South Africa by LM Chabot

We are proud to present South Africa, a new series by LM Chabot.

We are proud to finally present the new series of works South Africa shot by the powerful and inspired duo
LM Chabot.

The artists, shot those photographs entirely on film, while they spent 4 months road tripping around South Africa in 2016.

Working on the study of colours and shapes and always inspired by nature in its raw state, the new series is pure representation of LM Chabot signature style, offering beautiful, vivid, graphic and intimate images where composition, symmetry and history comes together.

Yulia Topchiy

guest curator

Yulia Topchiy

Yulia Topchiy is born in Russia and now lives in NYC with her son. She is an independent curator and founder of CoWorker Projects (CWP) and co-founder of ASSEMBLY ROOM, a new curatorial platform to celebrate and empower independent women curators.

ASSEMBLY ROOM invites female curators to collaborate, come together, break the rules, defy the status quo, as well as create compelling art, exhibitions, and experiences. We are building a strong community of women to deepen the understanding of women’s work and offer support for female curators to achieve groundbreaking and inspiring results.

Yulia works with an extensive network of emerging and established artists and collaborates with galleries, non-profits, and independent curators on special projects and exhibitions.

She also works for the Gallery Relations Team at Artsy.

Yulia, as an art professional, curator and specialist in the global contemporary art market working in New York City, what drew you specifically to this career?

I have always been interested in creativity and self expression. I love how artists see the world and how they communicate through their art. Artists reflect the diversity of the public and inspire greater understanding of the world through their work.

I wanted to have a career where I feel inspired by art every day, and where I can contribute my time, knowledge and energy to supporting artists in their practice and galleries in connecting them with collectors all over the globe.

You are currently working as “Gallery Relations” at Artsy, an online ressource for art collecting. Could you explain the mission of Artsy? What makes this online platform so different?

Artsy’s mission is to expand the art market to support more artists and art in the world. Artsy makes it simple to discover and buy art from leading galleries and auctions around the world and it is the largest global marketplace for art. Artsy also serves educational purpose through Editorial and Institutional Content for the art lovers and beginner collectors. Artsy ranks highest in SEO for discovering Artists and Galleries and offers various recommendations and reminders on the artists you may like. Artsy’s approach is proven to be the most powerful way to fill the world with more artists and art.

How did you acquire expertise in the online art field and what would you say is your main focus art wise?

We have a great team of people at Artsy who are equally interested in art and technology. We gather feedback from our galleries and develop strategies according to their needs. Our main focus is to increase visibility for our partners and help them connect with global audience. My measure of success is how I can help galleries with contemporary emerging program increase their artists following, expand their global audience, connect them with collectors around the word, thus ultimately making more people aware of their programming and their artists.

What do you think of the way photography is being viewed and offered through the web and the online platforms now a days?

I think that the accessibility of photography online is a fantastic advancement in communicating the message across. Especially with the introduction of social media platforms, we have witnessed the rapid transformation of cell phone photography over the last several years. Everyone is capable of recording and transmitting every moment in their lives, making the cell phone photography a pervasive role in communicating. I think it’s great to have an abundance in discovering photography online and developing your taste through browsing, learning, and choosing. As long as you continue visiting galleries and seeing prints in person and understand the context of photography in curatorial context and asking questions in person, all this online exposure is totally fine.

How does Artsy influence the world of art collecting ?

Artsy is focused on building a marketplace that makes it easy to discover and buy art from around the world, with the aim of expanding the art market. Artsy’s core strategy for expanding the art market is a partnership model: working with industry partners to help them grow their businesses online. We fundamentally believe that galleries are essential for supporting artists and nurturing their careers. Artsy helps galleries succeed within an international, globalized, digitized art world. The success of galleries is key to the success of artists—and we partner to introduce new collectors, broker sales, and bring increased exposure to galleries worldwide, in turn benefiting the artists that they represent.

Artsy also collaborates on special projects with artists and editorial initiatives to further educate our audience on contemporary art and collecting.

According to you, what’s trending these days in art photography?

I think the photography that penetrates the politics of social justice, cultural identity, race, and human rights is especially important at this time. A work that often raises questions and responses within the cultural history and history of photography is very relevant even today.

As a curator and an Artsy specialist, do you make it a priority to keep an eye on the emerging scene ? What movement or which artists are particularly interesting right now from your point of view?

Yes, absolutely. Seeing as much as possible and interacting with artists in their studios is very important to me. I am not sure about trends as I tend to develop my own eye through years of learning, discovering, and putting exhibitions together. I love artists who take pictures of people and places transforming external landscapes into interior states. I also love photography that reveals its relevance to larger social and political conditions prevalent today.

Is there something (exhibition, fair, trend, artist) that are you especially excited about coming this year on the photography scene?

I often see exhibitions at Carriage trade, Bodega, David Krut, and Rubber Factory in New York City. The current MoMA exhibition on new photography introduced me to the works by Em Rooney, Andrzej Steinbach, and Joanna Piotrowska. I am interested to see new work by Patrice Helmar and Irina Rozovksy.

Do you collect? If so what does your collection consist of? Is there one single photograph you wish you’d owned?

Yes, I do acquire the works of art either by artists I work with or have collaborated in the past. I used to work for a gallery, Goff+Rosenthal, and was privileged to work alongside many wonderful artists whose work I bought back then. Most of my collection consists of prints and editions but I also have some paintings and sculptures. My recent acquisition consists of a small sculpture by Genesis Belanger from Mrs. gallery and Ivy Haldeman’s painting from Downs & Ross. I have relationship with both galleries and I love supporting their artists in any way I can.
There are so many photographs which I would love to own. Perhaps any work by Francesca Woodman or Barbara Kasten.

We are very happy to have you as a guest curator at TPA! 
That’s why we have to ask : what elements will you look for when reviewing your artwork selection from The Print Atelier’s artists to create your curated selection ?

I look for images which are appealling to me aesthetically and also challenging me. I am interested in technique, overall composition, and photography which addresses environmental and social themes. I also love seeing something mundane or something unnoticed in a photograph. I love the mystery and the element of surprise too.

From your point of view, what makes The Print Atelier different and interesting for photography collectors?

I love the variety of prints, diversity of photographers, and great selection in categories and themes. The website is simple and easy to use and makes the discoverability really interesting.

On veut savoir: comment collectionner les photos d'art

On veut savoir: comment collectionner les photos d'art

Entretien avec la photographe Maude Arsenault, fondatrice de la galerie web The Print Atelier


D’abord photographe et artiste multidisciplinaire, Maude Arsenault a fait sa marque avec ses portraits intimistes, ses séries mode teintées de féminisme, ses nus délicats qui dépeignent avec sensibilité la relation fragile que les femmes entretiennent avec leur corps. En 2013, au plus fort de sa carrière, une grossesse à risque l’oblige à tout arrêter. Plutôt que d’attendre à la maison l’arrivée de son troisième enfant (une belle surprise!), elle se lance dans un projet ambitieux, celui de fonder une galerie numérique dédiée à la photo d’art contemporaine.

The Print Atelier a vu le jour en 2012, pratiquement en même temps que son fils. Depuis, Maude a offert une vitrine d’exception à des dizaines d’artistes contemporains, développé une clientèle internationale, et changé, à sa manière, la façon dont on interagit avec l’art. Je l’ai rencontrée dans sa belle maison-galerie d’Outremont, où nous avons discuté, autour d’un café, de sa mission: démocratiser l’art, tout simplement.

La femme derrière The Print Atelier: Maude Arsenault. Photo Ariel Tarr.

Pourquoi une galerie en ligne?

Je suis une obsédée de la photo d’art, que je collectionne depuis longtemps. Comme la démocratisation de l’art est liée de près à l’accessibilité via la numérisation des médias, et que je rêvais de pouvoir acheter des photos en ligne, à mon rythme, j’ai décidé de me lancer. C’était important pour moi – et ça l’est toujours – de représenter des artistes émergents, au talent indéniable, auprès de collectionneurs novices ou expérimentés. Sur le site, je présente des œuvres soigneusement choisies, contextualisées, tirées en éditions limitées sur du papier de qualité muséale, tout ça avec un rapport qualité-prix vraiment avantageux. La formule est très simple.

The Print Atelier a plus de succès à l’étranger qu’ici. Pourquoi?

