Toronto: Tributes + Tributaries, 1971-1989 featuring work by June Clark of Akin Sunrise

Exploring the experimental energy of an era, Toronto: Tributes + Tributaries, 1971-1989 brings together more than 100 works by 65 artists and collectives to highlight an innovative period in Toronto art history. The exhibition is curated by Wanda Nanibush, assistant curator of Canadian and Indigenous art. The title of the exhibition—a reference to the city’s many buried waterways—serves as a visual metaphor for the diversity of the cities art scene and its similarly buried histories. The exhibition will be accompanied by a live performance series, a film and video festival, as well as satellite installations throughout the AGO.

Amidst the social and political upheavals of their time, the generation of artists that emerged in Toronto during the 1970s and 1980s pushed the boundaries of conventional painting, sculpture and photography, exploring new ways of art making including video, installation and performance. This is the first time since the AGO’s reopening in 2008 that many of these seminal works have been on display. Organized thematically and punctuated by references to Toronto and its cityscape, the exhibition highlights the era’s preoccupation with ideas of performance, the body, the image, self portraiture, storytelling, and representation.

Toronto: Tributes + Tributaries, 1971-1989, 

September 29, 2016 – May 22, 2017

Contributor and influential photographer June Clark is an Akin Sunrise member. June Clark was born in Harlem, NYC and moved to Toronto in 1968. When she moved to Toronto she used a camera and walked the streets to search for “familiar” images in which to re-live and savour the richness of Harlem she missed. Clark describes it as both the discovery of the unfamiliar and memory of the known that captured her imagination.

Created in 1989, Clark’s Formative Triptych “feels fresh, urgent and, sadly, timely, which it surely was when it was made” (Toronto Star). When asked “Do you feel more in step with the current art scene today than in the late ‘80s?” Clark responded  “...I believe that one will always be behind if one is trying to be ‘in step’. Formative Triptych feels new and relevant and that helps me to know that it is successful.”

The late ‘60s and early ‘70s in Toronto, when many activities centred on Bathurst Street (Queen to Dupont), Baldwin Street and Kensington Market. Baldwin Street was where Clark found a family of like-minded women who embraced and helped her develop her photographic skills. They were called the Women’s Photography Co-op. The Baldwin Street Gallery, owned by Laura Jones and John Philips, was a welcoming place to learn and work.

Clark and her peers were able to mobilize across the country on issues that affected artists, like grants, artists’ fees, and jobs, the same issues still affecting artists. Clark says that “at one point I knew roughly 90% of the practicing artists and photographers across the country. I’m not sure this is the case today.”Like most of us Clark believes “that artists do not have a choice but to just do the work and to find ways to make it happen.”

Gallery Talk with Nathaniel Brunt

Nathaniel Brunt is the recipient of the 2016 Portfolio Reviews Exhibition Award. He will discuss his work in the Kashmir Valley, and his current exhibition #shaheed.

Saturday March 18, 2pm, CONTACT Gallery


#shaheed explores the evolution of photojournalism and its current role in documenting conflict, while seeking to visually unpack the complex war in the Kashmir Valley. The exhibition is comprised of black-and-white photographs taken in the region by Canadian photographer Nathaniel Brunt, and nearly two hundred colour images and videos that Brunt was given by Kashmiri families and that he collected online from social media. Brunt exhibits these varied forms of photography and video together, thereby expanding his role from photographer to collector and archivist. The adjacency of the images gives viewers the opportunity to see multiple subjectivities at play and to discover more nuanced connections, while their placement speaks to the enormous quantity of images created and shared online daily. By including photographs created by non-professionals who are actively and intimately involved in the Valley's conflict, Brunt steps away from the hierarchical distribution of photojournalism, presenting a much more progressive and horizontal manner of contextualization and visual storytelling.

BURTYNSKY GRANT: Supporting the Creation of Photobooks

Renowned Canadian photographer Edward Burtynsky and the Scotiabank CONTACT Photography Festival are accepting submissions for the 2017 Burtynsky Grant - a $5,000 annual grant to support a Canadian artist in the creation of a photobook. Burtynsky generously donated his 2016 Governor General's Award in Visual and Media Arts of $25,000 to create the grant and foster the careers of Canadian artists.

This grant is intended to support artists who are in the advanced stages of developing a photobook. The jury is looking for submissions from those that have created a book dummy, are currently seeking funding to work with a publisher or to self-publish, and who have had little to no prior experience publishing a photobook. The winner will be announced at the end of May 2017.

Deadline: May 15, 2017

CONTACT 2017 Portfolio Reviews

CONTACT is now accepting submissions from photo-based artists with well-developed projects to participate in the 2017 Portfolio Reviews program.

International curators, directors, publishers, and photo editors are brought together during CONTACT to review work by emerging artists, with a focus on documentary, photojournalism, narrative or photo-based art practices. Those with projects at an advanced stage of development who are seeking opportunities for publishing and exhibiting nationally or internationally, as well as looking for guidance on conceptual approaches or career development advice are encouraged to participate.

The Gladstone Hotel, Sunday, May 7 and Monday, May 8, 2017


Registration closes April 24, 2017. Please note that due to limited space, all submissions will go through a selection process to ensure that a high caliber of work is presented in this program.

Don Phillips Scholarship

The Don Phillips Scholarship is given to a student currently enrolled in an undergraduate art program (full or part-time) with a printmaking major at an accredited Canadian institution who will be graduating in the Spring of 2017 and who will not be returning to studies full-time in September of 2017. A jury comprised of artists, curators, educators and/or arts administrators selects recipients.

This scholarship includes, rent free access to the studio facilities for a period of one year, materials assistance and Professional development assistance. Over the course of the year scholarship recipients will receive tuition free access to Open Studio workshops, and exhibition and artist fees.
Deadline for scholarship submissions is 11:59PM EST May 1, 2017

Jeannie Thib Mentorship Residency

Jeannie Thib (1955-2013) was a talented artist and cherished member of the Open Studio community. This mentoring focused residency is a fitting way honour Jeannie Thib’s legacy. Jeannie was a great supporter of other artists, long established and emerging. This residency is open to a printmaker in the early stages of their career, who has demonstrated an ongoing commitment to their practice within the last one to five years.

Residency includes:

  • Rent free access to the studio facilities for a period of two consecutive months between September in the calendar year the residency is awarded and June of the following year.

  • Up to 16 hours of mentoring with an established print media artist to hone the recipient’s technical skills and provide career development support.

  • Materials up to $300, to be purchased through Open Studio.

Submissions must be received by Open Studio by 11:59 pm EST (GMT -5) on May 1.