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Podcasts: The Grange Prize 2012 Dialogues

The Grange Prize 2012

From left to right:
Emmanuelle Léonard (Canada), Citizens, Protest, March 15, 2009, #5137 (detail), 2009. Inkjet print, 102 x 90 cm.
Annie MacDonell, The present is the future of the past and the past of the future (The Fortune Teller) (detail), 2012, 16″ x 12″, chromogenic print.
Jason Evans, Untitled (detail), from The Daily Nice, 2004–ongoing. Online project, dimensions variable.
Jo Longhurst (UK), I Know What You’re Thinking (detail), 2003. Chromogenic print, 101.6 x 76 cm.

This year’s nominated artists share a fascination with the world of images that surround, and often bombard, us every day. Taking on everything from fashion editorial and sports photography to found objects and crime-scene documentation, by appropriating existing images, placing familiar genres in new contexts, and pushing the photographic print into the three-dimensional realm, these nominees reinvigorate our relationship with photography. In this discussion, The Grange Prize 2012 shortlisted artists chatted with members of jury about the provocative issues and topics their works traverse.

Recorded:
Friday, September 7, 3 – 6 pm
in the Dr. Anne Tanenbaum Gallery School
in the Weston Family Learning Centre at the AGO


Session 1: Photography’s Dimensions
3 – 4:15 pm

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Duration: 01:11:05

Moderated by: Dr. Gaëlle Morel, Curator, Ryerson Image Centre
Panelists: Sara Knelman, Annie MacDonell, Jo Longhurst

Since the 1970s, in the wake of post-modernism’s questioning of the photographic image, many contemporary photography artists have worked with spaces of display – studio, gallery, cinema – and their conventions – both past and present – as they push two-dimensional images into the three-dimensional realm. How can we make sense of these expanded dimensions of the image?


Session 2: Photography’s Contexts
4:45 – 6 pm

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Duration: 01:18:37

Moderated by: Sophie Hackett, Lead Juror and Assistant Curator, Photography, AGO
Panelists: Charlotte Cotton, Emmanuelle Léonard, Jason Evans

The photographic images we encounter on a daily basis circulate in the press, on billboards, posters, postcards and online. They teach us, for instance, about fashion, crime, what’s beautiful and what isn’t. How do contemporary photographers today make use of different contexts and modes of circulation to reinvent how we understand photographs?