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Art

A Review Of Joan Lyons At Stephen Bulger Gallery Toronto

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When I first walked into Stephen Bulger Gallery to see Joan Lyons’s retrospective exhibition, I exclaimed without much thought: These are so contemporary!

A truly inane statement on my part, for many reasons. First, Joan Lyons is a contemporary artist who continues to make work into her 80s. Secondly, the work I was referring to was made in 1973, not the 1700s. And lastly, why would something being “contemporary” necessarily be a compliment?

Untitled (from the Artifacts Portfolio), 1973 © Joan Lyons / courtesy Stephen Bulger Gallery

I guess what I meant is that there’s an enduring quality to the work.

Photography, at its best, can capture something fundamental about the human condition. This is exactly what Lyons does. I look at her photographs, and I see myself, despite the half-century of time between us. Whether a frustrating conversation with a male doctor, a jacket that I could see myself wearing, or the faces of a woman staring unwaveringly at the camera—there I am.

In “Xerox Transfer Drawings: Women’s Portrait Series,” which spanned from 1972-1980, Lyons set out to capture historical representations of women, by women. Through multiple transfers of the Xerox machine—I recall creating similar portraits as a young girl visiting my mom at work—a single image is constructed. “They are not naturalistic, but awkward in gesture, immobile and flattened—women frozen in their representations,” writes Lyons in the accompanying description of the work. “They countermand the idea of a photographic portrait as the record of a fleeting moment. In the 1970s, I was seeking to find myself as a woman within my culture and to locate my art practice within the history of artmaking.”

“Untitled (from Womens’ Portrait Series)” 1974. © Joan Lyons / courtesy Stephen Bulger Gallery

In these photographs, the image plane is skewed at an unnatural angle.

It’s like gravity doesn’t exist. The portraits feel close, as if the bodies are pressed up against the other side of the glass. The lack of any telling historical or geographic information in these images creates an artifact that exists outside of time.

Lyons writes that she was interested in “constructing,” rather than “taking,” a photograph. This construction of a photographic image is central to most, if not all, of Lyons’s work. Her exhibition at Stephen Bulger Gallery through February 28 feels like a journey through the history of photography.

Lyons wasn’t precious about what camera she used or pledged a relentless allegiance to one brand.

Instead, she used various techniques and equipment—including Xerography, screen-printing, Diazo paper, large-format Polaroids, digital cameras and pinhole photography—as a way to communicate. Through the quirks and features of each, Lyons leans into the medium’s uses and misuses, wielding the camera to best capture not only the reality of life but also its undercurrents of emotion.

Polaroids

About her series of large-scale Polaroids from 1980, Lyons writes: “ ‘Presences’ is an investigation of photographic portraiture. The images have a lot to do with multiple selves and with faces as masks. In these long exposures, bodies move, and backgrounds are stationary.” The images are jarring at times; my mind can’t compute how they were achieved. A face is slightly disfigured with motion or seemingly collaged together. In another, a woman in the foreground is oversaturated and blurry, whereas the background is crisply in focus and well saturated. The blend of abstraction and realism compresses time. These photographs are not snapshots meant to capture a single moment. By shunning this style of capture, they capture something more viscerally close to the unusual reality of life.

Me, reflected

I couldn’t help but photograph myself within the negative space of one of the Polaroid photographs, layering my face on top of the subjects. A mask on a mask. A photograph of a photograph. Another layer of history. For the Silo, Tatum Dooley/artforecast.

Featured image- Untitled, from the “Presences” portfolio, 1980 © Joan Lyons / courtesy Stephen Bulger Gallery

Vintage

An Evolution Of Canadian Shopping Consumers Distributing Style

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As a technology writer for the Silo, I am always focusing and thinking about the evolution of technology. I write about how computers and video games have changed over the years, but of course, many other things change around us and the one I have been thinking about a lot lately is shopping. ( Consumers Distributing may be back,  the relaunch namesake follows us on Twitter  )

CD had some serious PPMP’s (Portable Personal Music Players)- notice how the colour and graphic schemes are totally late 80’s/early 90’s?

When I was a kid, I remember getting the Consumers Distributing catalog and taking it into my room to read thoroughly. Of course, I tended to go directly to the toys section and more specifically I looked at the video games and computers. I dreamed about the day I would own some of these items, and I patiently saved my pennies from my job as a paper route carrier. Life can be tough when you are 12.

Started in 1957, Consumers Distributing tried to save costs for consumers by creating a warehouse like environment that allowed them to operate in smaller locations.

Customers would typically shop through a catalog (which they could take home or use in-store) and fill out a request form. This form was taken to the counter where a customer service representative would go fetch your item(s) and ring up the sale.

At its peak the chain would grow to 243 outlets in Canada and 217 in the United States. By 1996, however, the customers were fading as frustration grew with items being out of stock (or, more accurately, the customer perception was that items were always out of stock). In 2006, the company appeared to emerge from bankruptcy protection but little has been done to revive the stores to the way they once were.

Nothing says vintage or captures the ‘aura’ of shopping in a Consumers Distributing store quite like a polaroid.

Even though the end of the chain could be considered a failure, the evolution of the concept continues to this day. Stores like Home Depot and Costco operate in a warehouse-like environment, there are just no catalogs.

Canadian retail giant Hudson’s Bay Company also thought it was a pretty good idea since they purchased and ran a competitive chain of stores called “Shop-Rite” that were open from 1972 to 1982.

.At its peak, Shop-Rite had 65 stores in Ontario before conceding defeat to Consumers. It wasn’t the competition that was really the problem, it was the concept.

With the recent closing of the retail operations of Blockbuster and Rogers Video, we are seeing another step in the evolutionary process. Decades from now, people will probably think it was quite strange to obtain our movies from a retail store because everything will be digitally beamed into our homes and the physical disks and tapes we use now will be completely gone.

My friend Dave Thielking is a lot like me and he remembers the days when we were kids flipping through those catalogs.

So when he obtained some old catalogs I knew we could work together to put them online and share with our other friends who remember the old days of shopping and the great toys and items we wanted to save our pennies for. The result is a new website called the Consumers Distributing Archive and you can find it at http://www.cdarchive.ca.

We are never going to be able to stop evolution – of any kind – but it doesn’t mean we have to like it, or that we can’t go back to the way things were even just for an afternoon or two. For the Silo, Syd Bolton.