Il y a au Québec un mystère inexplicable autour de la question de l’art, une sorte de tabou. Il faut arrêter de s’énerver avec ça! Beaucoup de gens n’hésitent pas à s’offrir un souper à 300$, un sac à main à 800$, une voiture importée qui coûte une petite fortune en paiements mensuels, mais ils rechignent à payer pour acquérir une œuvre de 1000$ qui va durer toute la vie. Ils y pensent, souvent très longtemps, analysent le rationnel, hésitent – alors qu’acheter de l’art, ça devrait être comme acheter un bel objet, ça peut se faire sur un coup de tête. Je crois que c’est une question de culture. Je sens que je vais faire des remous, mais c’est un fait que l’appréciation de l’art est plus ancrée dans les traditions des Européens, de certains Américains, et même de nos voisins de l’Ontario.

J’ai participé récemment à une table ronde au Centre Phi, où Paul Maréchal, le conservateur de la collection de Power Corp., faisait état de son cheval de bataille: il juge scandaleux que 80% des foyers au Québec n’aient rien sur leurs murs. Et il ne parle pas que des originaux! Même si tu as acheté un tableau laminé de Monet chez Walmart, tes enfants sont sensibilisés à vivre avec l’art, ça les stimule à développer un intérêt pour les années à venir.

La question du budget, justement…

A priori, le marché de l’art est élitiste, et même très élitiste – mais, en même temps, il peut être accessible. Les artistes établis, recherchés, valent très cher, mais, du côté des talents émergents, l’acquisition d’une œuvre est beaucoup plus abordable qu’on ne le pense. À Montréal, on a beaucoup de choix autour de 1500$ pour acquérir de l’art visuel. Et on peut très bien commencer avec un investissement d’environ 500$. Mais à ce prix là, on oublie Marc Séguin! On peut par la suite se fixer un budget annuel. Et c’est un fait que des gens qui ont beaucoup d’argent achètent n’importe quoi et que des gens qui disposent d’un budget modeste font des choix très judicieux.

On choisit avec son cœur ou avec sa tête? Ce qu’on aime, ou ce qui prendra de la valeur?

Toujours avec le cœur en premier lieu. Ensuite, on fait la démarche de comprendre pourquoi on achète une œuvre plutôt que l’autre, afin de poser ses choix en toute connaissance de cause. Dans la plupart des cas, il vaut mieux acheter de l’art pour le plaisir des sens et de l’intellect que pour l’investissement, car le retour financier n’est vraiment pas garanti. Certaines œuvres, même si elles ne prennent pas de valeur financière, peuvent tout simplement nous faire du bien au quotidien, nous alléger l’âme, nous rappeler nos valeurs, nos idéaux ou simplement égayer nos vies. Quand tu as un coup de cœur pour une œuvre et que tu décides de l’acheter, que tu vas la chercher à la galerie ou que tu te la fais livrer, ça te donne une décharge d’adrénaline. Et quand vient le moment de l’accrocher sur ton mur, tu te dis: «Ça, c’est moi, c’est ce que j’aime, ça fait partie de ma vie.» Ton œuvre, tu la vois tous les jours et c’est ce qui te donne envie de recommencer. C’est souvent après la première acquisition qu’on décide de démarrer une collection.

Parce que les œuvres se retrouvent sur nos murs, il y a parfois confusion entre art et déco, non?

Le monde regorge d’images. La différence entre une œuvre d’art et une image à vocation décorative, c’est le processus intellectuel de l’artiste et de l’acquéreur. Il faut être au fait de l’histoire de l’art, connaître la démarche de l’artiste, comprendre dans quelle démarche s’inscrit son œuvre. Si tu es à la recherche de quelque chose qui s’harmonise aux coussins du salon, tu vas payer beaucoup trop cher en te procurant un original. Il n’y a pas de mal à acheter une reproduction et il y a des tonnes d’options très correctes pour le faire. Sans vouloir juger, beaucoup de gens ne comprennent pas la différence entre l’art et ce qui plaît à l’œil. J’ai des amis très éduqués qui sont comme ça. Ils agrandissent leurs photos et les exposent sur les murs. Et c’est tout à fait correct. Mais ce n’est pas de l’art.

Par où commencer pour démarrer une collection cohérente?

Il faut faire ses devoirs. Quelqu’un qui veut investir en Bourse va consulter et se renseigner avant de commencer à négocier. Il faut fréquenter les galeries d’art, aller dans les foires, s’inscrire à des infolettres, lire des blogues. On ne collectionne pas n’importe quoi. L’idée est de s’éduquer et de comprendre ce qu’on aime naturellement. Par exemple, si on est attiré par les portraits, c’est déjà un indice. Ensuite, on analyse les différentes écoles de portraits, les artistes qui se démarquent dans cette catégorie, la direction où on veut aller. C’est un processus qui peut être vraiment intéressant. Parce que quand on a un déclic pour un artiste, ça peut se transformer en passion, parfois en véritable maladie! On les aime, on les suit, on fréquente leurs expos.

Qu’est-ce qui motive les collectionneurs?

Beaucoup développent un intérêt pour l’art lorsqu’ils commencent à faire des sous. Ils suivent des cours sur le vin, fréquentent les bons restaurants, achètent de beaux meubles. La suite logique, c’est de choisir ce qui va sur les murs. Il y a aussi un autre facteur: le monde de l’art est très stimulant et ludique pour des gens qui ne sont pas des artistes, et qui évoluent dans des environnements rationnels, froids. Ces collectionneurs, parfois de grands collectionneurs comme Alexandre Taillefer, vivent la créativité de leurs artistes, des personnages intéressants qui pour la plupart ont des projets politiques, environnementaux, ludiques, pacifistes…. Les rencontres entre ces deux mondes sont souvent bénéfiques pour tous – et ça aide les gens d’affaires à sortir de leur quotidien quand des artistes viennent manger à la maison.

Tu as déménagé récemment et ta nouvelle cuisine a été pensée en fonction des photos que tu voulais y exposer…

Je vois ma maison comme un lieu de ressourcement, je veux qu’elle soit inspirante et qu’elle me permette de vivre avec les objets que j’aime et qui me font du bien. Par conséquent, ma collection d’œuvres d’art y tient une place importante. En dessinant la cuisine et la salle à manger adjacente, j’ai préservé un très grand mur pour exposer de grandes œuvres, en particulier un diptyque que je possédais depuis un moment – je n’avais jamais eu la chance de placer les deux photographies côte à côte. Le diptyque est là pour l’instant, mais je sais qu’un jour ça changera, et que je pourrai installer une œuvre importante dans ma maison.

La cuisine de la galeriste Maude Arsenault, conçue pour accueillir ce diptyque.

Ton intérieur devient à l’occasion un espace public (tendance home gallery, en bon français). Tu vis ça comment?

C’est toujours un peu stressant de recevoir chez soi, surtout dans un contexte professionnel, quand il s’agit de gens qu’on ne connaît pas. Il faut tout ranger, rendre l’endroit plus stérile, moins personnel. Mais l’effort en vaut la peine. À mon avis, il n’y a pas de façon plus inspirante, contagieuse et éducative de découvrir des œuvres. Comment ça se passe? Les invités se présentent, prennent un verre de vin et, ensemble, on fait le tour de la maison pièce par pièce en prenant le temps d’expliquer chaque œuvre et le parcours de chaque artiste. En petit groupe, à l’intérieur d’un environnement intime, fermé, ils vivent une véritable immersion, ils sont attentifs, concentrés, beaucoup plus réceptifs; dans ce contexte, ils tombent souvent en amour avec un artiste ou son travail. C’est une formule que je propose au compte-gouttes. Mais si je n’avais pas d’enfants, je le ferais régulièrement. J’y crois énormément.

La prochaine édition aura lieu quand?

Ça se passera au printemps. J’aime que ces événements aient lieu à la lumière du jour, question de rendre hommage aux œuvres, l’éclairage d’une maison n’étant pas idéal.

Des artistes, des courants à surveiller?

Au Canada, il y a le courant très fort de l’approche humaniste environnementale, en réaction à tout ce qui se passe dans le monde, en politique et dans la société. Parmi les artistes que je représente, il y a Annie Briard et son approche scientifique tout à fait unique, Alana Riley, dont le centre d’intérêt est la relation à l’autre, et David Ellingsen, un activiste conservationniste de l’Ouest canadien. Cela dit, j’hésite à faire un choix parce que j’aime profondément tous les artistes que je représente!

Les recos de Maude Arsenault

Pour dénicher des œuvres, au Canada, il faut presque toujours passer par une galerie – en ligne ou avec pignon sur rue. Le marché des encans n’est pas très accessible ni facile à négocier. Il est toujours possible d’acheter une œuvre d’un finissant de Concordia – on ne sait jamais – mais ce n’est vraiment pas évident. Il y a de fins renards qui sont en recherche constante de nouveaux talents et de courants émergents dans le but d’investir et de faire réellement de l’argent, mais c’est un job à temps plein!

