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George Webber - Borrowed Time: Calgary 1976-2019

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George Webber Borrowed Time: Calgary 1976-2019
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An intriguing exhibition of documentary photography and micro-essays highlighting the growth and evolution of one of Canadas most interesting, and complicated, cities.

Shortly after completing university and starting work in 1975, a young George Webber borrowed a camera and took a stroll in downtown Calgary. From that point on, he discovered how his affection for the city could be transformed and harnessed through photography.

For 45 years now, George has documented the theatre of the street: people playing, arguing, flirting, celebrating, regretting, eating, praying, and hugging. Through his sensitive and masterful lens, he has thoughtfully preserved images of men and women, wrestlers, businessmen, cowboys, waitresses, truckers, street performers, priests, and night clerks.

Set against ephemeral backdrops of newspaper boxes, gas stations, trailer parks, billboards, hand-painted signs, abandoned streets, motels, bulletin boards, and pawn shops, George Webbers latest portfolio preserves much of Calgarys recent past and immediate present through a colourful kaleidoscope of intimate glimpses that will endure for decades to come.

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Borrowed Time is dedicated to my mom Del Webber - photo 1
Borrowed Time is dedicated to my mom Del Webber This year marks the - photo 2
Borrowed Timeis dedicated to my mom, Del Webber.This year marks the centenary of her birth on November 30, 1921.Many thanks to Glenbow and especially to Manager of Collections Daryl Betenia for the generous support and encouragement over many years.All of the photographs in this book reside in Glenbows collection.Special thanks to Publisher Don Gorman and Art Director Chyla Cardinal of RMB.This is the sixth book that we have done together.Every one of them has been a blessing.FOREWORDWhen my oldest son moved to the West Coast, I took him for a farewell coffee and banana cream pie at Calgarys Blackfoot Diner. He doesnt like banana cream pie no one does but thats not the point. I wanted him to remember a different Calgary, one far from the curtain-of-glass skylines and suburban sprawl. Not a hidden Calgary, not exactly, because it has always been there in front of us, if we look.George Webber has been looking, capturing and chronicling this Calgary for 45 years. Its a Calgary of faded storefronts and hotel rooms, of Legion halls and billiard balls, of shuttered storefronts in various stages of decay, of boarded-up bungalows awaiting the wrecking ball.This remarkable collection runs from the punk-hair mohawks of the 1970s to the pale goth roller-girls of later years, as the black-and-white images give way to splashes of colour just as surely as Stampede Wrestling gives way to the Calgary Stampede: garish cotton-candy pinks and Tilt-a-Whirl rides, the gaping mouth of a plastic clown, a happy receptacle for our garbage. A still-life study of a ketchup bottle and five-dollar bills becomes a Rothko arrangement of red and blue, set against the metallic grey of unpolished silverware. Whether its the darkening sky over a trailer park or the snow globe composition of a yellow taxi, luminous amid the storm, stabs of colour punctuate these photos. Pawnshops and bottle depots glow as though lit from within, suggesting a rich inner life, just as sunlight through the beer bottles on a tavern table creates accidental chandeliers.In the world of George Webber, light both reveals and conceals details; it can create halos and ethereal haze, but can just as often be stark, sharp, sudden. It softens features, but also throws into relief the lines in a face.Here are the bruised and the broken, the lost and the lonely: vignettes frozen in time, those in-between moments of weariness and doubt and quiet desperation. A priest sits lost in thought in front of a framed picture we cannot see; the glaring light has obliterated it or perhaps the frame was empty all along.The craggy face of an Old Testament prophet in a stained Santa beard stares out at us with misaligned eyes in front of a pair of dartboards, as though he himself were a human target.An elderly man stands at a washbasin alongside an array of corner-curling Sunshine Girls, clipped and plastered on the tiled walls, the glamour shots to a most unglamourous backdrop. Here is that gap, so often explored by Webber, between what is peddled and what is lived, with the airbrushed models juxtaposed against the grit of the here-and-now. All that Glitters is Gold proclaims the billboard above a scene that is neither glittering nor gold: a brick wall and a weathered fence with loose slats. But there is another elegy folded within that scene, for the billboard itself is now faded, an advertisement for Kodak film, long gone as well. A eulogy for an elegy.Webber has the uncanny ability to capture entire stories in a single frame: a girl in camouflage kisses a shirtless man who, in turn, keeps a careful grip on the wallet in his back pocket. Their faces are turned away from the camera, but that moment contains multitudes.In the visual clamour of the Ranchmans saloon, redolent of the sawdust and line dancers inside, an insidious glimpse of the Golden Arches pokes through, a reminder that the Ranchmans itself has been swallowed up by the developments along Macleod Trail. The Blackfoot Truck Stop where I said goodbye to my son appears as well, muted in the magic hour.The devil is in the details, but so are angels, fallen and otherwise. A handwritten lament, at once intimate and public, proclaims I Miss You Miranda. In the end, time is always borrowed, and this book is ultimately a lovers lament for a city that is shedding its past like slats in a fence. It is a message written in light across the years: I miss you.Will FergusonJuly 18, 2021Man With Cane 1976 Men on Bench 1976 - photo 3Man With Cane, 1976Men on Bench 1976 Watchtower - photo 4Men on Bench, 1976Watchtower woman 1976 Scuzz - photo 5Watchtower woman, 1976Scuzz and Alexis 1992 Two - photo 6
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