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

GALERIES D’ART
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!

ART MÛR
5825, rue St-Hubert, Montréal

GALERIE ANTOINE ERTASKIRAN
1892, rue Payette, Montréal

GALERIE D’ART LACERTE
6345, boul. Saint-Laurent, Montréal

GALERIE HUGUES CHARBONNEAU
372, rue Ste-Catherine Ouest, Montréal

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

PARISIAN LAUNDRY
3550, rue Saint-Antoine Ouest, Montréal

ESPACE D’ART ET D’ESSAI CONTEMPORAINS OCCURRENCE
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.

L’ÉVÉNEMENT À NE PAS MANQUER

LA FOIRE D’ART CONTEMPORAIN PAPIER
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$.

À SUIVRE SUR INSTAGRAM

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

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

BOY HILL
Toujours cool.

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

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

 

________________________________________

Pour suivre Maude

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

Maude Arsenault
maudearsenault.com
Instagram: maudearsenault

________________________________________


Summertime

HAPPY SUMMER HOLIDAYS!

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?"


New Artist
Daniel Desmarais

We're excited to welcome new artist Daniel Desmarais at The Print Atelier !!!

Daniel worked as a humanitarian photographer and press photographer before moving on to Montreal’s cultural scene. He has worked in Pakistan, Ethiopia and Haiti on behalf of the United Nations. Winner of several prestigious awards, he has been showing his works in various exhibitions in Canada.

“As an artist, I like new experiences, I do not hesitate to dive into new adventures without questioning myself, these cognitive shocks change my view of what surrounds me.” - Daniel Desmarais

His first works with us Les yeux du ciel, consists of a series of aerial photographs of the Haitian territory taken during his helicopter trips in the country. The photos are structured around compositions and textures of the landscapes he has encountered.

See Daniel’s works in person…Visit two of his exhibitions in Montreal this Spring :

Les yeux du ciel – June 16th to September 23rd at Maison de la culture de RDP
Tout koulè – April 18th to June 10th at La TOHU


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.

DISCOVER OUR BRAND NEW...WEBSITE !!!

WHAT’S SO COOL ABOUT IT ?

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.


François Ollivier
New Artist

We are so excited to introduce this new artist at The Print Atelier, his colorful and graphic works are just stunning! Welcome french photographer François Ollivier!

François Ollivier is a self-taught photographer. Born in the south of France, he lives and works in Montreal since 2011. François first studied languages, then worked as a lighting designer for shows, and spent several years being a creative advertising kind of guy. He now focuses on photography, based on observation and magnifying the simplest things.

" My approach is based on wandering and accepting the impromptu. I use photography to make simple factual observations and also to gather people, places, lines or lights in a setup that will exist only once. Why only once? "

The Print Atelier has the opportunity to present 4 new collections by this talented recruit. First off, National Geometric studies our faculty to forget our guides and to lose ourselves in nature, to read between straight lines drawn by man in his environment.

These photographs inspire a geometric side that brings up a powerful atmosphere.

Secondly, Perfect Strangers is a series that features people that are utterly strange and who agreed to be staged. Made by patience and by fortunate coincidence, this approach places the subject at the same hierarchical level as the “set” in which it joins. The image is the product of this encounter and becomes a reinterpretation of an often harmless space.

Thirdly, Frozen is a wonderful series about winter and its frosty atmosphere. François Olliver talks about this series in these words:

“Wintry poetry. Three-colored and lunar images, indefinite Siberian space.

Twice three images of the same place under various angles.

In one case, I am in the warmth of a plane which changes my vision by making the frozen geography scroll under my feet.

In other one I am literally freezing outside, it is me who evolve in the space to blow the warmth.”

Finally, the series C’est la Nuit represents the special moment when the artificial lighting becomes natural, the night glorifies the spaces which we ignore the day. In this new dimension, the slightest detail becomes dreamlike.


