Ed Pien has gained recognition for his large-scale works that extend traditional notions about drawing. He achieves this by developing gallery installations that retain the intimacy of the drawing process. For Beyond Here, Pien presented a large installation approximately seventy-five feet in length and consisted of ink on layers of Chinese paper and Japanese silk tissue. The translucent quality of the paper allows the drawings that lie beneath the surface to read as shadows, which intermingle with the more legible images on the surface. The contrast in scale between the expanse of paper, the large drawings, the small drawings, and the vibrantly coloured tunnels creates a dynamic relationship between the viewer and the work. One can perceive the piece as one entity or as a series of individual drawings.
In his work, Pien explores the concepts of fear and vulnerability through referencing both historical and contemporary events as well as combining Eastern and Western mythologies. In Beyond Here his drawings depict strange, hydridized creatures that are engaged in an imaginary journey that reads from left to right across the gallery walls. While not a formal narrative, the figures suggest a dream-like transformation from a state of conflict to one of liberation and self-empowerment. Pien’s work is both seductive and unsettling. While the paper offers an impression of softness and warmth, it is extremely fragile. The figures project sensuality in the way they are rendered, but are ambiguous in their interpretation.MORE
Visual Stimulants presented three artists whose work had an intense visual impact and was seemingly abstract in appearance. Angela Leach, Ken Singer and Jeremy Stanbridge were part of a young generation of artists whose artwork directly or indirectly alluded to historical forms of abstraction – in this case modernist painting from the 1960s. Although the art from that period stressed the formal properties of colour and support, and avoided references to narrative or representation, the artists in Visual Stimulants in large part questioned the autonomy of abstract painting and return it to the realm of the everyday. Visual Stimulants presented the work of three artists: Angela Leach from Toronto, and Ken Singer and Jeremy Stanbridge from Vancouver and was curated by Keith Wallace.MORE
The work in Pathology was concerned with domestic technologies as well as urban planning, and how the two relate to a desire for health, pleasure and the prolongation of life. The exhibition consisted of various works that were connected by their minimal aesthetic, architectural references, and everyday use-value. The centrepiece consisted of a cluster of more than sixty clean-mist humidifiers and negative-air ionizers. Theoretically, these machines created a “charged” atmosphere that improved the way we feel. Their clean, almost abstract, design was suggestively architectural, and Liu’s arrangement of these machines mimicked an architecture model of urban design. Humidifiers and ionizers are promoted as preventing everything from parched sinuses to furniture damage, and as most users lack an understanding of the technological principles, these “machines for improved living” have a psychological function as much as they have a physical one. Also in the exhibition were loosely-hung samples of wallpaper which Liu had imprinted with Rorschach-like patterns derived from an overhead view of Levittown, an early post-war example of ideal suburban planning. Pathology was An Te Liu’s first solo exhibition.MORE
Documents and Lies was an exhibition organized and circulated by Optica in Montréal. The exhibition presented the work of artists living in the UK. Although not photographic, the works pointed towards a number of photographic notions about truth and reality. Their particular use of traces – reproduced, modified or simply invented – allowed for the transition from a universal history to another, more personal one. By generating doubt, these projects produced a displacement of what is commonly understood by “document.” The exhibition included drawing, painting, sculpture and an installation. Curated by artist André Martin, this exhibition provided an artist’s perspective.MORE
In this exhibition by Kelly Mark the fascination with the mundane was coupled with a desire to document and bring a sense of order to things. The work Broken Meter, for example, consisted of a grid of photographs documenting ideosyncratic notes left at broken parking meters. Placed presented photographs of objects, ranging from styrofoam cups to pieces of crumpled paper, that had been specifically “placed” or tucked into spots rather than simply being tossed away. Sniff was a video loop of the artist’s cat sniffing an array of objects placed in front of him. Origami Transfer was comprised of dozens of bus transfers that had been obsessively folded and shaped into miniature sculptures.MORE
Liz Magor is a Canadian artist who lives in Vancouver. She began exhibiting her work in 1973 and has been included in numerous prestigious international exhibitions such as the Venice Biennial, Sydney Biennial, Documenta VIII in Kassel, and inSITE in San Diego/Tijuana. While she is widely known across Canada and beyond, this was Magor’s first solo exhibition in a public gallery in Vancouver in a decade.
