Inspired by this year’s Public theme, we’ve created a handy map to follow for each site. Seen any works around town that you want to share? Tweet us your finds @imprintblog. We want to know what piqued your interest!

Enjoy gallery hopping!

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Collective Identity | Occupied Spaces Primary Exhibition

When
May 1–June 30
Tue–Fri, 12–5pm/Sat, 12–4pm

Where
University of Toronto Art Centre
15 King’s College Circle
Toronto M5S 3H7

Featured Flash Forward Artist
Benjamin Lowy

Also Featuring
Ai Weiwei, Tarek Abouamin, Ariella Azoulay, Sanaz Mazinani, Richard Mosse, Sabine Bitter / Helmut Weber, Noh Suntag

Contacting Toronto | We’re in this Together Public Installation

When
May 1–31

Where
TTC LCD Screens & Subway Station Posters
Until May 8: Dedicated screens at Bloor (N & S platform), St Andrew (S platform), Dundas (S platform)

Featured Flash Forward Artists 
Alyssa Bistonath
Aaron Vincent Elkaim

Also Featuring
Debra Friedman, Ruth Kaplan, Brent Lewin, Robert Poulton

Looking Askance Featured Exhibition

When
May 2–June 2
Mon–Sat, 12–5pm

Where
Gladstone Hotel — 4th Floor
1214 Queen St W
Toronto M6J 1J6

Featured Flash Forward Artist
Jamie Campbell

Empty Vessels Make the Most Noise Featured Exhibition

When
May 2–June 2
Mon–Sun, 12–5pm

Where
Gladstone Hotel — 3rd Floor
1214 Queen St W
Toronto M6J 1J6

Featured Flash Forward Artist
Laurie Kang

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Scenes From Here Featured Exhibition

When
May 3–26
Sat, 11:30–5pm

Where
Circuit Gallery at Gallery 345
345 Sorauren Ave
Toronto M6R 1N2

Featured Flash Forward Artist
Eamon Mac Mahon

Also Featuring
Jim Verburg

Crumbled Empire Featured Exhibition

When
May 1–29
Tue–Sun, 12–5pm

Where
Elaine Fleck Gallery
888 Queen St W
Toronto M6J 1G3

Featured Flash Forward Artist 
Andrew Rowat

Follow Suit Featured Exhibition

When
May 3–31
Wed–Sat, 12–6pm / Sun, 1–5pm

Where
Erin Stump Projects
1086 Queen St W
Toronto M6J 1H8

Featured Flash Forward Artist
Kotama Bouabane

A Co-existence | Lost in the Wake of Zionism Featured Exhibition

When
May 1–31
Mon–Fri, 9–7pm / Sat, 10–7am / Sun, 12–6pm

Where
Pikto
55 Mill St Bldg 59-103
Toronto M5A 3C4

Featured Flash Forward Artist
Aaron Vincent Elkaim

Building Storeys | A Photo Exhibit of Transportation in Toronto Open Exhibition

When
May 3–31
Mon–Thu, 12–6pm / Fri–Sat, 11–6pm / Sun, 11–5pm

Where
Steam Whistle Brewing
255 Bremner Blvd
Toronto M5V 3M9

Featured Flash Forward Artist
Sean Galbraith

Also Featuring
Rob Dyke, Rick Harris, Mathew Merrett, Timothy Neesam, Olena Sullivan, Toni Wallachy

Two and a Quarter Open Exhibition

When
May 3–31
Mon–Wed, 11–7pm / Thu–Sat, 11–8pm / Sun, 12–6pm

Where
Lomography Gallery Store
536 Queen St W
Toronto M5J 2Z6

Featured Flash Forward Artists 
Steven Beckly
Jamie Campbell
Brendan George Ko
Andrew B. Myers
Elise Windsor

Also Featuring
Rebecca Cairns, Kevin Chaves, Michael Clarke, Nathan Cyprys, Shane Fester, Kimon Kaketsis, Sabrina Maltese, Mike Morris, Juliana Neufeld, Sarah Palmer, Jade Lee Portelli, Sammy Rawal