New Artist
Guillaume Hébert

We are honoured to welcome a new artist with The Print Atelier's collective, talented artist Guillaume Hébert.

Guillaume Hébert is a young photographer in his twenties who has recently completed his studies in photography at CEGEP du Vieux-Montreal.  What he is looking for at first and foremost, are unusual and transitory scenes that nobody notices despite their interest, incredible color schemes or emotional evocation. Observation seems to be the key to his approach. Guillaume believe his work is more related to a form of expressionism than to a conceptual approach, since it captures time, change and the state of things.

It is when he manages to capture the illusion of reality that he considers he has managed to achieve a photo that is unique, one that can not happened once again.

Guillaume calls this… The Concordance of time

The Print Atelier has the chance to present 3 new collections by the young talented recruit. First, Couleur is a digital series that was produced between 2012 and 2016 in order to depict scenes, people and objects that are not usually meant to be observed. Color photography allows Hebert to create important visual changes working on the chromatic of his images while in post-production. The goal is to control the tones, blend the colors so that they become element of picturality as a painting would, done by brush. The importance of the combination of colors and the captation of a scenery while shooting remains essential.

Secondly, his body of work Noir et Blanc offers some sort of finish that makes subjects unreal or reminiscent of the past, it brings a dramatic atmosphere to concepts that are not usually, and provides a misleading effect. In this series of digital images also taken from 2012 to 2016, the isolation of particular scenes showcases the beauty of black and white and the possibility given by modifications made from a computer.

The subject is the ultimate point of interest in a black and white photograph.

Finally, in Mt Washington/New Hampshire, 35 mm the artist express that even if he has known the medium of photography through film and analog camera first, he quickly got used to the digital world. In this series made in Mount Washington in September 2016, he used an old school film camera, because it is often linked to the idea of memories. He wanted to bring an authentic feel to this particular series and also illustrate what this new place he was exploring made him feel. Visiting this region, that is isolated and kept away from the rest of the world highlighted the sentiment of being lost and is represented here by images that have no post-production work.


Fall News !

The Print Atelier has amazing news for our dear art collectors! From new art photograph by Martina + Reem to Maude Arsenault’s upcoming exhibition, here are some updates you absolutely need to know!

First off, Martina + Reem, duo of photographers who currently reside in Toronto, Canada are launching new prints from various collections this month. 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 and is also highly influenced by art, nature and music. Indeed, their new series Bruises to ashes presents a mysterious and dark ambiance. These talented photographers have also included two new works to their collection Dubai, creating a new entity now called Dubai – Paris!

We are absolutely in love with the series YVR! These photographs illustrates moments from the inflight heading to YVR. Martina + Reem keep surprising us with their amazing way of capturing landscapes , always so lively and dreamy.

Secondly, The Print Atelier recently partnered up with FRAEMd!

FRAEMd offers a new art platform for talented artists to showcase their work (of up to €10,000) to a worldwide audience. To ensure a high quality and diverse selection of art they curate their artists and collaborate with selected cutting edge galleries. All you need to do is to swipe of your finger while FRAEMd define your taste and match you with your perfect piece of art. The tool connects artists with art lovers of all kinds as well as galleries who are eager to discover new talent.  Aiming to become the leading online platform for the (first time) art buyer to go to when looking to invest in original art, we invite you to check out our page!

Thirdly, Maude Arsenault has been invited to show an original series of works as part of “Les Inéluctables”, at Galerie Occurence, Centre d’art et d’essai Contemporains. This gallery is dedicated to the dissemination of contemporary art, with a focus on photography and image practices. Its program is selected through a committee of peers made up of artists and active participants in the arts community with varied viewpoints. Renewed each year, this committee ensures a diverse program that reflects current issues.

*”Les Inéluctables” : Initié en automne 2014, Les inéluctables a été amorcé dans une volonté d’accorder plus d’espace aux artistes, et offrir les murs de la pièce de travail des bureaux d’Occurrence à des œuvres inédites et des coups de cœur sélectionnés ponctuellement.