5825, rue St-Hubert, Montréal

1892, rue Payette, Montréal

6345, boul. Saint-Laurent, Montréal

372, rue Ste-Catherine Ouest, Montréal

5420, boul. Saint-Laurent, Montréal
Incontournable, pour des artistes plus classiques.

3550, rue Saint-Antoine Ouest, Montréal

5455, rue de Gaspé, espace 108

Les centres de diffusion comme Occurrence, le plus vieux au Québec, ne vendent pas les œuvres, ce qui permet aux artistes de présenter des projets moins commerciaux. Ces lieux permettent aux artistes de se faire connaître des galeristes et du public.


Un événement annuel pour tout voir d’un coup, où on peut rencontrer des artistes, des galeristes, les approcher, s’inscrire sur leurs listes d’invitations pour les vernissages, s’abonner à leurs infolettres. On peut s’y procurer des œuvres très intéressantes pour seulement 500$ ou 600$.


Il y a tellement de choses à voir, difficile de choisir! Parmi mes favoris:

Un des plus grands répertoires du marché de l’art – il faut aussi voir le site!

Toujours cool.

Un regard unique sur la photo au féminin, un collectif fondé par des femmes.

Un magazine de photos d’art qui publie toujours de belles choses.



Pour suivre Maude

The print atelier  (s’abonner à l’infolettre)
Instagram: theprintatelier

Maude Arsenault
Instagram: maudearsenault




It’s finally this time of the year where we get to enjoy the heat, relax by the pool, spend long hours reading and why not, discover new Artists and Artworks !

What could be a better place to do this then Online!
From the comfort of your lounge chair, let yourself immerse in the discovery of inspiring works from our talented artists…

Eglantine Lavogez
joins us

The Print Atelier is enthused to present Eglantine Lavogez and her diptych series titled "Getting Closer".

Eglantine Lavogez is a young photographer based in Paris. Her vision is characterized by a search of daily aesthetic and harmony to be found through her immediate environment.  As so many before her, she wonders around town, searching for an element or a structure that will catch her eye and push her to stop.

Photography allows her to get away from a confined universe and to create her own rules. The strength of her photographs resides in their spontaneity : nothing is forced, nothing is reflexive, everything is about instinct and the present moment.

"I  take  photos  for  the  aesthetic  pleasure,  it  feeds  my  graphic  view  of  the  world,  I  don’t  do  it  to  document. [...] Playing  with  colors  and  materials,  I  try  to  put  my  focus  on  detail,  cut  to  the  essential  and  give  relief  to  heaviness.  After  all,  who  says  we  can’t  find  excitement  in  the  boredom  of  routine?"

Two great series by
Alana Riley

The Print Atelier is honoured to present in collaboration with Joyce Yahouda Gallery, 2 spectacular series by Alana Riley.

In her self-portraits titled, "Support System" and "The Pressure between you and me is enough to take a picture", Alana uses unpredictable human encounters as part of her photographic process.

Alana Riley is a photo/video-based artist, currently living in Montreal, Canada. She holds a B.F.A. from Concordia University in Montreal and an M.F.A. from the Roski School of Fine Arts at the University of Southern California in Los Angeles. Riley’s work has been exhibited in solo and group shows in Canada, the United States, Europe and China.

In 2010, Riley was awarded the Pierre-Ayot Prize by the City of Montreal and the Association of Contemporary Art Galleries (AGAC), as well as being nominated as a finalist of the Emerging Photographers of Canada by the Magenta Foundation. Riley has participated in artist residencies in Quebec, Ireland and Germany. Alana Riley’s work is represented by Joyce Yahouda Gallery and her works are also available through The Print Atelier.

"The Pressure between you and me is enough to take a picture"

For this series, the artist entered stangers’ work environments and asked to take a photo with them, with the shutter-release cord placed between their bodies. The photo was therefore taken at the moment of closest physical contact.

"Support System"

For this series, Riley invited strangers passing by her studio in downtown Montreal to come up and lie on top of her, for the duration of a shooting sequence of a medium-format roll of film of 10 frames. One image was chosen as the final portrait.

New works by
Guillaume Hébert

We are excited to launch a new series by Guillaume Hébert developed during his recent trip to Europe.

Guillaume’s work is related to a form of expressionism. He captures the passage of time and changes by noticing the small elements of an ever evolving life journey.

What he is looking for at first and foremost, are unusual and transitory scenes that nobody notices despite their interest, incredible colour schemes or emotional evocation. Observation is the key to his approach.

Rachel Wolfe
New Artist

We are proud to introduce new artist Rachel Wolfe at the The Print Atelier !

Rachel Wolfe is an interdisciplinary artist whose images and installations create a sensual and emotive view the relationship between Vision and Body.

Her monolithic image and text, Omniscient, recently won 1st place by the jury in the Imagining New Eurasia exhibition at Asia Culture Center in Gwanju, South Korea. She holds an MFA from Otis College of Art and Design. Rachel lives and works in Los Angeles and Oslo.

"The essential questions I work with are meditations on the Nature of Desire, or what moves a Body? I create art to consider aesthetic experience as a forum for conversations about the relationship between Vision and the Body."

"I seek to balance this spectrum of cognition, perception and emotion through the artwork I make centered on the felt senses. These art are not about my own emotion or feeling persay, but rather meditations on the senses themselves."

Fall 2017

The 2017 start of the  "Art season"  brought a lot of excitement to The Print Atelier !

First, Mobilità, the exhibition, a brand new website, a new collaboration with an established art gallery and fabulous new artists to discover !

On September 19, renowned curators Joyce Yahouda and Maude Arsenault gathered over 350 people to launch Mobilità, a contemporary art event presented by Genesis Motors Canada.

Mobilità is about being alive as a form of movement and seizing the opportunity as it comes. Mobilità is a striking encounter between an up-and-coming car and an open-minded, fluid selection of contemporary art reflecting people, places, shapes and ideas.

The event featured close to thirty artworks, including photography, video, and sculpture, by Canadian and international artists Max Abadian, Maude Arsenault, Jacques Bilodeau, Annie Briard, David Ellingsen, Moridja Kitenge Banza, Nicolas Mavrikakis, François Ollivier, Le Pigeon, Alana Riley, Stephen Schofield, Daniel Shipp, Victor Vargas Villafuerte, Louise Viger, Paul Wong and Lee Yanor.



Browse through a more interactive design, the new THE PRINT ATELIER platform offers a more exciting and intuitive way to discover and research works & artists.

Experience new sections such as our Curated COLLECTIONS, exciting new COLLABORATIONS, interviews with art stars CURATORS and tons of BLOG posts bringing you fresh and inspiring content from the art world.

Joyce Yahouda collection

The Print Atelier is proud to partner with established curator and gallery owner Joyce Yahouda through a selection of art works of Joyce’s choice.

Since 2002, Joyce Yahouda has been the director / curator of Joyce Yahouda Gallery promoting contemporary art in a variety of mediums, including painting, drawing, performance, photography, installation, sculpture, video, web based and digital art.

We are excited to be offering this selection of works curated by Joyce, now available online at The Print Atelier!

The Print Atelier teams up with Art Money. The new way to buy art !!!
Take your art home and pay for it later. 10 payments. Interest free.
Visit Art Money here.

We are so happy to introduce Linda Rutenberg as part of our collective!

Linda started as a fine art photographer 30 years ago. She has a BFA in film and music and an MFA in Photography from Concordia University. Linda has taught photography and worked on projects which have resulted in fifteen publications and numerous exhibitions.

Her fine artwork has been exhibited internationally and most recently in Canada, the US and England. Her photography series including her latest work The Gaspé Peninsula are all explorations of the relationship between the environment and its people.

Linda’s work has been purchased by many prominent corporate collections, it is in the National Gallery of Canada and the archives of the Bibliothèque Nationale de Paris.

Frédéric Loury

guest curator

Frédéric Loury

The Print Atelier est fier de collaborer avec Frédéric Loury, un pionnier à Montréal en matière d’art photographique et grand public.

Né en France, Frédéric Loury a fait ses études à l’IDRAC Paris et a obtenu une maîtrise en Commerce et Administration. Fraîchement arrivé à Montréal, Il ouvre la galerie SAS en février 2002 avec pour mandat de souligner la diversité des Arts visuels à travers de multiples collaborations avec artistes et commissaires de renoms. Il a participé à plus d’une vingtaine de foires d’art contemporain en Amérique du Nord, en Europe et en Asie et à organiser plus de 250 expositions au Canada et à l’étranger.

