-- Advertisement --

                           

-- Advertisement --

Canadian Art

Feature

Scott Conarroe: Photographing By Rail

Stephen Bulger Gallery, Toronto Jul 23 to Sep 12 2009
Scott Conarroe  <I>Canal, Cleveland OH</I>  2008  Courtesy Stephen Bulger Gallery  © Scott Conarroe  Scott Conarroe Canal, Cleveland OH 2008 Courtesy Stephen Bulger Gallery © Scott Conarroe

Scott Conarroe <I>Canal, Cleveland OH</I> 2008 Courtesy Stephen Bulger Gallery © Scott Conarroe

Hitting the open road has long served as a useful way of renewing the mundane. And it’s precisely how Scott Conarroe created a contemplative, elegiac examination of the North American rail system in “By Rail,” his first solo exhibition at Toronto’s Stephen Bulger Gallery. (A touring exhibition and catalogue of “By Rail” will open at the Art Gallery of Windsor in October 2009.) Conarroe’s suite of 10 large-format colour photographs were acquired over the course of an eight-month road trip in his 1981 Chevrolet van, a journey which began in Dawson Creek, where he grew up and learned to drive, and ended in Toronto, where he now lives. In the following email interview, Conarroe shares some thoughts about his trip, trains and photography.

Justin Mah: In what way did this eight-month road trip inform your work, and would it be accurate to describe your photographs as a kind of artful documentation?

Scott Conarroe: The wonderful thing about making photographs is that I’m obligated to go out and actually be in different places. Without undue coyness, the trip was the work, and the photographs are, as you put it, “artful documentation.” In a way, the elegiac tone read into these pictures is as much about driving as it is about train travel. There is a tradition of photographers, from the earliest geological surveys to Robert Frank to Stephen Shore, heading out on grand exploratory road trips. When I was doing “By Rail” and gas was more costly than ever before and the term “carbon footprint” entered common parlance and my old van was making uncomfortable sounds, it struck me repeatedly that the window for this type of adventure is likely closing.

JM: From the outset of your trip, did you proceed with a clear intention of the kind of images you wanted? Or were these scenes that you discovered while travelling and felt needed to be captured?

SC: I didn’t begin with a thesis or an inventory of sites to illustrate my position. I began with a vague interest in the subject of railways, and was compelled by curiosity. This project was definitely shaped by the railway’s proximity to highways. Tracks typically run alongside the road, making them an integral and constant part of a driver’s-eye-view of the landscape.

Page 2 »
This article was first published online on August 6, 2009.

RELATED STORIES

  • Bob Willoughby: Mr. Hollywoodland

    Popular Photography magazine once called Bob Willoughby "the man who virtually invented the photojournalistic motion picture still." Now, an exhibition presents his prints from 50s, 60s and 70s Hollywood, highlighting work on The Graduate, Rosemary's Baby, Marnie and many other iconic films.

 

FOUNDATION NEWS

More Foundation news

ONLINE

  • Will Munro: Ecstatic Legacies

    In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.

  • Painting Canada: Artistry in the UK

    The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.

  • David Altmejd: In the Belly of the Beast

    The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.

  • A Stake in the Ground: When Language Wounds

    What happens to identity when our relationship to land and language is disrupted? This is a key question raised in “A Stake in the Ground,” an exhibition of works by 25 First Nations artists, curated by Nadia Myre, that’s currently at Montreal gallery Art Mûr.

  • Canadianartschool.ca: Tips for a Successful Winter Term

    Our education and careers site has just posted more stories and tips to help students achieve a great winter term. Highlights include a profile of internationally renowned fashion designer Jeremy Laing, a Q&A on grad schools and more.

More Online

- Advertisements -



- Advertisements -
Report a problem