Also, keep an eye out for our next private event in Maude Arsenault’s bohemian chic home. For the fist time this summer, selcted guests were able to discover the gorgeous and inspiring collection that Maude has gattered over the years, all that in a relax and friendly atmosphere. This first experience was so successful that we decided to organized an another one! We can’t wait to see you and discuss our commun passion, photography! *October/November dates to come…

Finally, The Print Atelier is in full financing mode for beautiful future projects on the way.  Our Kickstarter Campaign will be launched shortly. Kickstarter is an enormous global community built around creativity and creative projects. Over 10 million people, from every continent on earth, have backed a Kickstarter project. Every artist, filmmaker, designer, developer, and creator on Kickstarter has complete creative control over their work — and the opportunity to share it with a vibrant community of backers. We are counting on you ! Stay tuned for more informations!


TPA - In Summer Mode

The Print Atelier is in full summer mode!
So much has been going on in the last few weeks that we thought we should give you an update!

First off, Maude Arsenault, founder of The Print Atelier, gave a private tour of her own art collection in the comfort of her bohemian chic home. Our guest were able to discover the gorgeous and inspiring photography that Maude collected over the years all that in a relax and trendy atmosphere. The renowned wine waiter Jean-Benoît Hinse, from the Canadian Association of Professional Sommeliers, paid us a visit along with his talented co-worker Christine Couture from “Importation de vin Rousset“. We had the chance to savour delectable wines and champagnes while discovering amazing artworks.

Secondly, we also have some new works at the gallery! LM Chabot is latching some new pieces to their collection West! LM Chabot is the type of co-dependence you dream of. The perfect fusion of technique and instinct, sensitivity and objectivity, naivety and maturity, facial hair and red lipstick. This serie expose some clichés of a reportage shot on Pentax 67 during a road trip from Vancouver to San Diego.

Thirdly, Gunter Heinrich, President of Winchester Galleries, is pleased to introduce the work of photographer and environmental artist David Ellingsen who is also represented by The Print Atelier. David Ellingsen is a photographer and environmental artist creating images of site- specific installations, landscapes and object studies that speak to the natural world and Man’s impact upon it. At its core David’s work is motivated by the challenges of sustainability within contemporary Western culture.

This introductory exhibition includes work from three different series by the David. Future Imperfect explores the elements of man and the environment and the instinct of self-preservation in a Western culture that upholds its standards of living at all costs. The Last Stand addresses the state of our forests and the cognitive dissonance arising from the dilemma of participation in, and yet responsibility for, the fouling of one’s own nest. The site-specific installations in Obsolete Delete were informed by the increasing speed of technological obsolescence, the environment and the collision of the two.”

Finally, Musée Magazine, a cool art photography magazine and platform from New York, wrote a great article about the ingenious Robin Cerutti, also represented at The Print Atelier. Musée Magazine is a dynamic, digital quarterly and interactive website dedicated to featuring works by emerging and established artists. The article was mainly about Robin’s series, Parallel, where part of the image is above water’s surface and the other part is underwater. This creates an idea of two parallel worlds in which the subject either feels comfortable, taking time to discover the outside world or interact with the so-called membrane.


New Artist | Annie Briard

We are honoured to welcome a new member at The Print Atelier, the talented artist Annie Briard, a Vancouver based visual and media artist challenging visual perception and memory.

Briard has exhibited in solo and group shows across Canada and internationally, including galleries and festivals in New York, Rio, Barcelona, Madrid, Basel, Shanghai and Beijing. She has delivered engaging temporary public art in Montreal, Hamilton, Vancouver and Victoria, including video installations Arborescence and Comment délaisser le sol à jamais for Art Souterrain (2009, 2012), interactive animations The Woods and Winterplay (2012-2014) and in 2015 produced the stereoscopic 3D billboard Any Day Now for Art in Transit Toronto and Capture Festival Vancouver.