En janvier 2009, il fonde l’organisme Art Souterrain qui fait la promotion et la diffusion de l’art contemporain au sein de la ville souterraine. En l’espace de moins de dix ans, le festival Art Souterrain est devenu un événement incontournable qui a attiré plus de 2 millions de visiteurs et a réuni plus de 800 projets d’artistes.

Frédéric Loury a été Vice président de l’AGAC pendant 7 ans et membre exclusif du comité des arts visuels auprès de la SODEC. Il est également impliqué au sein de l’Arsenal avec le développement de projets spéciaux et consultant et commissaire avec de nombreuses entreprises privés et culturelles montréalaises dont la Société du Quartier des Spectacles, Ubisoft, Ivanhoé Cambridge, C2-Mtl et Ville de Montréal. Il agit également en tant que conseiller en acquisition d’œuvres d’art et en gestion de patrimoine en art contemporain auprès d’entreprises et de particuliers depuis 2006.

Comment avez-vous développé ce goût pour l’art et seriez-vous capable de pointer le moment exact où vous avez décidé de diriger officiellement votre carrière vers l’univers de l’art contemporain?

A la suite de mes études en Affaires à l’IDRAC, mon parcours devait s’orienter vers le marketing mais la vie en a décidé autrement. Une expérience de quatre ans dans le Groupe Hachette – édition en a confirmé l’orientation. Je suis issu d’une famille qui a toujours eu un pied dans les arts. La musique était le cœur de l’ensemble des activités de mes grands parent et parents. Malgré mon désir d’émancipation, je n’ai pas tardé à organiser des événements artistiques et ensuite à cotoyer la communauté des arts visuels. Il m’a semblé naturel d’ouvrir une galerie et d’accompagner des artistes dont la pratique était singulière. Mon inexpérience a été un atout car il m’a permis de me distinguer du milieu de l’art contemporain. Le grand saut a eu lieu lorsque j’ai participé à ma première grande foire.

Comment avez-vous acquis votre expertise dans le domaine au fil des ans ? Comment êtes-vous devenu le fondateur d’Art Souterrain ?

Le métier de galériste m’a obligé à être boulimique de lecture, d’expositions et de rencontres d’artistes. Etant autodidacte, il me fallait acquérir autant de connaissances que possible afin de devenir un ambassadeur auprès du public, des institutions et des collectionneurs. Pendant 12 ans, j’ai organisé plus de 250 expositions, participé à une trentaine de foire d’art contemporain jusqu’au moment où mes défis m’ont amené à sortir l’art des galeries et des musées afin de créer un accès direct auprès du grand public. Un univers sans limite s’est présenté à moi lorsque j’ai compris que sans public, l’art devenait une discipline morte. C’est alors, que j’ai créé Art Souterrain en 2009. Cet organisme a pour mandat d’organiser un festival une fois par année dans le réseau souterrain de Montréal ainsi que dans une large sélection de lieux culturels. Au-delà de cet événement annuel qui attire plus de 200 000 visiteurs, nous introduisons de l’art visuel dans des lieux atypiques tel que des vitrines de magasins vacants, des rues en construction, des places publiques, des édifices désaffectés. Chaque occasion est un prétexte pour nourrir le public de nouvelles créations issues d’artistes du Canada et du monde entier.

Où dénichez-vous les artistes et Oeuvres que vous présentez avec Art Souterrain ?

Chaque année, on privilégie un thème qui sera le fil rouge du festival, mais c’est aussi le même processus pour nos expositions tout au long de l’année. J’accorde beaucoup d’importance aux enjeux de société et à nos mœurs contemporains. Cela a forte influence sur le choix des artistes. C’est un travail de fourmis ! Je me donne un à deux ans pour composer une sélection qui apporte un véritable éclairage sur le sujet choisi. Je ne travaille jamais seul car j’apprécie les échanges d’idées et les désaccords. J’invite souvent des commissaires établis mais également émergents à confronter leurs points de vus. Les artistes sont choisis à travers des recherches de mots clés sur le web mais également en fréquentant les lieux de diffusion et les grands événements internationaux. Les magazines et les blogs sont une source exemplaire pour dénicher les perles rares. Nous avons une approche d’éternel étudiant car la lecture de documents répond systématiquement à nos attentes. Chaque thème a ses sources et par conséquent le travail n’est jamais répétitif. Je suis également aidé par de jeunes historiens qui m’offrent un regard neuf sur la scène locale.

Mise à part le côté très accessible d’une exposition publique, qu’est-ce qui fait la force des projets présentés par Art Souterrain selon vous?

C’est l’accès directe au public la force de nos expositions ! Mais cela doit se faire avec une médiation adaptée. Nos outils se perfectionnent au fil des années mais cela demeure un enjeu de capturer leur attention et d’en faire des amateurs. Chaque fois que nous investissons l’espace public, nous proposons des cartels détaillés, un audioguide, des visites guidées et des ateliers de vulgarisation. Toutefois, nous ne négligeons pas les passionnés ! La complexité réside dans la façon de fidéliser les amateurs tout en initiant les néophytes.

Etes-vous en mesure de nommer une œuvre en particulier qui vous a marqué cette année?

C’est une question épineuse car je carbure aux coups de cœur ! A Montréal, je dirais l’installation de Nicolas Grenier présenté au Centre Clark, à NYC, la rétrospective de Robert Raushnerberg et à la Documenta de Kassel (Allemagne) l’œuvre de Bill Viola.

Collectionneurs, novices et expérimentés, peuvent être intéressés par des artistes émergents pour diverses raisons. Quels conseils pouvez-vous donner afin d’évaluer le travail d’un artiste émergent alors qu’on en connait peu sur son parcours?

Comme bon Capricorne, ma réponse résidera dans le temps, celle de voir l’artiste se définir au fil des années. J’ai vu tant de fois des jeunes au talent très prometteur et disparaître car le découragement les gagne. Je ne veux pas être pessimiste mais il est difficile d’évaluer un artiste en début de carrière. Afin d’avoir des repères, le choix de ses premières expositions dans des lieux de diffusion ainsi qu’une démarche personnelle qui ne répond pas aux tendances du milieu peut nous aider à les identifier.

Quel évènement artistique avez-vous hate de vivre en particulier cette année ?

Cette année, en dehors des expositions régulières, j’irai à Montréal à Momenta, Biennale de l’image à Montréal, à Mutek, à la BIAN, à la Biennale de la sculpture à trois Rivière et à l’étranger, aux rencontres de Arles et la Biennale de Berlin.

Quel est votre endroit préféré pour visiter des expositions d’art contemporain?

Quelle question difficile ! j’aime être infidèle et délaisser des lieux pendant une période afin de les retrouver lors de grands rendez-vous. Mes visites sont motivées par la nouveauté et les valeurs sûres. Je seras certainement classique en vous disant que la Biennale de Venise et la Documenta sont mes préférés. J’apprécie de circuler dans une ville et découvrir dans des espaces insolites des œuvres qui redéfinissent par leur nature le lieu d’exposition. Je suis resté un enfant qui aime les jeux de piste et les trésors cachés.

Êtes-vous collectionneur? Que recherchez-vous dans les oeuvres que vous collectionnez? Quelle œuvre d’art souhaiteriez –vous acquérir un jour?

J’achète des œuvres depuis 15 ans sur une base régulière. Elles sont à mon domicile, à celui d’amis et au bureau. Le terme collectionné ne me convient pas car il n’y a pas de logique ni d’objectif. Je n’ai aucune idée du nombre d’œuvres en ma possession et cela ne m’intéresse pas. Lorsqu’une œuvre m’obsède, mon cœur l’emporte sur la raison. Toutefois, je peux très bien acheter un artiste que j’apprécie depuis longtemps sur un coup de tête. La rationalité ne fait pas partie du processus. Je suis généralement habité par une urgence qui me soulage l’esprit. Ensuite, j’aime laisser l’œuvre emballée pendant plusieurs mois et avoir le cœur qui bat la chamade lorsque je la déballe. Mes choix sont très divers, tant dans les médiums que les sujets ou l’origine des artistes. L’alchimie de mes sens et de mon esprit doit avoir lieu. Il ne peut y avoir de déséquilibre entre l’émotion et la qualité de la recherche ou/et la démarche de l’auteur. Mes dernières acquisitions étaient Kent Monkman et Paul Litherland.

Qu’est-ce qui différencie la photographie des autres médiums artistiques pour vous ?

Je ne fais pas de distinction entre les médiums car je ne veux les rentrer dans des compartiments. Le message et les émotions sont savamment transmises si le support est bien choisi.

