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OverviewCorePublic ArtOpen CallArtists
  • Overview
  • Core
  • Public Art
  • Open Call
  • Artists
Archives 2013 Public Art

Adam Broomberg, Oliver Chanarin To Photograph the Details of a Dark Horse in Low Light

April 29 – June 2, 2013
  • Billboards along Dundas St W and Across Canada
Adam Broomberg & Oliver Chanarin, Shirley
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg & Oliver Chanarin, Shirley

Adam Broomberg and Oliver Chanarin’s To Photograph the Details of a Dark Horse in Low Light presents a national billboard campaign that depicts glamorous Caucasian women in high-contrast dress posed in front of neutral grey backgrounds. Collectively known as “Shirleys,” the portraits are culled from an archive of Kodak “norm reference cards,” historically used to calibrate skin tone in a photograph. French director Jean-Luc Godard made Kodak’s apparent predilection for white skin famous by refusing to use Kodak film on assignment in Mozambique in 1975. Kodak film, he insisted, was “racist.” Responding primarily to the confectionary and furniture industries’ complaints that they could not properly render dark chocolate or dark wood, Kodak chemists developed an emulsion that more accurately depicted darker colours: Gold Max, the first popular consumer film to address this problem, was initially described by Kodak as able “to photograph the details of a dark horse in low light.”

Broomberg and Chanarin’s billboards bring Shirley out of history and into a sea of contemporary consumer imagery. The portraits are juxtaposed with a graphic play of tonal and colour scales, and overlaid with the label “normal.” The new images hijack the representational space of urban advertising to raise questions about the relationship between the social and the technical, and the possibility that politics is bound up with our material history. 

Recently, Broomberg and Chanarin were invited to “document” the African country Gabon. Before the trip, they collected Kodak film stock that expired between the 1950s–70s, film that Godard would have called racist. Using the expired film, they succeeded in producing just a single frame from the many colour rolls they exposed. This image will be on view at the Gallery TPW R&D project space, 1256 Dundas St W, May 11 – June 8.

Presented in partnership with Gallery TPW
Supported by Pattison Outdoor Advertising and Nikon Canada

Toronto Locations

Dundas St W and Ossington Ave, Northwest corner
Dundas St W and Rusholme Rd, North side
Lansdown Ave at Dundas St W, Northeast corner

Across Canada Locations

Calgary
9 Ave SE at 13 St SE
4 images, 10 x 20 ft

Dartmouth
North St at Alderney Dr
2 images, 10 x 20 ft

Montreal
Van Horne Ave at St Laurent Blvd &
St Urbain St
3 images, 10 x 20 ft

Saskatoon
Pacific Ave at 22nd St E & 23rd St E
4 images, 10 x 20 ft

Vancouver
Howe St at Drake St & Nelson St
3 images, 10 x 20 ft

Winnipeg
Isabel St at William Ave
2 images, 10 x 20 ft
2 images, 12 x 16 ft

Jason Evans A long, long time AGO

Art Gallery of Ontario
Archives 2013 Public Art

Adam Broomberg, Oliver Chanarin To Photograph the Details of a Dark Horse in Low Light

Billboards along Dundas St W and Across Canada
Archives 2013 Public Art

Michael Schirner Pictures in Our Minds

Billboards at Front St W at Spadina Ave, and across Canada
Archives 2013 Public Art

James Nizam Pyramid

Brookfield Place
Archives 2013 Public Art

Martin Parr Food

Metro Hall
Archives 2013 Public Art

Ilit Azoulay Tree, For, Too, One

Museum of Contemporary Canadian Art, courtyard
Archives 2013 Public Art

Michael Cook, Andrew Emond Contacting Toronto: Under the Ground

St. Patrick Subway Station Posters and LCD Screens in 63 stations
Archives 2013 Public Art

Chris Marker Images From La Jetée

TIFF Bell Lightbox
Archives 2013 Public Art

Martin Parr Food

Toronto Pearson International Airport, Terminal 1
Archives 2013 Public Art
OverviewCorePublic ArtOpen CallArtists
  • Overview
  • Core
  • Public Art
  • Open Call
  • Artists
Archives 2013 Public Art

Adam Broomberg, Oliver Chanarin To Photograph the Details of a Dark Horse in Low Light

April 29 – June 2, 2013
  • Billboards along Dundas St W and Across Canada
Adam Broomberg & Oliver Chanarin, Shirley
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg and Oliver Chanarin, To Photograph the Details of a Dark Horse in Low Light
Adam Broomberg & Oliver Chanarin, Shirley