Briard was an artist-in-residence at the Banff Centre and was selected by the Centre International d’Art Contemporain to represent Canada at the WEYA symposium in England in 2012. The following year, she presented solo shows at Back Gallery Project, Black & Yellow and VIVO media arts centre in Vancouver, and Centre 3 in Hamilton. In 2014, Joyce Yahouda Gallery in Montreal presented   ‘Sight Shifting’, a solo exhibition of new works focused on perception and wonderment. Briard has a current exhibitions in Winnipeg and Montreal and she is doing a summer artist residency in Spain.

We are excited to introduce Annie’s new series Constructions built from landscapes she shot while doing backpacking trips around the world. These powerful artworks combine 3D and breathtaking photography. Through this series, Briard investigates the field of perceptions and our inability to accurately grasp the world.

I am interested in the multiplicity of perception paradigms, differing within the fields of psychology, phenomenology, neuroscience and film theory. There is space for creative experimentation within the gaps and intersections between these models. Our sensorial system...

- Annie Briard

In conjunction with her practice, Annie Briard is an educator at Emily Carr University. She holds a BFA from Concordia University and an MAA from Emily Carr University (2013). Her work is also represented by Joyce Yahouda Gallery and Back Gallery Project.

In “Art Toronto 2015” painter Erin Loree and her musician boyfriend are looking at Annie’s work with 3D glasses.

Joyce Yahouda Gallery is showing Annie's latest installation until June 4th, : Staring at The Sun...GO!


Hilton Toronto by
Maude Arsenault

The Print Atelier is honoured to present Hilton Toronto, a new series by Maude Arsenault.

Maude is a talented photographer with a long background in Fashion. Her works have been published in prestigious publications such as Vogue, Elle, Harper’s Bazar and Nylon Magazines. Her work is recognized for its poetic sensuality while documenting the everyday life and moments of intimacy. Hilton Toronto definitely examines this very personal theme in the context of a long time exploration of hotel rooms.

“I shot this specific story in December 2014 while I was travelling on a short trip to Toronto. It is a recent series part of my long time interest in portraying hotel rooms and their intimate encounters.”

- Maude Arsenault

Hilton Toronto is a limited edition collection that evokes sensuality and delicateness. These four new artworks will transport you in an intimate world. We invite you to discover this amazing experience at theprintatelier.com


Now on YouTube

The Print Atelier is proud to launch its very own YouTube channel!

This new platform will offer to all our followers exclusive content on our talented artists. We will post clips about our exhibitions, the accomplishments of The Print Atelier’s roster and of course about the amazing artists we are promoting, their philosophy and their inspirations.

This channel will be the ultimate destination for art photography lovers and photography collectors.


New Works by
Martina + Reem

The Print Atelier is honoured to present It Slipped my Mind a new collection from Martina + Reem.

This photographers duo signature has been described as conceptual and ethereal. They are also highly influenced by art, nature and music. These two talented photographer never fail to impress us with their amazing creations. Transporting us in a completely different dimension. In this new series you can discover colourful and powerful landscapes that offers a dialogue between life reality and  life as a fantasy.

Here’s a hint on how artists Martina + Reem brought to life this poetic series, It Slipped my Mind:

"I fall between the waves of two worlds. A reality and a fantasy brought together as one. The freedom of seeing it as I want it to be is all I need to carry on. And for a moment in time, I feel free."

- Martina + Reem

This collection have been inspired by the series “Default” from Atoms for Peace. Yet, these unique artworks are hypnotizing with a funky atmosphere.


New ARTSY Show : The Best of Canadian Photography - From East to West

The Print Atelier is latching a new show about its best Canadian photography. We gathered artworks from our talented photographers such as David Ellingsen, Martina + Reem, Le Pigeon, Réjean Meloche, Maude Arsenault, LM Chabot and Maxime Brouillet to represent the unique atmosphere of this nordic country.