Qu’est-ce que vous avez découvert et apprécié le plus en parcourant le site de la galerie The Print Atelier?

La diversité des artistes, le choix des démarches et la variété des regards. On ne se limite pas, on explore et on contemple.

New Series By
Martina + Reem

How excited we are at The Print Atelier to be introducing 2 new series by Martina + Reem, colourful and powerful artworks that are just groundbreaking!

Martina + Reem are a duo of photographers who currently reside in Toronto, Canada. They met while studying at the Vancouver Institute of Media Arts. Combining photography with their prior backgrounds in art, their work explores elements of the fantastical in reality. Their signature has been described as conceptual and ethereal. They are highly influenced by art, nature and music.

" This time, the beloved duo artist offer us two series: Dizzy Ghosts and Exsangue ! "

Dizzy Ghosts is a series of 4 photographs taken in the Highlands of Scotland. The slightly spooky atmosphere, with a touch of mystery, puts emphasis on the greatness of the trees. These giants stand tall and proud despite hardships. As Martina + Reem point out: ”Storms make trees take deeper roots”.

Exsangue is part of a never-ending series. The search for a true home when your heart does not know what it desires. The colourful artworks bring an abnormal feeling but yet refreshing. This ethereal series truly shows the signature look of Martina + Reem.

Alice Sachs Zimet

guest curator

Alice Sachs Zimet

Alice Sachs Zimet is a collector, advisor and educator. She began to collect photography in 1985, and her collection of nearly 300 images includes 20th Century masters through the present.

Alice was recently featured in the Collector Profile of Art+Auction magazine. She stresses that collecting requires due diligence. “If you want to be a collector, you have to create a circle of friends, a circle of trust,” she explains. 

Alice lives and works in New York City and is Chair of the Photography Collections Committee at the Harvard Art Museums; Board Member of the Magnum Foundation; Member of the  International Center of Photography’s (ICP) Acquisitions Committee; and involved with Friends Without a Border, an auction to benefit the Angkor Hospital for Children in Cambodia and Laos Hospital for Children.

Well recognized and well respected, Alice teaches collecting classes at museums and schools across the United States. Classes are geared for those interested in collecting photography as well as for photographers looking to get their work out into the marketplace.  In addition to teaching, Alice advises collectors on purchases and coaches photographers on their communication tools.

In 1999, Alice founded Arts + Business Partners to consult on issues of corporate sponsorship.  Alice works with both non-profit groups as well as business sponsors and is an accomplished lecturer, regularly teaching for Americans for the Arts and the U.S. Department of State. She is Adjunct Professor, Graduate Program, Arts Administration, at New York University.

The Print Atelier: You started your career first as a Summer Intern at the Metropolitan Museum of Art, and then immediately ran the Summer Intern Program. How did that happen?

Alice Sachs Zimet: Immediately upon graduating university, I had a summer internship at the Metropolitan Museum. That fall, I was in the right place at the right time. The museum downsized and let go of a substantial number of employees. And somehow, at the age 22, I went from being a summer intern to running the summer intern program while I was in graduate school. And the rest is history, as they say.

You are considered one of the early pioneer collectors of photography. How did that happen and how did you begin ?

Early in my career, I was also an intern at the International Center of Photography during its inaugural year (1975). And I have stayed connected to ICP ever since. In roughly 1984, I was on an ICP field trip with the art historian, curator and photography collector Sam Wagstaff (and the partner of photographer Robert Mapplethorpe). Sam had lent a portion of his collection to the Parrish Art Museum (on Long Island) with a focus on images with flowers. And, I fell in love with one by Andrew Bush. However, I couldn’t buy just one. I had to buy two… thinking that a pair would look even nicer. That should have given me a ‘head’s up’ that I had the collecting bug. And, I’ve been collecting ever since.

Could you explain the different ways you are involved in the art photography scene in the US?

First, I am a collector. I began to collect in 1985 and now have roughly 300 images in the collection, most of which are on the walls in my NYC apartment. (That is, I don’t have storage but am clearly at the tipping point !) Next, I am an educator. I teach classes at museums and schools across the United States — classes for those interested in collecting photography as well as workshops for photographers looking to get their images out into the marketplace. I also regularly am a portfolio reviewer at art fairs and festivals. Finally, as an advisor, I help collectors with purchases as well as coachphotographers on their communication tools. A nice Collector Profile was recently featured in Art+Auction magazine that touches on these different hats.

Of the roughly 300 photographs in your collection, how would you describe your collection? Do you have any themes?

My collection includes 20th Century masters through the present including Avedon, Brassai, Hockney, Mapplethorpe, Cindy Sherman, Cartier Bresson, Kertesz, Serrano, Vik Muniz, Lisette Model, William Klein, Berenice Abbott, and of course the Canadian Edward Burtynsky, to name a few. Many images are black and white portraits — strong, emotional humanistic portraits of people living their lives. I also have about 30 portraits of artists as well as many images with references to art history (given my early career in the museum world and my degrees in art history.)

Do you attend photography auctions on a regular basis? Do you mainly buy through art dealers, directly from artists or at auctions?

I buy from all sources — galleries, auctions, art fairs — as well as at non-profit benefit auctions which is a wonderful way to support a favorite charity and buy a great piece of art. In terms of auctions, I love to buy over the phone… you are part of the action but don’t necessarily have to sit in the room. You can stay home in your pajamas !

Do you see most of the major shows and attend gallery openings?
I do try and see major museum shows in NYC as well as exhibitions in cities whenever I travel.  And I do go to many gallery openings as well. The photography world is actually a small community and part of the fun is seeing the same people at gallery openings, art fairs and auction previews. People may change jobs, but they never leave the field!

What’s trending these days in art photography? What are collectors and dealers looking for?

I think this is a very personal question… just like collecting! What is ‘trending’ to one collector might not be to another…

Do you keep an eye on the emerging scene? What or who ’s interesting right now?

I have a tendency to be a little bit more old fashioned, i.e., I like older more established artists and often vintage prints. That said, one of my most recent purchases are three black and white portraits by South African photographer and activist, Zanele Muholi. Zanele has been documenting the LBGTQ black community in South Africa since the mid 2000′s, represented her country at the 2013 Venice Biennale, and recently had a solo exhibition at the Brooklyn Museum.

What are you especially excited about for this year on the photography scene?

I always love going to the Paris Photo fair at the Grand Palais. Of all of the art fairs, that is my favorite. Mid November can be cold and rainy in Paris, but the fair is well worth it!

Professionally, you are a ‘corporate sponsorship’ consultant. What does that mean and how have you gained your expertise?

After working in the museum world, early in my career, I was hired (the day that I was interviewed) by The Chase Manhattan Bank to work in their Philanthropy Group where I was in charge of all giving to charities except what the bank did in the fields of education and hospitals. After 7 years, I moved over to Marketing and created the first sponsorship program in a commercial bank, now a model in the field. Without knowing it, I became a pioneer in the field of corporate sponsorship in the United States. As Director, Worldwide Cultural Affairs, I worked across 14 countries, 20 American cities and generated over $2 billion in new business using the arts as a strategic marketing tool.

In 1999, I founded Arts + Business Partners to consult on issues of corporate sponsorship. As an insider, I work with both non-profit groups as well as business sponsors – a ‘fundraising therapist’ for arts groups and a ‘strategic matchmaker’ for business. In addition, I lecture regularly on the subject and am an Adjunct Professor at New York University. It is fun to have insider knowledge and to share it with arts groups and business sponsors so that each side is a little smarter and more strategic.

We are very happy to have you as our guest curator at TPA! That’s why we have to ask: what elements will you look for when reviewing your artwork selection from The Print Atelier’s artists to create your curated collection?

I don’t know if there are specific elements but I looked at the different artists and portfolios.
And here are just a few images and artists that caught my eye:
Hector Adalid – I loved his series on Japan, especially Japan 04, where you are not sure if you are looking at cherry blossoms or snow on a branch. The fact that it is in black and white makes it unclear such a mysterious way. And the serenity is beautiful.

Réjean Meloche – Loved the series called ‘L’Agitation tranquille’.  I do love black and white images and there is also great humor in these:  the upside down ambulance and the dog sitting on a car in the snow.   There is a great sense of people watching which is terrific like the two kids sitting on a stoop with their cats, the man with the pigeons as well as the Fêtes Italiennes with all of the little girls lined up in the angel like costumes.

From your point of view, what makes The Print Atelier different and interesting for collectors? 

