No Money Down Toronto 1980 1986

"No Money Down - Toronto (1980-1986)", by Avard Woolaver, documents the city of Toronto, Canada, in the 1980s. It is a follow-up to his first book "Toronto Flashback (1980-1986)". Woolaver grew up in rural Nova Scotia and moved to Toronto in 1980 to study photography. He did a lot of street photography in those years, capturing street scenes with fresh eyes. From the introduction: "Looking back now at the photos some thirty years later, so much comes back to me about being dropped into a new environment. We use our creative tools as extensions of ourselves; they help us understand and define our place in the world. For me, having a camera in my hand at all times helped me remember: You only get to do this once. We have to take the time to see it as clearly as we can."Derek Flack writes in blogTO, "Woolaver's work is so fascinating--a record of Toronto with a soul."

"No Money Down - Toronto (1980-1986)", by Avard Woolaver, documents the city of Toronto, Canada, in the 1980s. It is a follow-up to his first book "Toronto Flashback (1980-1986)". Woolaver grew up in rural Nova Scotia and moved to Toronto in 1980 to study photography. He did a lot of street photography in those years, capturing street scenes with fresh eyes. Derek Flack writes in blogTO, "Woolaver's work is so fascinating--a record of Toronto with a soul."

"Toronto Flashback" (1980-1986), by Avard Woolaver, documents the city of Toronto, Canada, in the 1980s. Woolaver grew up in rural Nova Scotia and moved to Toronto in 1980 to study photography. He did a lot of street photography in those years, capturing street scenes with fresh eyes. Michael Amo writes in the introduction, "When Avard arrived in Toronto in 1980, he brought that watchfulness with him, that deep-seated empathy for humans going about their solitary business, a simultaneous loneliness and delight in our ceaseless effort to remake the world in our own image."

Toronto Hi-Fi is Avard Woolaver's fifth Toronto book, capturing street scenes in the 1980s. Woolaver moved to Toronto from rural Nova Scotia in 1980 to study photography, and he viewed the urban scenes from his raised-in-the-country perspective. The photos in this book share themes tied to the music he was listening to as he documented the city streets.

Documentary and street photographs taken in Toronto, spanning the years 1980 -1995. "Toronto Days" is a follow up to Woolaver's first two books:"No Money Down - Toronto (1980-1986)" and "Toronto Flashback (1980-1986)". Woolaver grew up in rural Nova Scotia and moved to Toronto in 1980 to study photography at Ryerson. He did a lot of street photography in those years, capturing street scenes with fresh eyes. Derek Flack writes in blogTO, "Woolaver's work is so fascinating--a record of Toronto with a soul." From the introduction: "I spent several years in the '80s and '90s doing street photography in Toronto. The negatives lay dormant until 2016, when my journey of rediscovery began."

Toronto In Colour: the 1980s features street scenes from the 1980s when I was new to the city, and saw it with fresh eyes. I had no way to anticipate how significant these Toronto photos would seem to me 30 years later. They show things that no longer exist, even though it hasn't been that long. Without necessarily trying to, I caught images of buildings, cars, fashions, gadgets that are no longer part of our world. Toronto's entire skyline is utterly changed, part of the inevitable growth and evolution.

Mary, a Korean girl growing up with her brother above her parents' convenience store in 1980s Toronto, is caught between the traditional culture of her parents and her desire to be a Canadian.

Suburb, Slum, Urban Village examines the relationship between image and reality for one city neighbourhood – Toronto’s Parkdale. Carolyn Whitzman tracks Parkdale’s story across three eras: its early decades as a politically independent suburb of the industrial city; its half-century of ostensible decline toward becoming a slum; and its post-industrial period of transformation into a revitalized urban village. This book also shows how Parkdale’s image influenced planning policy for the neighbourhood. Whitzman demonstrates that image and reality have not always correlated for Parkdale. Parkdale’s changing image stood in stark contrast to its real social conditions. Nevertheless, this image became a self-fulfilling prophecy, as it contributed to increasingly discriminatory planning practices for Parkdale in the late twentieth century.