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COVER 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 Saskatchewan. 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- Homemade 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 Vitrines firstname.lastname@example.org www.gallery44.org 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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