Adam Broomberg and Oliver Chanarin’s To Photograph the Details of a Dark Horse in Low Light presents a national billboard campaign that depicts glamorous Caucasian women in high-contrast dress posed in front of neutral grey backgrounds. Collectively known as “Shirleys,” the portraits are culled from an archive of Kodak “norm reference cards,” historically used to calibrate skin tone in a photograph. French director Jean-Luc Godard made Kodak’s apparent predilection for white skin famous by refusing to use Kodak film on assignment in Mozambique in 1975. Kodak film, he insisted, was “racist.” Responding primarily to the confectionary and furniture industries’ complaints that they could not properly render dark chocolate or dark wood, Kodak chemists developed an emulsion that more accurately depicted darker colours: Gold Max, the first popular consumer film to address this problem, was initially described by Kodak as able “to photograph the details of a dark horse in low light.”

Broomberg and Chanarin’s billboards bring Shirley out of history and into a sea of contemporary consumer imagery. The portraits are juxtaposed with a graphic play of tonal and colour scales, and overlaid with the label “normal.” The new images hijack the representational space of urban advertising to raise questions about the relationship between the social and the technical, and the possibility that politics is bound up with our material history. 

Recently, Broomberg and Chanarin were invited to “document” the African country Gabon. Before the trip, they collected Kodak film stock that expired between the 1950s–70s, film that Godard would have called racist. Using the expired film, they succeeded in producing just a single frame from the many colour rolls they exposed. This image will be on view at the Gallery TPW R&D project space, 1256 Dundas St W, May 11 – June 8.

Presented in partnership with Gallery TPW
Supported by Pattison Outdoor Advertising and Nikon Canada

Toronto Locations

Dundas St W and Ossington Ave, Northwest corner
Dundas St W and Rusholme Rd, North side
Lansdown Ave at Dundas St W, Northeast corner

Across Canada Locations

Calgary
9 Ave SE at 13 St SE
4 images, 10 x 20 ft

Dartmouth
North St at Alderney Dr
2 images, 10 x 20 ft

Montreal
Van Horne Ave at St Laurent Blvd &
St Urbain St
3 images, 10 x 20 ft

Saskatoon
Pacific Ave at 22nd St E & 23rd St E
4 images, 10 x 20 ft

Vancouver
Howe St at Drake St & Nelson St
3 images, 10 x 20 ft

Winnipeg
Isabel St at William Ave
2 images, 10 x 20 ft
2 images, 12 x 16 ft

Jason Evans A long, long time AGO

Art Gallery of Ontario
Archives 2013 Public Art

Adam Broomberg, Oliver Chanarin To Photograph the Details of a Dark Horse in Low Light

Billboards along Dundas St W and Across Canada
Archives 2013 Public Art

Michael Schirner Pictures in Our Minds

Billboards at Front St W at Spadina Ave, and across Canada
Archives 2013 Public Art

James Nizam Pyramid

Brookfield Place
Archives 2013 Public Art

Martin Parr Food

Metro Hall
Archives 2013 Public Art

Ilit Azoulay Tree, For, Too, One

Museum of Contemporary Canadian Art, courtyard
Archives 2013 Public Art

Michael Cook, Andrew Emond Contacting Toronto: Under the Ground

St. Patrick Subway Station Posters and LCD Screens in 63 stations
Archives 2013 Public Art

Chris Marker Images From La Jetée

TIFF Bell Lightbox
Archives 2013 Public Art

Martin Parr Food

Toronto Pearson International Airport, Terminal 1
Archives 2013 Public Art

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CONTACT is a Toronto based non-profit organization dedicated to exhibiting, analyzing and celebrating photography and lens-based media through an annual festival that takes place every May.

Land Acknowledgement

CONTACT acknowledges that we live and work on the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples, and that this land is now home to many diverse First Nations, Inuit, and Métis peoples. CONTACT is committed to promoting Indigenous voices; to generating spaces for ongoing, meaningful, and creative Indigenous-settler dialogue; and to continuous learning about our place on this land.

Anti-Oppression

CONTACT is committed to the ongoing development of meaningful anti-oppressive practice on all levels. This includes our continuing goal of augmenting and maintaining diverse representation, foregrounding varied and under-represented voices and perspectives via our public platform (the Festival and all related programs), as well as continually examining the structures of power and decision-making within the organization itself. We aim to actively learn, grow, and embody the values of inclusivity, equity, and accessibility in all facets of the institution, as an ever-evolving process.