Common Misconception Featured Exhibition

When
May 3–June 2
Wed–Sat, 12–5pm

Where
Angell Gallery (East Gallery)
12 Ossington Ave
Toronto M6J 2Y7

Featured Flash Forward Artist 
Andrew B. Myers

Also Featuring
Jon Rafman

Arab Awakening | A Revolutionary Snapshot Open Exhibition

When
May 1–31
Mon–Wed, 10–6pm / Thu–Fri, 10–8pm

Where
Henry’s Photo Video Digital
119 Church St
Toronto M5C 2G5

Featured Flash Forward Artist
Lucas Oleniuk

Also Featuring
Rick Madonik, Jim Rankin, Michelle Shephard

MAP: Flash Forward Photographers @ Scotiabank CONTACT Photography Festival

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Bright Spark Winner 2012
Evgenia Arbugaeva [USA] 

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Canada

Canada Selected Winners

• Jasmine Bakalarz
• Jeff Bierk
• Lindsey Bond
• Kotama Bouabane
• Jamie Campbell
• Alexandre Chabot
• Alicia Coutts
• Gabriel Coutu-Dumont
• Stacey Croucher
• Nathan Cyprys
• Anyse Ducharme
• Laura Findlay
• Jessica Ginzel
• Brett Gundlock
• Johan Hallberg-Campbell
• Joseph Hartman
• Kiana Hayeri
• Lee Henderson
• Alexi Hobbs
• Jonathan Hobin
• Ryan Enn Hughes
• Brad Isaacs
• Ana Kapodistria
• Alex Kisilevich
• Lissy Laricchia
• JJ Levine
• Peter Andrew Lusztyk
• Lindsay Mackenzie
• Isabel M. Martinez
• Andreanne Michon
• James Nizam
• Ariane Paradis
• Sabrina Russo
• Stacey Tyrell
• Ryan Walker

Canada Honourable Mentions

• Simon Belleau
• Steven Beckly
• Tanya Busse
• Vuk Dragojevic
• Shanon Fujioka
• Emilie Karuna
• Nick Kozak
• Annie France Leclerc
• Jesse Louttit
• Joshua MacDonald
• Louis Perreault
• Karen Stentaford

USA

USA Selected Winners

• Mustafah Abdulaziz
• Jenn Ackerman
• Juan Arredondo
• Erin Brethauer
• Joe Buglewicz
• Christopher Capozziello
• Alan Charlesworth
• Zhe Chen
• Brian Driscoll
• Matt Eich/LUCEO
• Harlan Erskine
• McNair Evans
• Sean Fader
• Misha Friedman
• Ann George
• Hans Gindlesberger
• Sarah Girner
• Lori Hepner
• Amanda James
• Katie Koti
• Anouk Kruithof
• Cesar Lechowick
• Justin Maxon
• Sebastian Meyer
• Greer Muldowney
• Tsukasa Nishimura
• Eleanor Oakes
• Jesse Rieser
• Ross Sawyers
• Matt Slaby
• Nicole Sobecki
• Rafael Soldi
• Viktoria Sorochinski
• Brandon Thibodeaux
• David Welch

USA Honourable Mentions

• Daniel Ballesteros
• Garrett Baumer
• Aaron Blum
• I-Hsuen Chen
• Maisie Crow
• Julia Cybularz
• Peter Di Campo
• Glenna Gordon
• Tim Gruber
• Curran Hatleberg
• Shannon Jensen
• Benjamin Rasmussen

UK

UK Selected Winners

• Joan Alexander
• Jocelyn Allen
• Maxwell Anderson
• Jacob Burge
• Natasha Caruana
• Aletheia Casey
• Bharat Choudhary
• Maja Daniels
• Bryan Dooley
• Thomas Dryden-Kelsey
• Alinka Echeverria
• Clare Gallagher
• Lydia Goldblatt
• Paula Gortázar
• Maria Gruzdeva
• Kenji Hirasawa
• Nikolai Ishchuk
• Seulki Ki
• Anna Kurpaska
• Lucy Levene
• Davide Maione
• Gustavo Murillo
• Sachiyo Nishimura
• Robert Ormerod
• Adam Patterson
• Alexandra Serrano
• Michal Solarski
• Luca Spano
• Laura Stevens
• Chiara Tocci
• Kurt Tong
• Jon Tonks
• Mary Turner
• Jooney Woodward
• Jon Wyatt

UK Honourable Mentions

• Ami Barnes
• Pierfrancesco Celada
• Jack Davison
• Daniel Donnelly
• William Eckersley
• Nicolo Giudice
• Sonal Kantaria
• Marco Kesseler
• Shiho Kito
• Tim Mills
• Miti Ruangkritya
• Jordi Ruiz-Cirera

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We are very excited to share to share some of Simon’s insights into his past projects and future photographic endeavours.

