Final Jan2006indd by tyndale


                                                                                                                                                                                                               KATYUSKA DOLEATTO ,      Untitled, from the
                                                                                                                                                                                                               Rebirth series, 2003/04, gelatin silver print,
                                                                                                                                                                                                               25.4 x 20.3 cm.

                                                                                                                             JENNIFER CRANE ,    Untitled from Seafarers
                                                                                                                             and Fishwives, 2001, gelatin silver prints on   Jennifer Crane is a lens-based artist originally from Nova
                                                                                                                             stereo card, 8.89 x 17.78 cm.
                                                                                                                                                                             Scotia. She studied at York University (B FA 1990) and
                                                                                                                                                                             Concordia University (M FA 1998), where her graduate thesis
                                                                                                                                                                             exhibition was titled Cartes-de-Visite. Crane has exhibited her
                                                                                                                                                                             work in galleries in the United States and throughout Canada,
                                                                                                                                                                             where she has received funding from The Canada Council
                                                                                                                                                                             for the Arts, The Nova Scotia Arts Council, and The Alberta
                                                                                                                                                                             Foundation for the Arts. Crane has taught at NSCAD University,
                                                                                                                                                                             Memorial University, and The University of Lethbridge. She
                                                                                                                                                                             is now living in Saskatoon and teaching at The University of

                                                                                                                                                                             Katyuska Doleatto was born in Turin, Italy in 1971. Her
                                                                                                                                                                             family moved to Ottawa when she was five, and at seven-
                                                                                                                                                                             teen, she returned to Italy where she spent the following four
                  Tonia Di Risio, Nonna’s Living Room from the Homemade series, 2004-5, colour duratrans, 127 x 127 cm.     Kristen den Hartog is a novelist and             years studying theater and teaching English in Rome. In 1999
                                                                                                                            short story writer whose second book,            she began studies in photography at The School of Image

            Tonia Di Risio
                                                                                                                            The Perpetual Ending, was short-listed           Arts, Ryerson University, where she graduated with a B FA in
                                                                                                                            for the Toronto Book Awards. Her most            2004. Her constructions are often dark narratives infused
                                                                                                                            recent novel, Origin of Haloes, features         with otherworldly qualities, which explore the idea of trans-

                                                                                                                            among its characters a disturbed photo-          formation and the anthropomorphic. In addition to receiving
                                                                                                                            grapher with a penchant for the macabre.         numerous awards, her work has been featured in galleries
    T O N I A D I R I S I O is multi-media
                                                                                                                                                                             throughout Toronto and Montréal, and can also be found
   artist living and working in Halifax.
     She received a B A in Art and Art                                                                                                                                       in private collections throughout Canada, Europe, and the
        History from the University of        The homes and identities in Homemade are not as clearly defined                                                                 United States. Katyuska currently lives and works in Toronto.
        Toronto and Sheridan College          as they initially appear. Despite her efforts and her upbringing,
         in 1994 and an M FA from the         Tonia’s dollhouse will remain comfortably messy. When it comes

                                                                                                                                                                                                                                                                                                                               Katyuska Doleatto
       University of Windsor in 1996.
    Solo exhibitions include Progresso
                                              down to being a good homemaker, the Tonia-doll just isn’t that                                                                 Gallery 44 Centre for Contemporary Photography is a non-profit
                                              kind of girl. In this humorous scenario, Di Risio pokes kindly                                                                 artist-run centre committed to the advancement of photographic art.
    at the Art Gallery of Nova Scotia
                                                                                                                                                                             The centre is supported by its members and patrons, The Canada
      (1998), Parlare at the Kamloops         fun at her grandmother, her mother, and herself, playing with                                                                  Council for the Arts, the Ontario Arts Council, and the City of Toronto

                                                                                                                                                                                                                                                                                                                                       + Jennifer Crane
 Art Gallery, B C (1999), Homemade            all of their self-expectations. Di Risio can do this — she can                                                                 through the Toronto Arts Council. Registered Charity #11924 7310 RR0001
   at the Khyber Centre for the Arts
  (2001), and at Gallery Connexion,
                                              renovate and refurbish her families’ identities — precisely
                                              because the dollhouses are theatres, not fixed ideals. As a space                                                               EDITING   Katy McCormick | DESIGN Zab Design & Typography
   Fredericton (2002). She is also an

