Photographer Compendium

April was raised in eastern Quebec and studied art at Laval University. She earned recognition in the late 1970s and 1980s for her self-portraits influenced by Proust and feminist performance art. In her work she incorporates found images of her family or landscapes, and she creates narrative through a series of photographs. After her 1988 residency in Paris, April’s work shifted more toward lse and she became interested in integrating photography with text. April taught photography at Concordia University.

For further reading, see:

April, Raymonde. “A Fly in Paradise.” In 13 Essays on Photography, edited by Geoffrey James, 195–208. Ottawa: Canadian Museum of Contemporary Photography, 1990.

Baillargeon, Richard. “Reflecting Upon This Landscape: The Imagery of Raymonde April.” In Frame of Mind: Viewpoints on Photography in Contemporary Canadian Art, edited by Daina Augaitis, 92–102. Banff: Walter Phillips Gallery, 1993.

Associated with the Vancouver photo-conceptualist movement, Arden’s work explores social and political issues relating to the urban environment and the history of Vancouver. His poetic sensibility is seen in the series Fragments, 1981–85, which consists of tightly framed images of everyday subjects, including figures from the city’s artistic community. In the mid- to late 1980s, Arden made a series of archival works in which he appropriated news photographs to comment on events in Canadian history. Rupture, 1985, considers the class struggle at the heart of Vancouver’s 1938 labour protests, while Abjection, 1985, is a melancholic reflection on the internment of Japanese Canadians during the Second World War. In Komagata Maru, 1985, Arden recalls Canada’s anti-Asian immigration policies and omissions in the historical record.

For further reading, see:

Arden, Roy, and Peter Culley. Roy Arden: Fragments. Vancouver: Presentation House Gallery, 2000.

Ferguson, Russell. “From Fragments.” In Roy Arden: Against the Day, 68–93. Vancouver: Vancouver Art Gallery and Douglas & McIntyre, 2007.

 

Associated with the Vancouver photo-conceptualist movement, Arden’s work explores social and political issues relating to the urban environment and the history of Vancouver. His poetic sensibility is seen in the series Fragments, 1981–85, which consists of tightly framed images of everyday subjects, including figures from the city’s artistic community. In the mid- to late 1980s, Arden made a series of archival works in which he appropriated news photographs to comment on events in Canadian history. Rupture, 1985, considers the class struggle at the heart of Vancouver’s 1938 labour protests, while Abjection, 1985, is a melancholic reflection on the internment of Japanese Canadians during the Second World War. In Komagata Maru, 1985, Arden recalls Canada’s anti-Asian immigration policies and omissions in the historical record.
For further reading, see:

Arden, Roy, and Peter Culley. Roy Arden: Fragments. Vancouver: Presentation House Gallery, 2000.
Ferguson, Russell. “From Fragments.” In Roy Arden: Against the Day, 68–93. Vancouver: Vancouver Art Gallery and Douglas & McIntyre, 2007. 

Associated with the Vancouver photo-conceptualist movement, Arden’s work explores social and political issues relating to the urban environment and the history of Vancouver. His poetic sensibility is seen in the series Fragments, 1981–85, which consists of tightly framed images of everyday subjects, including figures from the city’s artistic community. In the mid- to late 1980s, Arden made a series of archival works in which he appropriated news photographs to comment on events in Canadian history. Rupture, 1985, considers the class struggle at the heart of Vancouver’s 1938 labour protests, while Abjection, 1985, is a melancholic reflection on the internment of Japanese Canadians during the Second World War. In Komagata Maru, 1985, Arden recalls Canada’s anti-Asian immigration policies and omissions in the historical record.
For further reading, see:

Arden, Roy, and Peter Culley. Roy Arden: Fragments. Vancouver: Presentation House Gallery, 2000.
Ferguson, Russell. “From Fragments.” In Roy Arden: Against the Day, 68–93. Vancouver: Vancouver Art Gallery and Douglas & McIntyre, 2007. 

Associated with the Vancouver photo-conceptualist movement, Arden’s work explores social and political issues relating to the urban environment and the history of Vancouver. His poetic sensibility is seen in the series Fragments, 1981–85, which consists of tightly framed images of everyday subjects, including figures from the city’s artistic community. In the mid- to late 1980s, Arden made a series of archival works in which he appropriated news photographs to comment on events in Canadian history. Rupture, 1985, considers the class struggle at the heart of Vancouver’s 1938 labour protests, while Abjection, 1985, is a melancholic reflection on the internment of Japanese Canadians during the Second World War. In Komagata Maru, 1985, Arden recalls Canada’s anti-Asian immigration policies and omissions in the historical record.
For further reading, see:

Arden, Roy, and Peter Culley. Roy Arden: Fragments. Vancouver: Presentation House Gallery, 2000.
Ferguson, Russell. “From Fragments.” In Roy Arden: Against the Day, 68–93. Vancouver: Vancouver Art Gallery and Douglas & McIntyre, 2007.