The RMG Exposed 2018 Live Auction lots are being curated by Charlotte Hale, curator, gallerist, and arts educator:
Charlotte has chosen work from 10 photographers who are working with a variety of photographic processes, both traditional and contemporary. Check back soon to preview the Live Auction lots.
Live Auction bidding starts at $250. All Live Auction lots are framed.
Michael Levin, Meoto Iwa, Futami, Japan 2006
C-print #8 of an edition of 15, size 15”x15”
signed by the photographer 2006
Donated from a private collection
Michael Levin was born in Winnipeg, Manitoba in 1967. It was when he moved to Vancouver that he became engaged with the potential for landscape photography. He is the recipient of numerous awards including Nature Photographer of the Year at the 2006 International Photography Awards in New York City, as well as, Fine Art Photographer of the Year at the PX3 (Prix de la Photographie) awards in Paris, France in both 2007 and 2009. His work has been featured in Black & White Photography Magazine (2005 & 2008), Focus Fine Art (2006), Shots Magazine (2009), Silvershotz Magazine (2009), and B&W Magazine (2009 & 2010). Levin is represented by galleries in North America and Europe. His debut monograph Zebrato (2005) is in its third printing.
11.5” x 14.5”, printed on Canson, satin Barita paper
Irena Hauck is a photojournalist who began by documenting rural life in the northeast region of Poland. After graduating in Photography and Film studies in Poland,Hauck worked at cultural centres, managing photography workshops and photographic excursions for young artists and well known Polish photographers.
Hauck’s strong desire was to uncover deep emotions in fleeting moments, expressions of joy and sorrow in a seemingly ordinary day. Her vision was more instinctive than technical. She found her subjects in remote country villages, in dark corridors of a nursing facility or at a train station during a hunger strike. Irena always took the time to develop relationships with people in their environment in order to capture the emotional essence of their situation.
In 1977, an invitation to join the Polish Young Photojournalists Association based in Warsaw resulted in many opportunities and shortly after, accepted a position as a full time photojournalist for a weekly magazine under the direction of Sławek Biegański, a cult figure for Polish photojournalists of the era.
As part of one of the best photographic teams in the country, Hauck found that documenting the real state of affairs often ran counter to the political current of the times. As a result, much of her critical documentary work was censored. However, her images have subsequently been displayed in exhibitions in Poland, Sweden, The Netherlands and Canada. Most notably, a number of her photographs were included in the “She - Documentalist” exhibition, which was a major undertaking featuring Polish female photojournalists of the last century. The exhibit was hosted by The National Gallery of Art in Warsaw, Poland in 2008.
Ryan Van Der Hout
20"x20" Framed in white to 23.5" x 23.5" 2015
Unique edition 1 of 20 in this size signed in verso
Hand etched chromogenic print
Van Der Hout’s body of work entitled "Creative Destruction" explores ideas of modernization, progress, and loss by etching into the surface of photographs from the Toronto archives. Working with images from 1890-1916, a period of Toronto’s history representing rapid modernization, Van Der Hout physically strips away portions of the chemical emulsion to create marks that veil, alter, or erase the past. Stripping the paper is a process of creation and destruction: it reveals untapped chemicals in the paper itself, while simultaneously altering it permanently.
Welcome Home was an early electric sign put up on Old City Hall Toronto to welcome home the troops from the Boer War.
Iceberg, 2017, 16”x20”
Philip Jessup’s body of work reflects decades of professional activity advocating low carbon economies in world cities, including Toronto where he served as executive director of the City’s climate agency for nine years. Realizing that photography can deepen public awareness of climate threats to the planet, since 2007 he is has documented the beauty and fragility of significant landscapes — currently coastal marshlands and low lying islands — that we can save from climate change if we take the right steps.
Phil has exhibited his work in Toronto, Montréal, London, U.K., Washington DC, Louisville, and New Orleans. The Victoria and Albert Museum (V&A) in London recently selected a large cibachrome print, Flooded Tree (2005), for its seminal retrospective, Into the Woods: Trees in Photography. The V&A and several international corporations collect his work. He won a Bronze Medal for an image, Snake Grass, at the Royal Photographic Society’s 148th international competition in 2005.
Sea level rise is accelerating, according to a recent U.S. National Academy of Sciences report. Seas could rise three-to-five feet by 2100, inundating many of these low-lying coastal marshland areas. Climate change is also stressing inland marshes like Minesing, causing substantial die off of valuable woodlands.
Jessup shoots in medium format using a Phase One XF camera. He is enjoys a saturated Kodachrome color palette and strives visually to balance the real with the abstract.
Liberty Thrudges Through Injustice
“Each and every day the world is filled with millions and millions of digital photographs that have no value, character, significance or physical form. That is not the case with a wet plate. The wet plate process is magical and the end result is tangible and precious.
Digital photography of today relies on technology. Wet plate photography relies on 160 year old chemistry, a bit of magic, and some luck. I think it is very important that as technology moves forward, we embrace and continue to celebrate and not forget important processes from the past. Wet plate photography is one of those processes. I am very proud to be the only person pouring wet plates in the state of North Dakota at this time. Every time I show someone the wet plate process, they are absolutely amazed regarding the ability to get a photograph using some chemicals and pieces of glass that I cut by hand.
It is my goal to capture as many people as I can in this process. Friends, family, loved ones or complete strangers, it does not matter. I want to share with as many people as possible this beloved process that dates back to 1848. Wet plate photography was such an important medium for expression in the past and I want it to continue to be today. It has been said that “you do not take a wet plate photograph, it is given to you” and this is so very true.”
Rack of Armour Suits - August 18, 2016 - Ottawa
“This image is everything. To me.
Jaws. White Tee-shirt. Black long sleeve. White long sleeve, and all of the iconic suits. Each named after a person of influence.
Acid green: Jenn
Mirror Ball: Bowie
Hot Pink: Isabel
I found them this way. Waiting. With care.
To protect the man, who they would transform, to yet again bring us joy.”
David Bastedo is a superb and innovative image maker and has been the exclusive photographer for the Tragically Hip joining them on their journeys including their historic Farewell Tour in 2016. He shoots with an eye for the unusual and produces evocative and powerful images. While traveling and shooting for various bands, David also spent 18+ years in the conceptualization, development and execution of digital content. Previously, David was Partner and Creative Technologist at Gravity Partners, a Digital Strategy Design firm.
His passion for music has enabled him to travel across North America and Europe documenting and creating content for Canadian bands such as The Tragically Hip, The Trews, Sam Roberts Band, Paul Langlois and Gord Downie. His work has been featured in these selected publications: The Toronto Star, The New York Times , FYI Music News, London Free Press, Huffington Post Canada, Hamilton Spectator, The Globe and Mail, The Hill Times, CBC, Calgary Herald, Halifax Magazine, Billboard, Infopresse, Winnipeg Free Press, Maclean’s.