Exclusive photos of the artist hard at work on RED: A Haida Manga

For most of her adult life, my mother, Danuta Rago, was a professional photographer in Poland. In the early seventies she travelled to the Asiatic republics of the ussr and to Siberia. Her assignment was to take portraits of happy members of the coll

The city we know as Vancouver sits in the delta of the fraser river valley on village sites that date back to mesopotamian times.

A pariah in Botswana.

Cambodian children flashing smiles in front of mass graves are superimposed on pages of my journal. The effect is so eerie that it takes me a while to realize I am looking at double exposures—I must have put that roll of film through my camera twice.

"I am I because my little dog knows me." Robert Everett-Green investigates the art of dog portraits.

Pictorial postcards were authorized by the Canadian post office in 1903, and the next 25 years became known to postcard collectors as the Golden Age.

One summer I began taking pictures of people on the street surreptitiously, by holding the camera at my waist and aiming it at passersby when they were about six feet away.

Mandelbrot describes the photographic reimagining of the Gastown Riot, entitled Abbott & Cordova, 1971, by Vancouver photographer and visual artist Stan Douglas.

This photo was taken in Winnipeg’s North End at St. John’s Park on Main Street, in 1940 or so. I was about five years old and the only girl in the family. An accident, my parents told me. A happy accident.

Libby Simon shares her personal story of a bygone tradition.

Modern photography is steeped in the instantaneous: exposures are so brief that the unassisted eye in the same interval (less than half a second) would see nothing. The modern photograph always shows us what we have never seen before, hence its etern

These photographs depict a performance by William Davison and Sherri Lyn Higgins outside the Art Gallery of Ontario in Toronto in September 2002. The tableau vivant consisted of three ten-minute poses loosely based on the 1928 René Magritte painting

Crispin and Jan Elsted produce books of extraordinary beauty using techniques and traditions that date from the days of Johannes Gutenberg.

The message on the sign under the elevated railway read, “The John Molson Way,” and seemed to have been designed to resemble a six-pack of Molson Canadian. These were confusing signals and for some moments I couldn’t understand what the sign, with it

This photograph was taken in the winter of 1960 or 1961 in Sardinia, Italy, where we were stationed at the NATO Air Force base. I’m the little girl in a yellow sweater. Behind me, in bare feet, is my sister, Kate, who w

In his photograph, Unit A, Ninth Floor, George Webber captures the last haunt of Diane Arbus, one of the most influential photographers of the 20th Century.

These two portraits (of John Jackson of Toronto) were taken by Andrew Danson Danushevsky and are separated by an interval of eighteen years.

The special responsibility of those who chose to live in suburbia was to be “happy”: happiness was the point of suburbia, and its great moral burden.

For centuries the Saharawis have called the desert home, but they don't belong here. At least not on this side of the Wall.

The Asian economic crisis of 1997 crippled real estate development in Bangkok, but it also provided unexpected opportunities for some of Thailand’s poorest people—and their elephants.

One of the first pleasures of taking pictures is finding out what something looks like when it gets into a photograph. This is often what motivates young photographers, who are always surprised (sometimes delighted and sometimes horrified) by what th

A photo recently exhibited as a part of George Webber: Portrait at the Art Gallery of Calgary.