Flash Forward 2006 – Final Selection

Bright Spark Award Winner – Simon Roberts, UK

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In 2010, you were the first photographer to ever be commissioned as the official Election Artist of the UK General Election. How important was it to involve the public in this project in such a fundamental way? Were you happy with the results?

When I received the election commission from Parliament I was fully aware that this was likely to be the most photographed election in UK history – it could be said that we’re all photographers now, with the mobile phone and digital camera revolutionising the way we look at and record the world around us – and therefore I needed to think carefully about how I was going to approach the subject. What could I add that would differ from the hundreds-of-thousands of images that would be taken during the period of electioneering?

My approach, I decided, would move away from the media’s traditional stance of concentrating almost exclusively on the three main party leaders (from the Conservative, Labour and Liberal Democrat parties).  I was more interested in exploring the experiences of the smaller political parties and independent candidates standing in marginal constituencies around the country. Moreover, I intended my photographs to be a captivating investigation of the British landscape, as well as the political campaign that was unfolding in it, thereby building on my previous study of the landscape in We English.

Moreover, as with We English, where I sort suggestions from the general public via the project website, I decided it would be an interesting exercise with this commission to simultaneously invite the public to submit their own images of election activity in their area (uploaded to the website theelectionproject.co.uk). In this way I could create an alternative photographic vision alongside my own and one that would add a collaborative and democratic dimension to the overall work. A kind of ‘Mass Observation’ experiment for the digital age.

It’s interesting to note that the election was taking place at a time when a rather large void had developed between the public and politicians as a result of the 2009/2010 Parliamentary expenses scandal, which many politicians seemed to have been caught up in. There was a great deal of skepticism about politicians leveled by the general public and a fear by the government that there would be a large drop in the number of people voting. By involving the public, I was partly responding to this void and, in some small way, trying to encourage people to engage with the political process, albeit through the medium of photography. In addition, I saw this is an opportunity to help rally behind the movement “I’m a Photographer, Not a Terrorist”, a group that grew up in reaction to what many felt was a misuse of police powers to stop and search suspicious members of the public under Section 44 of the Prevention of Terrorism Act. Street photographers, in particular, had been stopped, questioned, and in some cases, arrested, with alarming regularity over the previous year. I liked the idea that I was encouraging people to go out and photograph on the street – a fundamental democratic right!

The resulting artwork is a series of 25 large-format tableaux photographs, one representing each day I spent on the campaign trail, and including a final photograph capturing an unexpected additional day – the coalition talks. Alongside my framed prints I installed a 15-metre collage of the 1,696 photographs submitted by members of the public. Together the works provide an antidote to the more stage-managed press photographs published during the campaign, whilst also forming a historic archive of photographs that capture the complexity of the UK’s social and political landscape in 2010.

I was very happy with the results of the public photographs (all of which can be viewed here). They show both the mundane reality and the heightened atmosphere of a British general election campaign. Certain tropes recur: candidates – posing with members of the public, or campaigning on doorsteps, or sweeping through towns with their entourage; election posters – often defaced, or written over, or photographed alongside suddenly metaphorical road signs – Right Turn Ahead, No Left Turn; election leaflets – stuffed in letterboxes or stuck on windows or consigned to the litter bin; polling booths and polling stations in all their drab, makeshift peculiarly British ordinariness. Sometimes, someone catches a moment of high drama: Duncan Morris’s brilliant shot of a long-time Labour Party member handing his membership card back to Jack Straw at a public event. Sometimes, too, there are images that show a rare moment of utter connection between a candidate and a supporter: Jonny White’s great photograph of a woman listening with rapt attentiveness to Green Party leader, Caroline Lucas. Several contributors have opted for a conceptual approach to what is, in many ways, a surreal process: Matthew Wealt has posted a black and white image of a man, possibly himself, with his jumper pulled up over his head as if to say, “I’ve already had enough!”  Elsewhere, though, things take a more playful turn. Bill Scanlon has had some fun with a 3D camera outside the Houses of Parliament making William Hague, Peter Mandelson and Jack Straw look blurred and unfocussed. There are lots of boring photographs, too, but they, perhaps even more than the immediately arresting ones, may reveal much about the nature of this election to social historians of the future.

