As a festival that celebrates the medium of photography, Capture is a purveyor of perspectives and invites its audiences to challenge their own. From Thursday (April 2) to April 30, Western Canada’s largest photography festival showcases local and international lens-based art, playing homage to this region’s international reputation for photographic excellence.
In previous years, the festival included workshops and events but this year’s lineup looks a little different. In response to the current health crisis, Capture has adapted quickly to provide its audiences with engaging and meaningful content. Emmy Lee Wall, the festival’s executive director says “the recent challenges that we’ve faced globally have only served to remind us how art serves to unite and the critical function it serves in uplifting communities, especially during difficult times.”
Art holds the ability to connect individuals, deepen relationships, and facilitate self-expression. “Capture is an organization dedicated to collaboration with artists, curators, and groups to realize a collective energy during the month of April—and this year has been no different,” says Wall. “Capture continues to play an important role in advancing lens-based art in this community and providing meaningful engagement with art to a wide audience.”
Approaching photography in expansive ways allows festival attendees to uncover the many rich and vibrant layers that exist below the surface of an image and beyond its frame. In a world increasingly saturated with images and with photographs becoming a primary tool for communication, Capture aims to unpack what it means to read an image.
Capture is especially recognized for its public art program that includes lens-based work on the Dal Grauer Substation on Burrard Street, Pattison billboards, the Stadium-Chinatown Skytrain Station. The Canada Line will also feature gorgeous lens-based art displayed at eight of the stops around Metro Vancouver. The locations of the other outdoor art displays can be found .
<span class="picturefill" data-picture data-alt="Elisabeth Belliveau, Still life with fallen fruit, 2019, time lapse and stop-motion animation video, 5:51. Made by Elisabeth Belliveau at Studio Kura (Itoshima), and Youkobo Art Projects (Tokyo).”> Elisabeth Belliveau, Still life with fallen fruit, 2019, time lapse and stop-motion animation video, 5:51. Made by Elisabeth Belliveau at Studio Kura (Itoshima), and Youkobo Art Projects (Tokyo).Courtesy of the artist.
“The numerous public art installations throughout Vancouver feature the work of international, national, and local artists, including Paris-based Kapwani Kiwanga, New York-based Moyra Davey, and Vancouver-based Elizabeth Zvonar,” says Wall. People are encouraged to visit the public installations as soon as it is safe to do so.
In the meantime, Capture Photography Festival is pivoting to a largely digital platform to bring art to everyone in the community through its broad collection of online content. Audiences are able to enjoy virtual exhibitions, filmed tours, and talks in the comfort of their own home.
The , available as a hardcopy and online, is full of information on the artists, exhibitions, and public art projects that comprise the festival. It also offers engaging editorial content including essays on the state of contemporary image culture. These are by a diverse range of writers such as best-selling author Douglas Coupland, London’s Hayward Gallery senior curator Cliff Lauson, and Capture’s TD assistant curator Cheyenne Rain Legrande.
Also featured is a conversation between local luminary Ian Wallace and internationally renowned street-style photographer Scott Schuman, also known as The Sartorialist. Their dialogue will focus on the development of Schuman’s practice, which marries the traditions of street photography and portraiture.
For more information, visit .
Follow Capture Photography Festival on and for updates.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
