Sorel Cohen

Sorel Cohen studied at McGill University and Concordia University. The recorded working language is French. The field of work recorded is photography. Work by Sorel Cohen is recorded in the collections of National Gallery of Canada, Musée national des beaux-arts du Québec, Cinémathèque québécoise, Musée d'art de Joliette and Vancouver Art Gallery.

• Born — 1936 • Birthplace — Montreal, Quebec, Canada • Education — Concordia University • Movement — conceptual art, feminist art • Awards — Duke and Duchess of York Prize in Photography, 1988 • Website — https: sorel-cohen.squarespace.com/

Sorel Cohen was born in 1936, in Montreal, Quebec, to parents of Ukrainian and Polish descent. Cohen pursued post-secondary education in Montreal, earning a Bachelor of Fine Arts from Concordia University in 1974, as well as a Masters of Fine Arts in 1979. Her Masters thesis examined feminist influences on art in the 1970s, and her work has continued to be shaped by her feminist values. Her fonds is held by the National Gallery of Canada.

Sorel Cohen has worked extensively with portraiture, both behind and in front of the camera. The majority of her work has a focus on both autobiographical works as well as feminist works. In the 1970s, Cohen began experimenting by combining photography with performance art, which was a relatively new idea at the time and soon became known for this. Cohen often combines the use of this performance art with a slow shutter speed, creating a blurred aesthetic. By displaying these photographs in a series, the viewer feels a sense of time passing through them. Cohen draws inspiration from all forms of art, from painting to sculpture, to performance in her photographic work. Although Cohen's work comes from personal experience, she gives her photographs a quality that allows for interpretation, giving them an almost universal meaning. Cohen has produced an extensive collection of work that comes from a perspective of psychoanalysis.

Cohen’s feminist stance in her art was triggered by an interview between Lucy Lippard and Judy Chicago which she read in Artforum. She explains in her master’s thesis: "I realized then, that if I was going to be making artworks for the rest of my life it had better have something to do with me as a person, and in particular, as a woman." Cohen used photography to combat stereotypes of women, as well as subvert society's beliefs around a what a woman's role is. By placing herself both behind and in front of the camera, Cohen presents a commentary on the representation of women in these roles.

A published book featuring her work Divans maudits (with a text by Gérard Wacjman) shows how Cohen was strongly influenced by psychoanalytical perspectives. Some her most well-known work features primarily empty beds and couches. The photographs carry another strong theme that is found in many of Cohen’s works as well, the theme/idea of absence. By photographing these empty couches and beds, objects that are primarily only seen as important when they are full of people or things, Cohen aims to capture what is missing.

This series of muslin sculptures echoes the grid as an emblem of modernism. The handcrafted quality of the fabric sculptures however recalls traditional women's work and defies the modernist and masculine pursuit of uniformity and repetition. From the sculptures in The Grid series, the artist also creates contact prints on canvas using techniques such as cyanotype and Van Dyke brown. When sewn together, these prints replicate the sculptural works in a 1:1 scale, resembling a "shadow". This series thus marks a transition between the artist's sculptural and photographic practice.

In 1977, Cohen begins a series of works (color photographs, video, cyanotypes) based on the action of making a bed. Among these, the series of photographs Le rite matinal shows the artist performing this action repeatedly in front of the camera with an impression of movement obtained by a slow shutter speed and a long exposure time. By performing this banal action in front of the camera, the artist links women's domestic work with their artistic work, often neglected in art history.

The series The Shape of a Gesture (originally titled Domestic Activity as Painterly Gesture) shows the artist in action as she cleans a window with a colored cloth. This work refers to abstract expressionist painting by substituting the flat surface of the painting with that of the window and subverting the painterly gesture through a domestic activity traditionally reserved for women.