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After your rise in success, you must receive a wide array of commission offers. How do you go about choosing your projects?

I don’t get as many as you might imagine! I’m pretty focused on what projects I work on and tend to be very selective in what I take on. The Election Project was a perfect commission in the fact that it enabled me to continue my exploration of the British landscape, building on the work I’ve been doing since returning from Russia in 2005 (where I produced the series Motherland). Rather than taking on any old commission, I tend to encourage organisations and publications to get involved in my self-generated projects, using them to fund different ‘chapters’ of the work.

In some cases, I have found that a commission leads into a larger personal body of work. I recently shot an editorial commission for the Saturday Telegraph Magazine on UK Pleasure Piers, which has now turned into an obsession where I plan to photograph every remaining Pier around the UK coastline!

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What advice can you offer emerging photographers who are working towards developing an aesthetic identity?

The most important piece of advice would be: Take your time! Don’t be impatient. Give yourself plenty of opportunity to experiment and remember that it may take years to develop a unique style. Also, most artists’ work develops and shifts over time, to the point that it can be difficult to even identify one aesthetic approach. Personally speaking, it’s more important that one’s work has a message rather than just being ‘aesthetic’.

Here are a few other thoughts:

• The best delivery is simplicity – start by doing one thing well.
• Generate your own projects and remember that ideas are your currency.
• Stay focused on the projects that interest you and try not to waste time on trivial assignments.
• Do plenty of research: into your ideas, the marketplace and those who hold positions of responsibility such as picture editors, art directors, curators and gallery owners. Knowledge is key.
• Seek mentors to help edit and critique your work, but only seriously consider the feedback from those you trust and who want to help you.
• Build a network of people who like what you do and nurture these relationships.
• Make time every day or week to create something new.
• You don’t have to travel half way around the world to make good work, first try looking locally.
• Take a stance.
• Be strict with how you use your time and don’t become a slave to emails and social networking.
• One of the toughest challenges is trying to balance art and commerce – keep the     balance on your art rather than the commerce. It’s always more rewarding that way.
• Most importantly, be an author of your own work not an illustrator of others.

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Now that you’re further in your career, do you still approach your work with the same sense of exploration and passion, or do you tend to be more pragmatic?

I strive for the former, but once you have a family and a mortgage to pay each month, pragmatism tends to creep in. However, I’m trying to keep it in check.
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What projects are you currently working on?

What’s interesting looking back at the making of We English is that during my journey between August 2007 and September 2008, it was a period of great uncertainty and change with the collapse of Lehman Brothers and the unfolding of the global credit crunch, events that heralded the beginning in a shift in public consciousness about the current financial crisis. Twenty months later for the making of The Election Project, I returned to many of the places I had visited and this time, the landscapes were alive not with people at leisure, but with canvassing candidates, political slogans, and echoing with warnings of cutbacks and imminent hardship. My new work, Landscapes of Innocence and Experience attempts to explore the changes that have affected Britain economically and politically over the last three years.

I’m also continuing my Pierdom series, some of which you can see here.

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Photography can be a powerful tool for change. Has starting a family altered your outlook on what sort of impact you want your photography to have?

No. My family have often played an integral part in the work I’ve produced – I travelled across Russia for a year with my wife to produce Motherland and we were joined by our youngest daughter for the making of We English – however, I wouldn’t say the experience of fatherhood has changed the focus of my work. It’s just curtailed ‘professional’ lunches!