Grab your cozy scarf, gloves and parka, and explore the beautiful and mysterious atmosphere of the Great White North.

This show presents evocative images that examine the phenomena of this arctic sensation, which makes the time stop for a second and puts us in a state of tranquility. This harsh Canadian climate will lead you to serenity and quietude.


Nàdia Maria : New artist

We are honoured to welcome a new member in The Print Atelier‘s familly, fabulous young artist Nàdia Maria.

Born in 1984, Nàdia Maria is a Brazilian photographer based in Bauru – Sao Paulo. She started to photograph as a child, taking pictures of her dolls. Over the years she explored photography, and has studied at Senac school in Brazil. Her relationship with the camera and the images she captures were born in her childhood, but she became even more involved in her youth, her photography became a personal journal, expressing feelings and transformations from what she was experiencing in her life.

Nàdia transports us into a delicate world,
where her collections portrays an intimate
dialogue with time and reality.

The focus of her inspiration is poetry. And photography is her writing, her intimacy, the light and darkness of her life…

Her poetic and unique works has won recognition by many countries, with publications and exhibitions in: Spain, France, Italy, the USA, Australia, Russia, Germany, Holland (Netherlands), England, China. She has also recently been spotlighted by Vogue and National Geographic Magazines.

The artist is launching two series, Creative Process and Origins. Creative Process is about abstract thoughts that arise through synapses. Images that reflect the first contact, the inspiration and interpretation of this search and capture.

On the other side, Origins portrays an intimate dialogue with time and reality. It talks about the formation of bodies, the identity, the mirror and the hidden powers who run through our organs. This series browse an already finished story, but we still don’t know where it begins and where it ends. Origins was inspired by Nadia’s life different phases, especially from the birth of her daughter, born visually impaired ..

Maria’s sensitive world touched us in many ways and we are proud to count her as a member of The Print Atelier’s familly.


Follow Us on Artsy To Get Your Artworld Online!

Artsy partner’s with leading galleries and institutions and cover’s art world happenings and events around the world. With a growing database of 350,000 images of art, architecture, and design by 50,000 artists spans historical, modern, and contemporary works, and includes the largest online database of contemporary art. Artsy is used by art lovers, museum-goers, patrons, collectors, students, and educators to discover, learn about, and collect art.

THE PRINT ATELIER has been a proud member of Artsy for over a year!

Sign up for a free account and follow THE PRINT ATELIER to discover about your favorite artists, articles and collections of art works from Artsy gallery database. You’ll also get the next feature on ”Canadian Art Photographers” straight off the presses!


Dara Scully: A New Artist Joins Us

It was in early fall of this year that we became aware of young Spanish photographer, Dara Scully’s body of work. Channelling the spirits of photographers, both past and present, she could have been the love child of past Lewis Carroll and present Sally Mann. Dara Scully is a writer and photographer whose compelling images of children capture sombre, poetic scenes equal parts fantasy and myth. We are enthused to be welcoming her to The Print Atelier gallery and are so very eager for you to discover her wonderful works!

Scully’s photographs are, for us, some of the most endearing works we’ve shown at The Print Atelier, and there are several reasons for this. The photographs are an exploration of childhood,  at times depicting its innocence, desires never shying away from its cruelty and tenderness. In past interviews about her work, Scully has said:

“I usually understand my work like a book of poems,
like a visual notebook about all my past lives. [...]
I think that, in the end, my photographs are memories.
I never lived them, but they exist.”

In faded forests, enchanting bodies dwell. Death and life are present in the form of creates, insects, prone bodies and bleeding wounds. As a powerful conceptual photographer, Scully has developed the ability to tell single frame stories. Encapsulated sensorial experiences, the visual world of Dara Scully aboard’s the innocence of youth, the pain of growing, the sorrow of death.

