exhibited her holograms in Canadian galleries and at
the Massachusetts Institute of Technology (MIT) in
Cambridge, where she was part of the research team
at the Spatial Imaging Group, and taught at the MIT
Media Laboratory, in 1987. Among her works are
Barcelona 1982, a holograph which refers to Gaudi’s
magnificent unfinished church, La Sagrada Familia,
and another tribute to Catalonian art,Hommage to
Dali, which acknowledges famed Surrealist painter
Salvador Dali’s own fascination with holograms
beginning in the early sixties.
Copy Art, or Xerography, is another arena in
which Canadian artists have made pioneering efforts.
In Montre ́al, the Centre Copie-Art was created by
artist Jacques Charbonneau; its establishment was
influenced by the underground research from Europe
and the United States in the 1970s. The center,
between 1982 and 2000, promoted new forms of
visual research using the photocopier machine and
related processes. There were two exhibition rooms,
a workshop, a library, plus many photocopying
machines and printers, including from a (at that
time) rare color photocopier. Many experimental
artists gathered from all parts of Canada to create
multidisciplinary works, at times combining photo-
graphy and Xerography. Although it closed in 2000,
the Centre Copie-Art was an inspiration for other
copy-art centers such as the Centre Canon de Paris in
France, the Mu ̈seo international de Electrografia
(MIDE) in Cuenca, Spain, and the Museum fu ̈r
Fotocopie in Germany.
Experiments in copy art were made in other
cities as well. In Que ́bec City, Yves Laberge made
many generations of photocopies from a single
black-and-white photograph to compare the
many stages and the deconstruction of shapes
and lines in an exhibition titledLa photocopie: le
non-souci du detailheld at the Laval University
Library in 1987. As explained in the exhibition
catalogue, using a Canon photocopier, an original
photograph was photocopied, and the photocopy
was then photocopied again, and the new one
photocopied once more, each generation being dif-
ferent from the previous and from the following
until the forms and lines so apparent in the initial
image literally disappeared. Laberge dubbed the
process ‘‘regeneration.’’
Advanced, experimental photography has also
flourished on the coasts of Canada. On the west
coast, a highly conceptual photography has flour-
ished at Simon Fraser University and the Univer-
sity of British Columbia, around the pioneering
efforts of Vancouver native Jeff Wall, who taught
at both institutions for a number of years. On the
east coast, the Nova Scotia College of Art and
Design, Halifax, has also trained generations of
artists using photography as part of their contem-
porary art efforts.
Canada also has hosted great numbers of active
professional, commercial, and amateur photogra-
phers, many associated with camera guilds or
clubs. One of the largest is the Canadian Associa-
tion for Photographic Art/L’Association canadi-
enne d’art photographique, which was formed in
1998 by two venerable associations: the Colour
Photographic Association of Canada (founded
1947 in Toronto), and the National Association
for Photographic Art (NAPA) founded in 1967 by
photographers interested in advancing the practice
of black-and-white photography. NAPA published
the magazines Xerography and Fotoflash. The
Photographic Guild of Nova Scotia, founded in
1947, also serves as an organization for profes-
sional, commercial, and amateur photographers,
offering conferences, competitions, and other pro-
fessional services. Active photo clubs flourish in
virtually every major Canadian city, including Cal-
gary, Edmunton, Hamilton, Kingston, Regina, and
Victoria, with many members continuing to cap-
ture and celebrate the natural beauty of Canada
and its towns, cities, and diverse citizenry.
YVESLaberge
Seealso: Aerial Photography; Appropriation; Ca-
dieux,Genevie`ve;Cohen,Lynne;ConceptualPhotogra-
phy; Karsh, Yousuf; Museums: Canada; Periodicals:
Professional; Snow, Michael; Szilasi, Gabor; Wall,
Jeff ; War Photography; Worker Photography; Xero-
graphyFurther Reading
Books
La Province de Que ́bec. Montre ́al; Leme ́ac: 1957.
Beauregard, Yves. ‘‘Les cartes postales.’’ Cap-aux-Dia-
mants. Revue d’histoire du Que ́bec. Que ́bec City, N80,
(Hiver 2005): 8.
Christopher, Robert J. ‘‘Through Canada’s Northland: The
Arctic Photography of Robert J. Flaherty.’’ In J.C.H.
King and Henrietta Lidchi (eds.),Imaging the Arctic.
Seattle and Vancouver: University of Washington Press
and UBC Press, 1998. 181–189.
Franck, Alain.Naviguer sur le Fleuve au temps passe ́1860–
1960. Que ́bec: Les Publications du Que ́bec, 2000.
Greenhill, Ralph, and Andrew Birrell.Canadian Photogra-
phy 1839–1920. Toronto : Coach House Press, 1979.CANADA, PHOTOGRAPHY IN