In After Bacon / Muybridge, Cohen looks at the work of painter Francis Bacon (artist) and uses photographic methods, such as long exposure and slow shutter speed to achieve a blurred effect. In this collection, Cohen also references the work of Eadweard Muybridge, who pioneered the study of motion in photography. Cohen appropriates these works from major male figures in art history from a feminist perspective in a way that is reminiscent of the conceptual work of Sherrie Levine around the same time.

With the series An Extended and Continuous Metaphor, Cohen abandons the sequential or grid form in favor of hierarchically organized polyptychs, some reminiscent of Flemish altarpieces. The photographs show the artist simultaneously performing the roles of artist, model, and viewer through multiple exposures in an all-black space. This non-space refers to an idealized conception of the artist's studio: to that effect, the title of the series alludes to the painting The Painter's Studio: A real allegory summing up seven years of my artistic and moral life by Gustave Courbet (1855).

This collection features a series of nine photographs exploring themes of absence and the relationship between psychoanalyst and patient, through depictions of psychoanalyst offices.

This collection features photographs of empty psychoanalyst consultation rooms of in Quebec. The focus of these photographs are the empty couches (or divans), allowing Cohen to present the idea of absence as something that is wholly present in the scene. Like Wounds of Experience this series is characterized by the inclusion of text, with words inscribed below each of the photographs referring to different symptoms as described by psychoanalysts.

Presented as a sequel to Divans Dolorosa, this collection features photographs of handkerchiefs with psychoanalytical descriptions attached to them.

Sorel Cohen has had her work exhibited both nationally and internationally over the past three decades. Her work has been featured in both solo and group exhibitions.

• Year — Gallery — City • 1977 — Galerie Mira Godard — Montreal, Quebec • 1979 — Nova Gallery — Vancouver, British Columbia • 1980 — Eye Level Gallery — Halifax, Nova Scotia • Mercer Union — Toronto, Ontario • 1981 — Agnes Etherington Art Centre, Queen's University — Kingston, Ontario • 1983 — Galerie Optica — Montreal, Quebec • S.L. Simpson Gallery — Toronto, Ontario • 1984 — Southern Alberta Art Gallery — Lethbridge, Alberta • 1986 — Musée d'art contemporain de Montréal — Montreal, Quebec • 1987 — Presentation House Gallery — North Vancouver, British Columbia • 1988 — Toronto Photographer's Workshop — Toronto, Ontario • 1989 — Wynick/Tuck Gallery — Toronto, Ontario • 1990 — Dazibao — Montreal, Quebec • 1991 — Wynick/Tuck Gallery — Toronto, Ontario • 1992 — Galerie Samuel Lallouz — Montreal, Quebec • 1993 — Wynick/Tuck Gallery — Toronto, Ontario • Galerie Vu — Quebec, Quebec • 1996 — Galerie Samuel Lallouz — Montreal, Quebec • 1997 — Wynick/Tuck Gallery — Toronto, Ontario • 1999 — La Tranchefile — Montreal, Quebec • 2000 — The Koffler Gallery — Toronto, Ontario • 2004 — Dazibao — Montreal, Quebec • 2008, 2010 — Galerie Donald Browne — Montreal, Quebec • 2021 — VOX, centre de l'image contemporaine — Montréal, Québec

• Year — Gallery — City/Country • 1981 — 49th Parallel — New York, New York, US • 1983 — Institute for Art and Urban Resources, MoMA PS1 — New York, New York, US • 1984 — Services culturels du Quebec — Paris, France • 1985 — Northlight Gallery, Arizona State University — Tempe, Arizona, US • 1994 — Les Ateliers Nadar — Marseilles, France • 2003 — Centre culturel canadien — Paris, France