Magor is primarily recognized for her sculptural work – although she has developed significant projects in other mediums such as photography – which is expressed in various forms ranging from full-scale installations to individual pieces. Stores presented her most recent sculptural work and incorporated non-traditional materials such as silicone rubber and pigmented plaster and resin. With these materials, she made casts of objects with startlingly realistic results. However, while the large pile of rocks placed on the floor is convincingly real, the discovery of actual junk food stashed within its hollow cavity renders the mantle of reality questionable, bringing forward a focus on the work’s materiality.
Magor’s sculptures at first resemble literal, easily accessible representations, but the play between what is real and what is an illusion, and the curious combination of food with other unrelated objects, complicate their apparent simplicity. The minimal yet evocative presentation suggests narratives and the activity of unknown personae obsessed with squirreling things away as insurance against anticipated disasters or shortages. It also implies larger social/psychological issues about the relationship between the desire for security in the face of unidentifiable fears, and the fundamental question of what people store away and why.
Eleanor Bond is recognized internationally for her large-scale oil paintings of urban landscapes in which a labyrinth of forms include both the actual and the imaginary. Although Bond’s paintings do not represent a specific built environment, their starting point is a specific urban place, space and landscape. This exhibition presented 2 works produced from research undertaken in Vancouver during February of 1999. Bond spent ten days walking and driving throughout Vancouver and its environs making photographic and video documentation which influenced the painting of Glass City and Tent City. - Curator, Petra Watson.MORE
Wine & cheese boards — engaging critical & theoretical discussions about contemporary art in Vancouver — where do I sign up?!
Night School is a new intensive program for anyone interested in broadening their understanding of contemporary art. Facilitated by independent curator Lee Plested, participants engage in seminars, studio visits and special events in order to unpack the concepts and thematics of contemporary practice via the history of CAG exhibitions.
Lee Plested is an engaging and charming lecturer who encourages group discussion from those in attendance. At last Thursday night’s seminar Plested introduced works by Stan Douglas, Rebecca Belmore, Nan Goldin and Stephen Waddell. He clearly articulates the social, political and historical themes particular to each artist. He then initiates critical discourse forming relationships between each. The round table format is very inviting and allows for insightful critical dialogue.
In addition to studio visits and talks, Night School participants will attend exhibition openings and other arts and culture events across the city! This is an amazing initiative that introduces its students to the multiple ways in which conversations regarding the philosophical, aesthetic, socio-political and creation processes of contemporary art can be articulated and received. The CAG is currently planning a second session of Night School in early 2015. This is something you won’t want to miss so stay tuned for more information regarding registration and programming!
- Lindsay LachanceMORE
Last Saturday was Vancouver Draw Down. The event took place in multiple locations all over town and it was great day. I hope you had a chance to get out and participate in some of the stations set up around the city. I managed to take in 6 of the 18 locations and one of my stops was naturally the Contemporary Art Gallery.
Artist and Educator, Landon Mackenzie, transformed the gallery’s street front, foyer & hallways into a “Map Room.” Based on her work, Landon invited everyone to explore the “many potentials of drawing and mapping as an act and state of being.”
The place was packed when I arrived. Every table was covered with works in progress as visitors created collages from pieces of topographical print-outs.
When visitors were done they were invited to sketch the Monahan pieces in the BC Binning Gallery, examining form and mark making.
This was the 3rd year for Vancouver Draw Down and I can’t wait for the next. The event celebrated drawing and invited everyone to participate by simply making a mark. As the Vancouver Draw Down site says “If you can write your name, you can draw!”
I saw another great quote posted by Opus Art Supplies encouraging people to dispell their preconceptions: “If you hear a voice within you say – you cannot paint, then by all means paint and that voice will be silenced.” – van Gogh‘
The same goes with drawing!