In Scully’s world esoteric rituals transpire on quiet leaf beds. The calming effect is often overwhelming; blending reality and fiction, ambiguous scenes invite the viewer to instill their own significance.


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.

Teaching class at the AIPAD (Association of International Photography Art Dealers) art fair, 2015.

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!

LET US KNOW IF YOU’D LIKE ALICE TO COME TO CANADA!

ALICE TEACHES COLLECTING CLASSES AT MUSEUMS, PHOTO FAIRS AND SCHOOLS ACROSS THE UNITED STATES AND WOULD BE OPEN TO ORGANIZE WORKSHOPS IN MONTREAL, TORONTO AND OTHER MAJOR CANADIAN CITIES. CLASSES ARE GEARED FOR THOSE INTERESTED IN COLLECTING PHOTOGRAPHY AS WELL AS FOR PHOTOGRAPHERS LOOKING TO GET THEIR WORK OUT INTO THE MARKETPLACE. ALICE ALSO ADVISES COLLECTORS ON PURCHASES AND COACHES PHOTOGRAPHERS ON THEIR COMMUNICATION TOOLS. IF YOU WOULD BE INTERESTED IN SETTING THIS UP PLEASE CONTACT INFO@THEPRINTATELIER.COM.


The Print Atelier x Friends Without A Border: A Benefit Auction in NYC

The benefit auction for Friends Without A Border raises funds to benefit children’s healthcare in Asia. Following the success of its first project, Angkor Hospital for Children in Cambodia, Friends has recently built and opened a new pediatric teaching hospital in Luang Prabang, Lao PDR, called Lao Friends Hospital for Children.

The Print Atelier is proud the offer the print Clovelly Park Car 2, by our artist Maude Arsenault, at this year’s edition of the event. Maude’s work will be auctioned off along side prints by world-renowned photographers such as Herb Ritts, Annie Leibovitz and Hiroshi Sugimoto.

The organization will host its signature event, the 18th Annual Friends of Friends Photography Auction, on October 6 in New York City. Can’t make it to New York? Worry not, you may download the auction catalog or even better, get yourself a ticket (or donation) right here.
The event is a few days away!

Founder Kenro Izu, auction committee members Alice Sachs Zimet and Rick Wester, who has also frequently served as the event’s auctioneer, and collector Marsha Askins talk about their experiences with the Friends of Friends Photography Auction.


Last Chance for The Last Stand: Only One Edition Left

Now is the last chance to get your hands on a large format edition of The Last Stand, the most recent transformative series by established artist David Ellingsen!

David is best known for his site-specific installations, landscapes and object studies that speak to the natural world and Man’s impact on it. His latest series, The Last Stand is a look at the forest industry in British Columbia. Davis says of the work that:

"it’s a series about many things but mostly about the environmental crisis. It took me about 5 years to photograph it all together over the time [...] It’s really a look at my family history in logging which is multigenerational. Five generations of my family have been involved in the logging industry in BC"

The Last Stand has been garnering international attention since its first showing back in 2014. Receiving honorable mentions at the 2014 International Photography Awards held in Los Angeles, selected as a finalist in the inaugural LensCulture Earth Awards and appearing in the Atkins CIWEM Environmental Photographer of the Year Exhibition 2015 exhibition in London, England, The Last Stand has been quickly gaining global recognition by esteemed panels of international photography experts and his peers alike.

David has been exhibiting his work since 2001 in both solo and group shows within commercial and public galleries in Canada, the USA, Asia, and Europe. His photographs are part of the permanent collections of the Chinese Museum of Photography, the Dana Farber Cancer Centre at Harvard University and the Beaty Biodiversity Museum and have been shortlisted for Photolucida’s Critical Mass Book Award, awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles.

All photographs of The Last Stand were made between 2009 and 2015 each available in large, medium and small format, available to buy online from today. Get the last available edition in the large format exclusively at The Print Atelier.

See works in more detail bellow and read more about David here.