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Please join us in celebrating the 20th anniversary of Stephen Bulger Gallery. We opened on March 23, 1995 and since that time the gallery has exhibited over 130 solo exhibitions, 40 group shows and been host to many book launches and special events. This anniversary exhibition will feature a photograph from every artist for whom we’ve hosted a solo exhibition.

Stephen Bulger (born Toronto, 1964) engaged in photography as a hobby throughout his youth. Eventually studying at Ryerson University’s School of Image Arts, he became interested in the history of photography and began organizing exhibitions. He was the founding director of the Ryerson Gallery (located at 80 Spadina Avenue, Toronto) where he sat on the exhibition review committee and managed over thirty exhibitions.

After graduating from Ryerson in 1991, he worked in the photography department of the Ontario College of Art. While employed there as a Technician, he opened the Stephen Bulger Gallery (700 Queen St. West, Toronto) on March 23, 1995, moving to 1026 Queen Street West in 2004. Since that time he has curated over 130 exhibitions; been the representative for numerous Canadian and international photographers; published catalogues and books; and participated in many North American and European art fairs. He is Past-President of the Board for the Association of International Photography Art Dealers (AIPAD), Washington, D.C.; is a member of the Canadian Cultural Property Review Board; a member of the Advisory Board for the Ryerson Image Centre; and is also a co-founder of CONTACT, Toronto’s photography festival that will celebrate its nineteenth annual event in May, 2015.

Image credit: 700 Queen Street West, 2003 © Volker Seding / Courtesy of Stephen Bulger Gallery


















On Saturday, April 25th, Mira Godard Gallery is pleased to open an exhibition of new work by CHRISTOPHER PRATT.

CHRISTOPHER PRATT was born in 1935 in St. John's, Newfoundland. He attended the Glasgow School of Art, Scotland, from 1957-1959, and in 1961 he received a B.A. in Fine Art from Mount Allison University, Sackville, New Brunswick.

Throughout his career, Pratt has received many awards and honours. In 1965, Pratt became an Associate of the Royal Canadian Academy of Arts (ARCA) and a member of the Canadian Society of Graphic Art. In 1969, he was a member of the Canada Council Visual Arts Jury. In 1973, Pratt was named an Officer of the Order of Canada and in 1983 he became a Companion of the Order. In 1980, Pratt designed the Provincial Flag of Newfoundland and Labrador.

CHRISTOPHER PRATT was the subject of a major touring retrospective organized by the Vancouver Art Gallery in 1985, a touring print retrospective and catalogue raisonné, “The Prints of Christopher Pratt: 1958 - 1991” in 1992 and a major travelling exhibition organized by the National Gallery of Canada in 2005.

Pratt's work can be found in numerous international private, corporate and public collections including Art Gallery of Nova Scotia; Art Gallery of Ontario; Beaverbrook Art Gallery, Fredericton, New Brunswick; McMichael Canadian Art Collection; Musée d'art contemporain de Montréal; Museum London, Ontario; National Gallery of Canada, Ottawa; The Rooms Provincial Art Gallery, St. John's, Newfoundland; Vancouver Art Gallery; Bank of Montreal; London Life; RBC Financial Group; Shaw Communications; Tory, Tory and UBS Securities, Canada.

“Christopher Pratt: The Places I Go”, an exhibition celebrating Pratt’s work from the last decade, will open at The Rooms Provincial Art Gallery, St. John’s, Newfoundland in May, 2015.

CHRISTOPHER PRATT lives and works in Mount Carmel, Newfoundland and has been represented by Mira Godard Gallery for 45 years.

To arrange an interview with the artist, or for more information, please contact the gallery at (416)-964-8197, via email: godard@godardgallery.com, or visit: www.godardgallery.com.








André Kertész (1894–1985) is an undisputed master of photography, an icon who created much of the visual vocabulary of the medium that is still in use today. Kertész worked thematically throughout his life, repeatedly approaching the same subjects and ideas; refining and redefining his observations as he matured as an artist. Surveillance represents one such theme and technique that he continually visited.

This astonishing body of work—assembled together for the first time—reveals the dichotomy of a man who observes from afar, as an outsider, but at the same time creates deeply intimate images in response to what he witnesses. In playful, beautiful, and sometimes ominous photographs, Kertész displays a carefully calculated distance that evokes a sense of longing to belong, simultaneously acknowledging that it will never be. Whether watching his subjects from near or afar, Kertész remains the quintessential outsider.

As a young adult, Kertész saw himself as a failure at every occupation he tried. Amongst his earliest self portraits are a series of him in various guises such as an athlete, a bee keeper, and a banker, all of which vividly illustrate his bewilderment about what lay ahead. Although in a supportive family, his inability to hold a job and his interest in art soon set him apart as an outsider.

He even frustrated Elizabeth, his betrothed, who finally insisted that he leave Budapest to establish himself somewhere else. With this ultimatum, Kertész left for Paris to devote himself to beoming a working photographer and immerse himself in the city’s vibrant scene of the 1920’s. His already mature sense of form and balance combined with his humanist approach to life, Kertész began to produce an enchanting body of work reflecting his response to his new Parisian world. While successful, Kertész was far away from the nourishment and support his family provided and he suffered deeply. A sense of loneliness and isolation began to emerge in his photographs.

Arriving shortly before the outbreak of WWII, his relocation to New York isolated him further. Kertész found himself lost in a monolithic city without the support of the Parisian café society that fueled his art. During the war, Kertész was identified as an enemy alien and warned not to photograph on the streets. Years later, he took solace in an apartment high above Greenwich Village where he embraced new photographic technology, using zoom lenses and an adapted telescope that allowed him to hone in on the people down below and across the way. Observing intimate interaction from a safe distance, Kertész redefined the world he surrounded himself with. It is here that he developed his penchant for voyeurism into a true art form.

Image credit: Untitled, New York, July 13, 1963 © The Estate of André Kertész, Courtesy of Stephen Bulger Gallery


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