I love the tips ‘‘Living with Art” – it is terrific way to present your artists showcasing what artwork might look like in a living room or bedroom… you can just imagine what the art will look like in your own apartment or house!

I also like the fact that there is a great range of artists and styles to choose from and the fact that the images come in at least two edition sizes. Finally, your prices are reasonable which is very attractive to any collector.

Thank you Alice!



Rachel Peart

guest curator

Rachel Peart

Photographs Specialist Phillips NY, USA (previously Director of Photography for Heritage Auction House NY, USA)

It’s with great honor that we welcome one of the leading ladies in Art Photography in NYC right now. We are excited to find out what she thinks of The Print Atelier’s artists and the place of photography in the market right now…

Rachel Peart, a Kansas native, earned her BFA in Art History from the University of Kansas in 2006.  After college, she interned with the Registrar at the Kemper Museum of Contemporary Art in Kansas City where she began to develop her interest in Photography. Rachel joined Heritage Auctions in 2007 as a Consignment Coordinator in the Rare Books department. A year later, she advanced to Project Manager and Lead Cataloger for the Fine Art Department. Rachel joined Heritage’s New York office in the Fall of 2011 and was promoted to Director of Photographs. She has brought numerous private and corporate collections to the market and actively travels the United States promoting Heritage Auctions while seeking new consignments in Photographs and Modern & Contemporary Art. Rachel is a member of ArtTable and the MoMA Junior Associates.

What initially drew you to art photography, how did you acquire expertise in the field and how did it lead you to become the head of photography at Heritage?
Growing up I loved going with my Mom to art museums either when we traveled or if special exhibitions came to town.  Photography in particular became an interest in college when I was getting my degree in Art History, and even more so when I started working at Heritage especially with senior specialists. I started at Heritage in 2007 as an Administrator and then worked through the various roles of cataloger, Associate Consignment Director in Photographs, and finally Director of Photographs.

Could you explain what an auction house such as Heritage is and what your job role entails exactly?
Heritage Auctions holds auctions in over 28 various categories.  It is a brick and mortar house that has all the traditional components of catalogs, lot viewing, and live auctions, alongside the incredible online capabilities of viewing lots and bidding in real time.  I love the diversity of what Heritage offers from a rare 1804 Dollar, a Crocodile Hermes Birkin, to a platinum photograph by Irving Penn.

My primary responsibility is to offer to two auctions a year comprised of Fine Art Photographs, which represent artists who have an established secondary market. I work with both the consignors and collectors on the selling and buying side.  It is very fulfilling to be able to transition a photograph from one great collection to the next.

How do you find the photographs for the two Heritage auctions you put together every year? How do you evaluate the work and the condition? Do you view the work in person or is everything done via the web?
Consignments come from a variety of places. Some collectors I have been talking to for years and sometimes it is a new client who has seen an advertisement and called or emailed me. A lot of conversations may start by sending images, but inevitably we take all pieces into Heritage for final evaluation, imaging, and cataloging which includes condition reports.

Is there always a theme for photography auctions? Do you pick it and why?
There seems to be a strong presence of 20th Century American photography, but each sale is a little different. I try to maintain an arch to represent early works to contemporary artists. We have offered featured collections which do have a theme such as ‘childhood’ or that just focused on gelatin silver landscape images. I like that each sale differs from the one before.

Who mainly comes to photography auctions…art dealers, artists, collectors? Do you see new faces or is it a small closed circle?
It is always a nice mix of people from various backgrounds.  There are certainly familiar faces mixed with people who are new to Heritage or collecting in general.  I like having the integration of seasoned collectors and dealers with people who are just starting to learn about photographs and/or auctions.

On average what’s the percentage of the catalogue you sell per auction? What happens with the unsold works?
Typically around 70-80%, for unsold lots we offer them in our ‘Post Auction Buy’ page for two weeks following the auction. It allows people to make offers to the owner or buy a piece at the reserve plus buyer’s premium. After that point, there is a discussion with the consignor if the piece is best returned to wait for a period of time before reoffering.

With your position , are you regularly in contact with most photography galleries in the US? Do you see most of the major shows and attend gallery openings?
I do try to attend as many major photograph fairs and gallery openings as I can. It’s an exciting field with a lot to see, so it’s hard to try and get to it all. The Photographs field in general is a friendly one and I really enjoy staying in touch and meeting new people at galleries, institutions, and foundations.

What’s trending these days in art photography? What are collectors and dealers looking for?
I like to see that a lot of artists are using and exploring techniques that make work unique such as Alison Rossiter, Chris McCaw, or Ian Ruhter as examples. As technology changes, photography keeps evolving, and I like that it is always in motion.

Do you keep an eye on the emerging scene? What or who ’s interesting right now?
Similar to what I mentioned above, but I personally enjoy artists who are using more traditional processes with a contemporary take. I don’t spend as much time as I would like on the emerging scene. New York is full of so many fabulous photo galleries I do try and see new shows. The Ken Kitano and Tomoko Sawada show at Pace MacGill Gallery was excellent and I loved Tomoko’s ‘Tomato Ketchup’, 2012 piece made of 56 c-prints with Heinz ketchup in 56 different languages. Bruce Silverstein has a great Deformations exhibit right now which includes a grid of 16 individual Andre Kertesz body deformation photographs.

Collectors, novice or experienced, may be interested in emerging artists for a variety of reasons. What advice can you give on how to evaluate the work of an emerging artist?
The first and important thing is to find work you like, because you cannot predict what an artist’s market or the art market in general is going to do. I do not discourage people from looking into art as investment, but you do need to enjoy what you are buying. The next step is to do a little homework; do they have a strong gallery representation? What fairs or shows has their work maybe been exhibited? Is their work being acquired for any institutions or private collections? Are they working on publishing work or any special projects or collaborations?

Dr. Sharon Flescher is Executive Director of IFAR and Ed Beardsley, Vice President and Managing Director of Fine Art at Heritage Auctions

What do you think about the way photography is being viewed and distributed through the web and online platforms these days? For example are Paddle 8, Artnet, Artsy a good advancement for the art world and artists?
I think making art more accessible through new platforms online is very positive. It breaks down geographical boundaries for artists, collectors, galleries, and auction houses. The traditional components of viewing work in person and building relationships are still very important, so that you really understand what you are buying. However, technology is opening a lot of possibilities for how we share art and the resources for learning about the marketplace.

What are you especially excited about for this year on the photography scene?
I am looking forward to the Spring season in New York. It is full of auctions, new gallery shows, exhibitions at the museum, and Aipad this April at the Armory. It’s a great time to be out and looking at as much photography as you can!

Do you collect art photography yourself? How would you describe your collection?
Currently, vernacular photography, old press photos with stamps and markings. They are such unique objects. I also enjoy buying photo books. Recently, I purchased books of Vera Lutter and Erwin Olaf’s work.

Is there one single photograph you wish you’d owned?
That is so difficult to decide, but I would start with a Harry Callahan, vintage print of Eleanor and Barbara in Chicago.

We are very happy to have you as our guest curator at TPA! That’s why we have to ask : what elements will you look for when reviewing your artwork selection from The Print Atelier’s artists to create your curated collection?
Just like I would tell people buying at auction or anywhere, you must select what you love or what speaks to you. I find some works to remind me of home, Kansas and the Midwest, horizon lines and open roads are elements I gravitate towards. Other times it is the basics of the composition, color, narrative, or simplicity that I find engaging.

From your point of view, what makes The Print Atelier different and interesting for collectors?
It holds a well curated selection of photographs and photographers. Each artist clearly has their own distinct vision and body of work, but I found it so easy to move among the artist’s work. There is an overall strength and beauty to the work on Print Atelier.

Karine Vanasse

guest curator

Karine Vanasse

Maude Arsenault and The Print Atelier are thrilled to introduce this month’s new guest curator, the acclaimed Hollywood “Revenge” and “PanAm” actress Karine Vanasse.

Not only is she a brilliant actress that Maude has photographed many times over the years, she is also a passionate Art enthusiast.

After a great art chat on set with Maude and as the spokesperson for Art Fair “Papier” in Canada in 2014 we thought it would be nice to hear Karine’ views on today’s art photography scene…

What’s your relationship with contemporary Art and especially Photography? How did you get into it?

I think I really became a contemporary Art lover in my mid 20’s. Maybe before I was too shy to look at it because I felt I knew nothing about it… but somehow a few years ago I decided to let my eyes follow my instinct and a new world has opened itself to me since.

It’s basically only about letting yourself be moved, without questioning it too much. And then you learn things along the way about the artist, their process and surprise yourself by being attracted to images you wouldn’t think would have sparked an emotion in you.

