for the post office and the band office. [...] This portfolio of photographs was collected in a seven day stay in the town of Fort George, Quebec, on the eastern bank of the James Bay. The purpose was to gather visual information about the people and their way of life. The interest came about because of a concern for the Indians and Metis, who have been living peacefully in a natural habitat to be changed soon by the invasion of the Hydro Quebec people for the opening of the new (road?) from Matagami."
- Legrady, George, "Fort George", Ovo, no 8, July 1972, pp.27-28.

- Legrady, George, «Fort George», Ovo, no 8, juillet 1972, pp.27-28.

Guenter Karkutt
From September 24th 1973 to October 12th 1973
Photo Intaglio Prints

Michael Wesselink
From September 24th 1973 to October 13th 1973
Portrait of a Beach

Eikoh Hosoe
From October 15th 1973 to November 2nd 1973
Kamaitachi (Sickle Weasel)

Christian Knudsen
From October 15th 1973 to November 2nd 1973
Recent Works

Kotaro Masuda
From November 5th 1973 to November 23rd 1973
A Nat*u*ral History

"Japanese designer/photographer Masuda uses 'tree, sky, people, shadow, light, jewel, map, ink, silver, and skinny images' as his raw material for his exhibition “a nat*u*ral* history."
- Invitation (Optica)

Brian Merrett
From November 5th 1973 to November 23rd 1973
L'Europe en vacances

The following document is only available in French :
"Visitant l’Europe pour la première fois en 1972, je voulais rapporter de mon voyage un témoignage de mes impressions, non pas en tant que photographe mais en tant que simple voyageur. J’apportai donc avec moi, en plus de mon sac de voyage, une seule caméra et une seule lentille. De cette façon, j’étais assuré de ne pas me confronter avec le problème de choisir telle ou telle lentille devant tel ou tel sujet. Neuf semaines plus tard, je rentrais muni de 20 rouleaux de pellicule racontant les innombrables fusions de l’ancien et du nouveau qui forment l’Europe actuelle. Soixante-dix des meilleures images furent imprimées. Quarante d’entre elles furent choisies – avec l’aide de ma compagne de voyage Jennifer Harper – pour être présentées à Bill Ewing des Galeries de photographie Centaur, en vue d’une exposition. Il m’est encore très difficile de regarder mes photographies de façon objective, car elles sont entièrement différentes de mon travail régulier. Étant photographe architectural, je peux voir la formalité de la composition des images européennes. Toutefois, étant un Américain du Nord, je réalise très bien que le passé ressort de mes photographies. Mais ce passé contraste avec les incidents contemporains nettement visibles dans plusieurs scènes. Je rigole à penser que plusieurs jeunes, qui ont vu mon exposition, croyaient que j’étais un photographe beaucoup plus âgé!"
- Ovo, no 15, November 1973, p.41.

- Ovo, no 15, novembre 1973, p.41.

Guy Borremans
From November 5th 1973 to November 23rd 1973
Voyou, voyant, voyeur

"For Guy Borremans, photography is not an art; it is a lever to lift the heavy iron weight that is crushing modern man in search of himself; it is a tool to explore mind, the unconscious, the forbidden world that inhabits every man; it is a mirror to see one self and to show man to himself. Guy Borremans sees woman as a savior, and therefore will sometimes crucify her. He sees her as a full time partner but also as a cosmic creature, alien to his own race. A cosmic gag, never to stay in one spot, never to believe in one truth. Citizen of the world, but deeply rooted in Québec, Borremans also loves to think about Jacques Brel’s “flatland”, le pays plat. The exhibition is an inside voyage which Borremans begun twenty two years ago. Part is a dream of beautiful bodies, part is the social reality, never mixed together but always interfering upon each other."
- Press release (Optica)

Paul Diamond
From November 26th 1973 to December 14th 1973
Square Bromides

Viktor Kolar
From November 26th 1973 to December 15th 1973
Czech Eye

"Dear Visitors, the photographs you’re coming to see were taken in Toronto and Montreal between 1969 and 1973. Mostly, they’re the result of well-programmed work, and also the output of those long walks along the streets. Before I came, Canada to me was soaring Rockies, endless yellow wheat fields and little farm houses – that’s how I saw it. But no people; there were no Canadians in my mind before I came. During my first five years in Canada, I was confronted with an unexpected reality – the urban way of life. Nevertheless these 52 photographs are meant to please and disturb, in turn attempting to evoke those moments when the heart inside us beats, sometimes faster – and sometimes stops beating altogether. Thank you for being here."
- Internal document (Optica) : welcome message from the artist, November 26th 1973

Eadweard Muybridge
From December 17th 1973 to January 11th 1974
Eadweard Muybridge (1830-1904)

Jim Dine, Lee Friedlander
From December 17th 1973 to January 11th 1974