• Year — Exhibition — Gallery — City • 1973 — Les moins de 35 ans — Saidye Bronfman Centre / Galerie de la SAPQ / Casa Loma / Galerie Espace / Média-Gravures / Musée du Québec / Pavillon Pierre-Boucher, UQTR — Montréal / Quebec / Trois-Rivières, Quebec • 1975 — ARTFEMME'75 — Saidye Bronfman Centre / Musée d'art contemporain de Montréal / Powerhouse — Montreal, Quebec • 1982 — Art et féminisme — Musée d’art contemporain de Montréal — Montreal, Quebec • 1983 — Photographie actuelle au Québec — Saidye Bronfman Centre — Montreal, Quebec • 1984 — L'Art pensé, Congrés international d'esthétique — Université de Montréal — Montreal, Quebec • Edge and Image — Concordia University Art Gallery — Montreal, Quebec • Production and Axis of Sexuality — Walter Phillips Gallery — Banff, Alberta • Reflections — National Gallery of Canada — Ottawa, Ontario • 1986 — Songs of Experience — National Gallery of Canada — Ottawa, Ontario • 1989 — Taking Pictures — Presentation House Gallery — North Vancouver, British Columbia • Le geste oublié — Musée d'art contemporain de Montréal — Montreal, Quebec • Incorporation — Galerie d'art Lavalin — Montreal, Quebec • 1989-1990 — The Zone of Conventional Practice and Other Real Stories — Galerie Optica — Montreal, Quebec (travelling) • 1991 — Un archipel de désir: les artistes du Québec et la scene internationale — Musée du Québec — Quebec, Quebec • Practicing Beauty — Art Gallery of Hamilton — Hamilton, Ontario • 1992 — Exposition rétrospective — Galerie Optica — Montreal, Quebec • 1993 — The Historic Female — Galerie 111 — Montreal, Quebec • Empowering the World — Carleton University Art Gallery — Ottawa, Ontario • 1994 — Quotation — Winnipeg Art Gallery — Winnipeg, Manitoba • Contemporary Canadian Works — The Art Gallery of North York — Toronto, Ontario • 1996 — Found Missing: Archival Photographs and the New Historicity — Gallery 44 — Toronto, Ontario • 1997 — Here's Looking at Me Kid — Art Gallery of North York — Toronto, Ontario • 1998 — The Word in Art — Art Gallery of North York — Toronto, Ontario • 2012 — Art Histories — VOX, centre de l'image contemporaine — Montreal, Quebec • 2016-2017 — Elles Photographes — Montreal Museum of Fine Arts — Montreal, Quebec • 2017 — Photography in Canada: 1960–2000 — National Gallery of Canada — Ottawa, Ontario

• Year — Exhibition — Gallery — City/Country • 1983 — New Images: Contemporary Quebec Photography — 49th Parallel Gallery — New York, New York, US • 1985 — Visual Facts: Photography and Video by Nine Canadian Artists — Third Eye Centre — Glasgow, Scotland (travelling) • 1986 — 50 Years of Modern Colour Photography, 1936-1986 — Photokina — Cologne, Germany • Doppleganger/Cover — Aorta Gallery — Amsterdam, Holland • 1987 — Figures — The Cambridge Darkroom — England (travelling) • 1989 — Montréal '89 — CREDAC — Ivry-sur-Seine, France • 1990 — Odalesque — Jayne Baum Gallery — New York, New York, US • 1991 — The Photographic Image: Photo-Based Works — 49th Parallel Gallery — New York, New York, US • 1997 — a little object — Centre for Freudian Analysis and Research — London, England • Virtue and Vice: Derivations of Allegory in Contemporary Photography — International Photography Research; Site Gallery — Amsterdam, the Netherlands; Sheffield, England (travelling) • 2008 — Wild Signals — Württembergischer Kunstverein Stuttgart — Stuttgart, Germany

Sorel Cohen is recorded with the occupation photographer. Recorded as photographer and printmaker.

Sorel Cohen has been a member of various arts councils throughout her career. Most notably the Canada Council for the Arts, from 1990-1997. Cohen was also Ministère des Affaires culturelles du Québec in 1992. From 1979-1989 Cohen was a member of the Board of Directors for the Galerie Optica in Montreal. Cohen has been a guest lecturer at various Canadian Universities.