The FOIRE PAPIER in Montreal (for which I became the spokesperson last year) was an amazing teacher in directing my eyes and orienting my taste. And last year was a big revelation for me in terms of photography. As if before I had been numb to its effect on me… but not anymore.


Could you tell us which artists first spark your interest for Art?

In terms of photography, I remember seeing photos of actors taken by Carl Lessard when I was a teenager and being so impressed by their dramatic effect on me. And that stayed with me, this is the effect I am looking for in a photograph.

Whether the images represent a landscape or have some human representation in it, I am often moved when I get the feeling of being swallowed by the image. As if my entire soul suddenly wants to live in that image.

Just like in film, I am impressed when an artist can create a specific or strong emotion and atmosphere with an image.

Does Art have any influence in your acting work? How does art influences you on an everyday basis?

While I am preparing for a role or when I am in the middle of shooting, I can notice that I am more easily inspired and moved by images. That’s always a great sign for me, a proof that I am in the right creative zone, that I am really aware and that I am really open to everything around me that could spark a connection to something deeper. I am in this mind frame also when I am travelling. Since everything is new around you, your senses are so alert and ready to see. Ready to see from a different perspective.

According to you, what is the main difference between photographic Artworks and other medium in contemporary Art?

Since a photographer is framing what you could also see with your human eyes, I find it fascinating when they create an image that feels extraordinary. It challenges how you generally look at things.

I remember this time when I first saw Camille Claudel’s sculptures at the Musée Rodin in Paris. In front of La Petite Châtelaine I suddenly had a very strong emotional reaction. This specific sculpture was so full of life, I could almost see it breathing.

Although photography is also a still Art, I am always impressed when you feel the life that emanates from it.

Do you collect art?

I started collecting art a few years ago, but I bought my first photographic pieces last year. Two pieces by Anne-Renee Hotte and a big gift to myself, a piece by Arnaud Maggs.

I saw the documentary Spring et Arnaud and completely fell in love with these two artists, separately and as a pair… I haven’t hung it yet, it’ll be a very emotional moment for me when I find its perfect place.

I also recently bought a piece by photographer Jacynthe Carrier. I haven’t seen it framed yet. Such a poetic piece.

If so, how would you describe your collector’s journey? What “word” would describe your art collection?

It’s intuitive. I can’t wait to see in a few years what was the thread linking all my choices…

I read a quote from art collector Alexandre Taillefer saying that he only buys art made by artists who are still alive. I like that concept, you then fully support the process and work of the artist as he is still defining it.

You recently quoted “We don’t see things as they are, we see things as we are”. Does this apply to photography and to the work you collect?

Totally. It either speaks directly to how I see things or it challenges it in a way that is eye and heart opening for me.

In your career as a successful actress, you had the opportunity to be photographed by many talented and recognised photographers, which photographer would you dream to be photographed by at this point in your in life?

The obvious Annie Leibovitz and Patrick Demarchelier. I am curious to see how they would guide me through the session.
I can’t wait to be photographed by a photographer who’s work has been curated by The Print Atelier ; Le Pigeon. We almost had a session together last year, hopefully this year it will happen.

Which artist are you following particularly in Photography and is there any Artwork you’d wish to own?

I saw a photograph of Korean artist Kibong Rhee at FIAC in Paris a few years ago… and I only hope I could afford his work.

So delicate and silently powerful… I was totally mesmerized.

Is there an Art exhibition that you absolutely don’t want to miss this year?

Foire Papier in Montreal ! Every year I get so excited in anticipation of what I will see there.
This event keeps growing and growing. I am really proud of the group of women behind its organization.

According to you, what makes « The Print Atelier » particularly interesting or different from other art galleries?

The variety of work it showcases, although there is a common sensitivity that links these artists.

Especially with photographic work, if it moves you when you see it on your computer screen, imagine its effect in when you have it in a big format in front of you.

Clare Vander Meersch

guest curator

Clare Vander Meersch

The Print Atelier is very happy to have a chance to present you an exclusive interview and curated collection by one of the busiest women in the photography industry.

As Director of Photography for the Globe & Mail magazines, Clare Vander Meersch can be considered as the artistic eyes of the biggest news network across Canada, with more than one million readers. Her many years of experience are to be seen as inspiration for many photographers and artists who aspire to create timeless photographs that capture one’s attention.

The Print Atelier: Tell us about the journey that led you to become Director of Photography for the Globe & Mail magazines.

Clare Vander Meersch: I have always been a huge fan of the photographic medium. I came by it honestly, my grandfather was an English landscape photographer. He gave me my first camera and I took to the road. When I was a teen, I was obsessed with Time magazine covers. After a few years of explorations, I realised that we all can’t be photographers and that my strengths were actually better matched to supporting talent. So I set off on a path of photo editing born from my love of magazines. I got my first break at Shift mag. I interned in the art department and landed a job as a picture editor. My love of cross pollinating photo genres, really dovetailed with their approach. Shift folded when it was in its heydey, and some members of the team landed at the Globe & Mail. They campaigned to bring me in, and 14 years later, I’m still here… and still love it. Never in history has the importance of the visual narrative been more in demand. The access I get to subjects and photographers through the nature of my position here is an unparalleled gift.

How does the advent of digital photography affected your work as Director of Photography?

It has sped everything up. And I miss the craft and consideration of film and still think it has its place. Especially in the art world. I’m probably the only photo editor in Canada who still occasionally commissions film shoots for magazines.

What advice would you give to young documentary photographers?

Personal long term projects. Find your story, and invest in it.

Tell us about your involvement as curator for the Boreal exhibition of the Festival Zoom Photo.

This was the first time I was asked to guest curate a show. It grew out of a promo that I was approached to work on with the Boreal collective. They wanted to do a newsprint based piece. So we worked on something together that turned into more of an art project than a traditional promo. The double-sided newsprint spreads could be pulled apart and hung as the viewer see fit. It got a good amount of feedback. When the festival director saw it, he asked them if they could expand upon it for a show.

As a curator, what elements do you take into consideration when reviewing your images selection?

The work in relation to the space it hangs is important. Let the message fit the medium. Right now, I’m kind of into the idea that art shows can be less precious and move beyond a print in a frame. Push outside that box.

Outside of work, what is the place of photography and art in your life?

It’s all encompassing. I’m usually flipping through magazines, trolling art online, attending openings (and dragging along my young son), or when I’m lucky, visiting a photo festival. My personal life plays into my photo obsession too. As does my charitable work through the Magenta Foundation.

Do you collect art?

Of course. It’s my RRSP (i.e Registered Retirement Savings Plan) !

If one were to present your collection in the form of an exhibition, what would be the headline on the invitations?

The forest. I’m endlessly entertained by images of trees. They are alive, just like us.

What artist, work, exhibition astonished your eyes in 2014?

I’m glued to everything Nadav Kander does. He’d be my dream to work with.

What artists will you keep an eye on for this coming year?

Anyone who finds me on Facebook. Arnold Frolics is doing some really interesting figurative studies en masse. And I just saw a show by Lizzie Vickery who knocked me out with her rigorous formal studies on shape and colour, all hand tooled in wax. There was a real Victorian sense of pouring love and time into the art (but done in a modern way). The effort put into those sets is kind of mind boggling!

From your point of view, what makes The Print Atelier different from the other online galleries?

It’s all about having a consistent point of view and a roster of talent that support that vision.

Nicolas Denicourt

guest curator

Nicolas Denicourt

Let’s hear more about his journey as a successful art blogger and what he has picked as his favourite artworks from The Print Atelier as our guest curator of the month.

Self-confessed art obsessed, Nicolas Denicourt is the voice behind true phenomenon blog “Think Outside the Box” (TOTB), leading an ever growing 85 000 followers community of passionate enthusiasts following the daily finds of the young visionary man with a taste for contemporary art.

Having always been interested in culture and the art world, Denicourt started his studies in “cabinet-making” before redirecting his career as a graphic designer. Quickly opening his own design studio (LAB) and working on the side at creating TOTB in the objective of sharing ideas with friends, he rapidly became fully involved in pursuing his passion and work with TOTB. Now occupied with his constant sharing of the eccentric findings he discovers every day, he still managed to find time to answer a few questions for us!


The Print Atelier: How have you developed your passion for art and would you be able to point the exact moment when you decided to officially redirect your career towards a more creative and artistic aspect?

Nicolas Denicourt:  I would say that it is through electronic music that I developed my taste for art. I remember at the time I could spend my days looking at the artwork on vinyl records at “Atom Heart”. This curiosity led me into following a graphic design course, and this is where it really all started. It was during my studies at “Salette” that I created “Think Outside The Box”, aiming to share my inspirations with classmates. In the beginning, there were only about thirty subscribers and now I get messages every day from people all around the world.

