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24 January – 10 March 2012
 
Organized by UTAC and curated by Heather Diack, this exhibition reflects on the compelling power of photography to create relationships. The title plays off the collectors’ own confession that “we did not collect photography, photography collected us.” This exhibition explores the enigmatic humanity that is contained in each photographic moment collected by the Malcolmsons and how the very notion of a collection is held in tension by the disjuncture between being alone and being together simultaneously.
Right: John Vanderpant, Angles in Black and White, gelatin silver print, print: c. 1930. Collection of Ann and Harry Malcolmson
This comprehensive exhibition comprises some 200 works that traverse an entire history of photographic practices, and is widely acknowledged as the strongest and most inclusive private collection of historic and vintage photography in Canada. The Collection contains distinguished moments in the development of the medium as well as in the continuum of significant artistic movements over the course of the 19th and 20th centuries, and each image is characterized by the collective and “collected” sensibility of Harry and Ann Malcolmson. Embracing both pictures and documents, this exhibition ranges from Henry Fox Talbot to Eugene Atget, from Robert Frank to Ian Wallace and beyond, including particular emphasis on a handful of select modern photographers such as Bill Brandt, Manuel Alvarez Bravo, André Kertész, Man Ray, Aleksandr Rodchenko, and John Vanderpant.
Robert Frank, Chattanooga, Tennessee, gelatin silver print, negative: 1956, print: 1970s. Collection of Ann and Harry Malcolmson
This exhibition is sponsored by Connor, Clark & Lunn Financial Group and a select group of private foundations and individuals
Gustave Le Gray, The Great Wave, Sète, albumen silver print from two wet collodion glass negatives. Negative: 1856. Collection of Ann and Harry Malcolmson
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