                                                                                                                                                                                                                                                                                                                                 Fairytales and Fishwives
artist featured on C B C -T V Artspots.       of invention, the dollhouses do not proffer didactic statements
 She serves on the board of Centre            about being a Canadian-Italian, middle-class woman. Identi-
                             for Art Tapes.
                                              ties, although they have indisputable and informative histories,
 The artist wishes to acknowledge support     always have a malleable present.                                                                                               Gallery 44 Centre for Contemporary Photography
from The Canada Council for the Arts and
                                              —L E A H G A R N E T T , excerpted from “Homemade: a showcase of fine family                                                    401 Richmond Street West, Suite 120
 The Nova Scotia Department of Tourism,
                     Culture and Heritage.    homes,” published by Khyber Centre for the Arts, 2002.                                                                         Toronto, Ontario M5V 3A8                                                                                                                                 January 5 to February 4 2006
                                                                                                                                                    Gallery Hours
                                                                                                                                                                                                                                                                                                                                      OPENING RECEPTION
                                                                                                                                 Tuesday to Saturday, 11 am to 5 pm
                                                                                                                                                                             TEL 416.979.3941 FAX 416.979.1695                                                  JENNIFER CRANE ,     Untitled, from Seafarers and Fishwives,
                                                                                                                                                                                                                                                                                                                                      Thursday January 5 | 6 to 8 pm
                                                                                                                                                                                                                                                                2000, gelatin silver print, 10.16 x 6.35 cm.
                                                                                       JENNIFER CRANE,   Seafarer #1, #2, and #3, from Seafarers and Fishwives, 2000, gelatin silver prints, each 10.16 x 6.35 cm.

Katyuska Doleatto +                                                                                                                                                                                                                                to it is almost identical, but now she looks up, into
                                                                                                                                                                                                                                                   the camera, aware of the lens. In another pairing,

         Jennifer Crane
                                                                                                                                                                                                                                                   a fisherman pulls a body from the water while a
                                                                                                                                                                                                                                                   woman searches the rolling terrain at the water’s
                                                                                                                                                                                                                                                   edge. Partly inspired by folksongs commemorat-
                                                                                                                                                                                                                                                   ing women who dressed as men to go to sea,
                                                                                                                                                                                                                                                   the stereo cards loosely recount such ballads as
                                                 by Kristen den Hartog                                                                                                                                                                             “The Female Sailor Bold,” about a woman who
                                                                                                                                                                                                                                                   followed her lover across the ocean disguised as
                                                                                                                                                                                                                                                   a cabin boy:

  K      atyuska Doleatto’s octopus tentacles and fish heads might well have
   washed up tangled in seaweed at the feet of Jennifer Crane’s seafarers and
                                                                                                                                                                                                                                                   With pitch and tar her hands were hard, tho’ once
                                                                                                                                                                                                                                                   like velvet soft; She weighed the anchor, heav’d the
                                                                                                                                                                                                                                                   lead and boldly went aloft.
                                                                                                                                                                                                                                                        A Nova Scotian herself, Crane heard the term
   fishwives. Beyond this maritime link, there is an array of connections be-                                                                                                                                                                       “fishwife” while living in Newfoundland, and re-
   tween the two women’s work: an element of myth and make-believe; an                                                                                                                                                                             called the mid-nineteenth century work of David
   archival presentation that lends a formal elegance to the pieces; a nod to                                                                                                                                        Octavius Hill and Robert Adamson, The Newhaven Fishwives. These grace-
   early documentary photography; and a constant hint to the viewer to look            small wooden drawers in some creaky old museum and finding a perfect rare bird
                                                                                                                                                                                                                     ful, painterly photographs clash with the more modern meaning of fishwife
   twice, three times, or more.                                                        inside each, meticulously named, numbered, and so remembered.
                                                                                                                                                                                                                     — a coarse-mannered, noisy woman who behaves inappropriately in pub-
        In Untitled (bird), the toes of Doleatto’s hybrid roadrunner grip a branch          Of course, these creatures are not perfect birds, but a blend of dead, broken
                                                                                                                                                                                                                     lic. The two taken together have prompted Crane’s own response: a series
   so tightly that muscle and sinew show beneath its skin. The legs bend as            things, transformed into something otherworldly by way of photography. Doleatto’s
                                                                                                                                                                                                                     of images that explores not only public space, but how women occupy public
   though the creature died running, and rigor mortis has set in. Halfway up,          fascination for the macabre, fantastical work of Hieronymus Bosch is easy to see,
                                                                                                                                                                                                                     space as both observers and as the subjects being observed.
   bracelets of feathers circle the backwards knees, and then the thighs dissolve      but these images are just as closely inspired by Peter Greenaway, who in turn draws
                                                                                                                                                                                                                           Thus, both the seafarers and fishwives she portrays are women, most
   into wrinkles, only to be capped off by more feathers still, formed into a ball.    on the old Dutch masters. On seeing the carcasses hanging from meat hooks in The
                                                                                                                                                                                                                     often Crane herself. Among the twenty-four portraits that make up the
   At first, there seems to be no head. But on closer inspection, the beak is hiding.   Cook, The Thief, His Wife and Her Lover, Doleatto couldn’t forget the pig, with its gaping
                                                                                                                                                                                                                     cartes-de-visite element of the work (again drawing upon a nineteenth-cen-
        Doleatto calls her imaginary species “zooidbotanical ... a strange and         mouth, “and an expression not unlike the kind that humans sometimes suffer....
                                                                                                                                                                                                                     tury phenomenon), Crane can be found in cape and frock, holding a basket
   unique kind of animal that represents the interconnectedness of all things.”        Those images and the idea of transformation and the sublime, all these things made
                                                                                                                                                                                                                     of dead fish; or in sailor’s garb, arms crossed like Popeye. The work is in part
   To mentally deconstruct the creations is to imagine Doleatto inserting twigs        a heavy impact on me.” Soon, daydreaming in the supermarket, she watched pig’s
                                                                                                                                                                                                                     a playful reference to Crane’s own maritime heritage, and she shot most of
   into the nostrils of sawed-off pig snouts, but taken at once, whole, each im-       feet sprout twisted branches, and began to understand what she wanted to do with
                                                                                                                                                                                                                     it while living in a fishing village in Nova Scotia. Tourists would sometimes
   age is a bizarre collision of beauty framed in a halo of white light. Something     the series now called Rebirth. It’s an appropriate name for work that’s built on death.
                                                                                                                                                                                                                     photograph her house, never suspecting that a photographer lived inside it,
   about the coolness of the presentation — the black-and-white, scientific style       But if these pieces explore death, they must therefore also explore life — a conun-
                                                                                                                                                                                                                     spending her days making artificial self-portraits. At times she found the oglers
   — distances the viewer but at the same time makes the subject more re-              drum that rears up again when one is both repulsed and compelled by the images.
                                                                                                                                                                                                                     intrusive, “and then at times I understood their desire to capture an authentic
   vered. Looking at Doleatto’s images slowly, one at a time, is like pulling open          Held together by wire, string, toothpicks, and glue, the mutant “zooidbotanicals”
                                                                                                                                                                                                                     image” — however inauthentic it may have been. Crane’s own photographs,
                                                                                       wither and shrink as Doleatto positions them under hot lights and shoots them with
                                                                                                                                                                                                                     after all, are an ongoing study of class, portraiture, and authenticity.
                                                                                       an 8" x 10" camera. “I have a very small window of time to document them, which
                                                                                                                                                                                                                           The red velvet lining in the box that holds the stereo cards stands out in
                                                                                       also adds to the scientific nature of this work. The photographs themselves remind
                                                                                                                                                                                                                     a room full of black, white, and grey. The idea that you can reach in, pull out
                                                                                       me of how, back in Victorian days, people would travel to exotic lands and bring
                                                                                                                                                                                                                     a card, and inspect it through a contraption from a bygone time is just part of
                                                                                       back black-and-white images of old relics and strange specimens. In actuality, I feel
                                                                                                                                                                                                                     this exhibition’s playful allure. Doleatto writes that as a child her reality was
                                                                                       more like a documentary photographer. Without photography, these things could
                                                                                                                                                                                                                     transformed by making-believe that everything was not as it seemed, and
                                                                                       not exist ... not for long, anyway.”
                                                                                                                                                                                                                     that same current of uncertainty, or possibility, runs through both women’s
                                                                                            That echo of Victorian exotica surfaces in Jennifer Crane’s series, Seafarers and
                                                                                                                                                                                                                     work, which asks only that we observe, and simply absorb what we see.
                                                                                       Fishwives, as well, which in part comprises twenty-four stereo cards seen in 3 -D
                                                                                                                                                                                                                     The man who is a woman standing in front of a ship in one of Crane’s stereo
                                                                                       through an antique stereographic viewer. In the late nineteenth century, the middle
                                                                                                                                                                                                                     cards poses seriously at first; then, in the paired image, she almost smirks
                                                                                       class collected these paired photographs of exotic places and people. However,
                                                                                                                                                                                                                     — she lifts her hand as if acknowledging the boat behind her, and us too, for
                                                                                       while Crane’s interpretations have an aged, authentic look, the images are strangely                                                                                                                                KATYUSKA DOLEATTO ,         Untitled the Rebirth series, 2003/04,
                                                                                                                                                                                                                     having seen through her disguise. ■
                                                                                       subversive: a woman lies on the floor, scrubbing the wood planks; the image next                                                                                                                                     gelatin silver print, 25.4 x 20.3 cm.

   JENNIFER CRANE,       Untitled from Seafarers and Fishwives, 2001,
   gelatin silver prints on stereo card, 8.89 x 17.78 cm.

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