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Election Project 017
Gordon Brown, Labour, Rochdale, 28th April 2010 (Rochdale constituency)

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Election Project 024
Polling station, Goodman Park, Slough, 6th May 2010 (Slough constituency)

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Election Project 023
David Cameron, Conservative, Spelsbury, 6th May 2010 (Witney constituency)

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We English 01
Skegness Beach, Lincolnshire, 12th August 2007

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We English 46
Chatsworth House, Bakewell, Derbyshire, 7th August 2008

-We English 37
Blackpool Promenade, Lancashire, 24th July 2008

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Motherland 10. 
Camping with Sasha and Paval, Kamchatka Peninsula, Far East Russia, October 2004

-Motherland 13 
Alexandrovsk Port, Sakhalin Island, Far East Russia, October 2004

-Motherland 14 
Port officials, Vladivostok, Far East Russia, October 2004

-Motherland 20 
The lounge of a former sanitorium, Sludyanka, Eastern Siberia, November 2004

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Abandoned warship in the Kola Bay, Murmansk, Northwestern Region, January 2005

-Motherland 24 
Meat market, Pyatigorsk, Northern Caucasus. April 2005

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Simon Roberts (b. 1974) studied a BA Hons Degree in Human Geography at the University of Sheffield (1996). His photographs have been exhibited widely with recent solo shows at the National Media Museum, UK, EX3 Centro per l’Arte Contemporanea, Italy, and Centro Brasileiro Britânico, Brazil. They are represented in major public and private collections, including the Deutsche Börse Art Collection, George Eastman House and Wilson Centre for Photography.

In recognition for his work, Roberts has received several awards including the Vic Odden Award (2007) – offered for a notable achievement in the art of photography by a British photographer – bursaries from the National Media Museum (2008) and the John Kobal Foundation (2008). Most recently he was commissioned as the official Election Artist by the House of Commons Works of Art Committee (2010) to produce a record of the UK General Election.

He has published two monographs, Motherland (Chris Boot, 2007) and We English (Chris Boot, 2009). He is a member of POC, a network of contemporary photographers.

Roberts’ approach is one of creating wide-ranging surveys of our time, which communicate on important social, economic and political issues. His photographs exhibit a disciplined compositional restraint, a richness of palette, and a wealth of narrative incident.

We had a great time at the show’s opening reception and so, feeling nostalgic about nostalgia, we decided to edit together a very silly video about it from clips we filmed at the event on our own point-and-shoot camera, which you can view below. And while we’re here and still feeling nostalgic, come along and check out a few more featured images from the exhibition below!

How do you feel about the “snapshot” aesthetic? Do you have a favourite snapshot photographer? Tweet us @imprintblog and let us know what you think!

Pauline Beaudemont, Priap Game (Los Angeles), 2011

Kyle Brohman, Jay and Jen, 2011

Andrew Jarman, Maui, 2011

A very silly video we made, Nostalgia for the Present Opening Reception, 2 February 2012, Forgetus Collective, Toronto

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We’re also excited to be able to share with you some pictures from the Flash Forward 2011 exhibition, on now at the Salt Institute for Documentary Studies in Portland, Maine. Because of space constraints, this show was only able to accommodate 11 photographers. However, the FULL show will be on view at the festival in Boston, June 7-10, 2012. Full details in the invitation (and pictures) below!

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Installation view of Flash Forward

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We are very pleased to report that December saw a fabulous turnout for the 2012 Flash Forward call for submissions, and the first rounds of screening are already underway. There’s also been some great stuff cropping up from our Flash Forward alumni, and we’ll leave you with one of them now.

2011 winner Chloe Dewe Mathews was recently honoured with a British Journal of Photography International Photography Award, and a prize that included an exhibition at Foto8 Gallery.

Mathews’ series, Caspian, developed out of her attempt to capture the cultural shifts between Asia and Europe as she travelled overland from China to Britain. Mathews saw the Caspian, the world’s largest inland sea, as a key point in her journey. Her portraits of people, communities, and happenings on its fringes offer an intriguing perspective on an important transitional place.