Where do you find the artists and the works you present on TOTB?

It is truly a mix of many sources. I try to diversify my publications by digging a little bit everywhere: museums, galleries, magazines, blogs … I could spend an entire week solely on research. I also get a lot of good content referred by friends & fans who share my passion for art. I even appreciate those awkward moments when people ask me to publish their vacation pictures.

Would you be able to name a particular artwork that has stand out for you in 2014?

Honestly, I could not pick just a single image or work, but I can say that I fell in love with the work of Benoit Paillé, an artist from my own city (Montréal ) with whom I will have the chance to work with in the coming months.

According to you, what is the main difference between photographic Artworks and other medium in contemporary Art?

Since a photographer is framing what you could also see with your human eyes, I find it fascinating when they create an image that feels extraordinary. It challenges how you generally look at things.

I remember this time when I first saw Camille Claudel’s sculptures at the Musée Rodin in Paris. In front of La Petite Châtelaine I suddenly had a very strong emotional reaction. This specific sculpture was so full of life, I could almost see it breathing.

Although photography is also a still Art, I am always impressed when you feel the life that emanates from it.

If you had the chance to meet any artist, who would it be and why?

Gregory Crewdson for his work that sometimes flirts with madness. He manages to create magical scenes all from very ordinary places. He masters artificial light remarkably and pays careful attention to the smallest detail. It must be said that he is working with cinema-like budgets and teams, all to end with a single image. The fact that he seems genuinely very friendly also influenced my choice. I highly recommend the documentary:”Gregory Crewdson: Brief Encounters“.

What makes photography so special compared to other artistic mediums?

I think people are more responsive to photography because it is more accessible nowadays and they can better understand what it involves than with other mediums. Everyone can claim to be a photographer now with the new technology but the difference between “anyone” and professional artists is still a world apart.

Follow Nicolas Denicourt on Think Outside the Box :

Julien Beaupré Ste-Marie

guest curator

Julien Beaupré Ste-Marie

Photography editor extraordinaire and Managing Editor of Books and Exhibitions for the Magenta Foundation, Canada’s pioneering non-profit charitable arts publishing house.

Our ongoing Guest Curator series continues with another exclusive collection of photography and an interview with Julien Beaupré Ste-Marie, Photography editor extraordinaire and Managing Editor of Books and Exhibitions for the Magenta Foundation, Canada’s pioneering non-profit charitable arts publishing house.

Julien is a Montreal based Photography editor, art buyer and creative producer. It was during a formative trip to London, in his early 20s, that he found his life calling and developed a keen interest in the visual arts, particularly photography. Upon his return to Montreal he completed a bachelor’s degree in Art History and Communications and also started a photography, arts and fashion blog. And so started his foray into the world of publishing. It was during his tenure as Photo Editor of the reputable publication enRoute, Air Canada’s inflight travel magazine, that he began to collaborate with the Magenta Foundation as a Juror on its Flash Forward competition and then as a Curator on the annual group show.

Read on to discover the role art plays in his life, expert tips on collecting works of art by emerging artists and what is to come at the Foundation.

How did you come to be the Magenta Foundation’s Managing Editor? What initially drew you to art, and how did you acquire expertise in the field over the years

When I was 19 years old I left Montreal for London in search of what I would do with my life. The people I had the chance to meet and hangout with were artists or connected to the visual arts. They introduced me to the art scene and I immediately loved going to galleries, discovering new work and getting to know the people evolving in the milieu. Before that time, I had no clue that I would be so attracted to photography and art in general. I went on to study Art History and Communications in university and started a blog about photography, art and fashion. That’s when I really got into publishing and it became clear that this is what I would do with my life. I worked with magazines as a Photography Editor and started to collaborate with Magenta as a Juror on its Flash Forward competition and then as a Curator on the annual group show. I got to know MaryAnn Camilleri, the founder of Magenta, and we loved collaborating together on different projects. It recently led to my role as Managing Editor / Books & Exhibitons. All of it just happened naturally.

Collectors, novice and experienced, may be interested in emerging artists for a variety of reasons. What advice can you give on how to evaluate the work of an emerging artist without having much outside opinion to work with?

I think that when collecting emerging work, it really comes down to your personal taste and what your instinct tells you about the work. I would ask myself one simple question : do I love this? Some of the greatest collections have been created by people who love art and didn’t overthink it. Of course, your general knowledge of the art world and the place where you see the work you want to buy will give some context to your decision, but I truly think that trusting your gut feeling is the way to go when collecting emerging artists.

What are you especially excited for this year at the foundation?

Where launching a series of smaller and more democratic publications showcasing specific series or projects by different photographers. They will be faster to put out there which will allow us to be more responsive to projects we really feel should be published in a timely manner and don’t necessarily need to be a coffee table book. And of course we’re working on important monographs for established artists. It will be a very busy year.

Where are you finding ideas for your work these days?

I stay in touch with my network of photographers. They email me with new work all the time and if they have been quiet for sometime, I reach out to see what they are working on. I’m also looking at different photography festivals (like Flash Forward) and specialized publications, but it’s often through direct contact with the artists that I stumble upon ideas for publications, exhibitions or projects.

What’s your favorite place to see art?

I love seeing art in person, especially when I first saw it in books or online. It’s always such a reveal to be able to see the piece and to react to it with your whole self. Don’t get me wrong, I’m addicted to books and i strongly believe in the web as a way to democratize art, especially since access to it is often harder if you don’t live in one of the big art cities. But the effect of seeing art in person goes beyond your eyes and your mind : it truly is an holistic experience.

Do you collect art yourself? What do you look for in the art that you collect?

Yes, but most of the art I own was given to me by friends or artists I had the chance to collaborate with. It makes for a very eclectic collection but a truly personal one. Each piece reminds me of a person or a moment of my life.

What work of art do you wish you owned?

This is such a difficult question! There are many art pieces I would love to live with, but if I had to name one right now I would say a photograph from a series of self-portraits by Jorge Molder I had the chance to see at Galerie Bernard Bouche during Paris Photo two years ago. To this day, I still think about those photographs quite often.

What would you do to get it?

Work hard!

How would you describe yourself if you did not have art in your life?

Sad. Art is what motivates me to always work harder and thrive.

Rachelle Lefevre

guest curator

Rachelle Lefevre

We’re so excited to have actress Rachelle Lefevre guest curating an exclusive collection of photography as part of our ongoing Guest Curator series.

Read on to discover the role art plays in her life, her most seminal experience with a work of art and her appreciation for photography.

Rachelle Lefevre is a Montreal born actress currently starring in CBS’ international hit show Under the Dome based on the novel by Stephen King and executive produced by Steven Spielberg. Since moving to LA she has appeared in numerous films including Twilight, Barney’s Version, White House Down, and the upcoming Homefront. She has also starred in several TV series including ABC’s Off the Map and CBS’ A Gifted Man. She is currently shooting the thriller Reclaim opposite John Cusack and Ryan Phillippe before returning to shoot the second season of Under the Dome.

What role does art play in your life?

My father was an English teacher and my mother a psychologist so my first love of any art form was actually the love of words. The talent great writers have for tapping into shared human experiences or describing foreign places made me feel somehow connected to complete strangers or that I had been to parts of the world I’d never travelled to. Since that early discovery, I have always been fascinated by an artist’s ability to allow us to transcend our own experiences and see through the eyes of the other.

What has been a seminal experience with art?

The first time I recall having an experience from a photograph was in high school. A girlfriend and I wandered into an exhibit and it was there that I saw my first Herbert List photograph. It was a black and white still of a young man on a beach in Greece, taken decades before I was even born. Standing in front of that photograph I began to feel how I imagined List might have felt looking at this young man. He was muscular with chiselled features and even in black and white, you could tell he was tanned.

At first, I simply thought he was handsome but after a few moments in front of the photo. I suddenly saw him as much more as an Adonis, something to be admired, coveted and longed for. It wasn’t until later that I would learn List was gay but even without knowing, in that instant, I understood his desire for the man; through his lens. I was able to experience the sexually charged moment that produced that singular image.

Do you still have an appreciation for photography today?

My appreciation for photography has grown steadily since that day and through the work of greats like Henri Cartier-Bresson, Herb Ritts, Ansel Adams and Annie Leibovitz, I am continually moved by the art of the photograph. I am always in awe when a photographer succeeds in doing the miraculous- conveying to the viewer not just what is there but what they see.