Chloe Dewe Matthews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Caspian – Chloe Dewe Mathews

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Photo by Natalie Bartlett

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Photo by Natalie Bartlett

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Photo by Natalie Bartlett

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Photo by Natalie Bartlett

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Photo by Natalie Bartlett

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Photo by Natalie Bartlett

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The Flash Forward 2011 exhibition and book launch is only a week away! Come out to Airship 37 in Toronto this Wednesday, November 9,  7 – 10 pm to see the show and pick up your copy of the new book (which is still available to order online!).

In anticipation of the exhibition, we’ve spent the last few weeks spotlighting some of our favourite Flash Forward 2011 winning projects, including works by Rafal Gerszak, Alinka Echeverria and Sarah Sudhoff (you can check out an essay on Sudhoff‘s photograph Illness, Female, 60 years old by George Slade in the new publication from collect.give).

For our final week, we’re featuring the work of UK winner Annie Collinge. Born in London and currently residing in New York, Collinge was selected for her colourful and often surprising imagery. Check out a selection of her images below.

Annie Collinge

From Project with Sarah May

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Colour plays a huge roll in my work, I think when I first got a medium format camera and started taking colour photographs there was no turning back.  

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Picnic Table, Colorado

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I having probably shot about 10 black and white films in 12 years.

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Receptionist, New York City

Horse

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My work generally has a common theme of a sombre sort of, off mood, contrasted with intense colour, it’s that conflict that I look for.

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From Linda Leven

View more images from these series

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Annie Collinge

I was born in London in 1980 and live most of my current life in Brooklyn, New York.  I studied at Central St. Martins and then went on to Brighton University I like to shoot square colour photographs on film.  My work has consistent themes such as costume, disguise and adornment. Very often a lone figure or object is depicted, the atmosphere is sombre, contrasting with the subjects’ comic costume or decoration.  Colour is also very important in my work, I like the mood to be at odds with the colours I use, and I also like to shoot available light to put the photograph in a normal everyday context.

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We’ve also got some exciting news coming from Flash Forward winners who are currently branching out of photography and into video. From extreme world travels to innovative photographic projects, Ryan Pyle, Jaret Belliveau and Ryan Enn Hughes are making their marks with their current creative endeavours. 

Upcoming Exhibitions
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HEREFORD, UK  Corinne Silva
Imported Landscapes
Hereford Photography Festival
October 28 – November 26, 2011

New suburb of Tangier placed in former mining region La Unión, Murcia

Port Tanger Med placed in highway leading to retail park, Murcia

view gallery

AMSTERDAM Jessica Eaton and Ivor Prickett
Foam Magazine #28 / Talent
October 14- December 15, 2011

This exhibition highlights the various photographic works from fifteen young artists who are featured in Foam Magazine‘s Talent issue. Two previous Flash Forward winners are among many great photographers who have made this year’s Talent list. FF 2011 Bright Spark winner Jessica Eaton is recognized along with past Flash Forward winner Ivor Prickett.

cfaal 78, 2010 – Jessica Eaton

cfaal 35, 2010 – Jessica Eaton

view more work

Extreme
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Ryan Pyle

It recently came to our attention that one of our previous FF winners has found their way onto the pages of the 2012 edition of the Guinness World Records book. Ryan Pyle has entered the book as having the Longest Continuous Motorcycle Journey within a Single Country. Travelling with his brother Colin, Ryan rode across China with the goal of obtaining an in-depth understanding of the diverse landscapes and cultures that exist within the country.

The trip is currently being adapted into a book and a television show. To learn more about the 65 day/18,000 km trip, visit here.

Click here to view the embedded video.

Jaret Belliveau

Previous FF winner Jaret Belliveau recently had his directorial debut with the film Highway Gospel. This documentary, which premiered at the 2011 Hot Docs festival, takes an insider’s look at the extreme athletics, subcultures and lifestyles of downhill skateboarding.

Click here to view the embedded video.

Online
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Ryan Enn Hughes
The 360 Project 

The 360 Project was released last month and quickly gained widespread recognition and praise from both photography and film communities. This innovative work by Ryan Enn Hughes used 48 cameras aligned in a circle that were triggered simultaneously. The project consists of Ballet 360 and Krump 360. Click here for more info on the project and to watch behind-the-scenes footage.

Click here to view the embedded video.

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