Kay Slater (@kdot) is a volunteer at the Contemporary Art Gallery. Come visit her on shift every Sunday from Noon-3PM.MORE
This book was published on the occasion of the exhibition Visual Stimulants that presented the work of three artists Angela Leach, Ken Singer and Jeremy Stanbridge at the Contemporary Art Gallery from September 9 to October 21, 2000. This publication contains a text by curator Keith Wallace.MORE
This book was published in conjunction with the exhibitions Stores presented at the Contemporary Art Gallery from February 26th to April 8th, 2000, and Deep Woods, presented at the Art Gallery of York University from May 28th to September 24th, 2000. This publication contains texts by Nancy Tousley, Lucy Hogg and Reid Shier. Out of print.MORE
This book was published on the occasion of the exhibitions NEUTRAL/BRAKES/STEERING at the Agnes Etherington Art Center from November 12 to December 24, 1998, and 22 oz. THUNDERBOLT at the Contemporary Art Gallery from March 27 to May 8, 1999. The publication contains an essay by Jim Drobnick and Jennifer Fisher.MORE
This book was published on the occasion of the exhibition French Kiss from December 13, 1997 to January 31, 1998. The following artists are included in the exhibition and publication: Ghada Amer, Jean-Sylvain Bieth, Bernard Lallemand, Dany Leriche and Patrick Raynaud.MORE
This book is published on the occasion of the exhibition Wanda Koop: See Everything/See Nothing from February 14 to March 21, 1998 by the Contemporary Art Gallery Vancouver and contains an essay by Robin Laurence.MORE
This book was published on the occasion of the exhibition A Bed to the Bones by Teresa Marshall at the Contemporary Art Gallery from May 16 to June 27, 1998. The publication contains a foreword by Keith Wallace and an essay by W. Jackson Rushing.MORE
This booklet was published on the occasion of the exhibition Susan Schuppli: Slow Pressure held at the Contemporary Art Gallery, Vancouver from September 6th to October 18, 1997. The publication contains a foreword by director and curator Keith Wallace and an essay by Susan Best.MORE
This book was published on the occasion of the exhibition Modus Operandi by Ginette Legaré and Louise Nogushi from July 6th to August 20th, 1996 at the Contemporary Art Gallery, Vancouver, and from November 5th to December 30th, 1996 at the Canadian Embassy Gallery in Tokyo. The publication contains a foreword by Geraldine Parent, an introduction by Keith Wallace and an essay by Michèle Thériault.MORE
This book is published on the occasion of the exhibition Landon Mackenzie : Saskatchewan Paintings from December 16, 1995 to February 3, 1996 by the Contemporary Art Gallery, Vancouver and contains an essay by Charlotte Townsend-Gault.MORE
This out of print booklet was published on the occasion of the exhibition Portrait Wall & Other Works at the Contemporary Art Gallery, Vancouver from March 18th to April 29th, 1995 and contains an essay by Keith Wallace.MORE
This catalogue was published on the occasion of the exhibition TRESPASS 1 by Sunil Gupta from March 5 to April 9, 1994 by the Contemporary Art Gallery. Included is an introduction by curator Keith Wallace, and essays by David A. Bailey, Eugenio Valdés Figueroa, and Hilda Maria Rodríguez. One essay is published in both English and Spanish.MORE
This out of print publication was published on the occasion of the exhibition ROY ARDEN from April 17 to May 22 by the Contemporary Art Gallery and contains the essay An Artist and his Models by Jeff Wall.
Out of stock, this publication is available to be viewed on request at the CAG Abraham Rogatnick Library. For a pdf of the essay by Jeff Wall please email firstname.lastname@example.org.MORE
This catalogue was published on the occasion of the exhibition Lorna Brown: Once Removed held at the Contemporary Art Gallery, Vancouver from December 5th, 1992 to January 16th, 1993. The publication contains a text contribution by Monika Kin Gagnon.
Out of stock. Please email email@example.com if you would like to view this publication in the CAG library or for a pdf of the essay by Monika Kin Gagnon.MORE
This book was published on the occasion of the exhibition Alan Dunning/Elision held at the Contemporary Art Gallery, Vancouver from September 12th to October 17th, 1992. The publication contains essays by Helga Pakasaar and Nancy Tousley.MORE
This catalogue was published for the exhibition HANDS: A Catalogue of Forty Years of Photography which showcased Gerry Gilbert's extensive archive of photography. The exhibition was curated by Bill Jeffries and was shown at the Contemporary Art Gallery from March 8 to April 6, 1991. Included is an essay by Vancouver island author Peter Culley and poems by Gerry Gilbert.MORE
This book was published on the occasion of an exhibition by Carol Wainio at the Contemporary Art Gallery, Vancouver, from April 12th to May 4th, 1991. The publication contains an introduction by Bill Jeffries as well as a text contribution by Serge Bérard, written in English and French.MORE
This booklet was published on the occasion of Georgiana Chappell's solo installation at the Contemporary Art Gallery from March 24 to April 21, 1990, titled Navigating. It contains an essay by curator and writer Avis Lang as well as an interview between the two about the exhibition.MORE
This catalogue was published on the occasion of the exhibition Arbora Versa by artists Sylvie Bouchard, Lorraine Gilbert, Rodney Graham, Jerry Pethick and Rhoda Rosenfeld held at the Contemporary Art Gallery, Vancouver from January 10th to February 10th, 1990. The publication contains introductions to each of the five artists by curator Bill Jeffries.MORE
This catalogue was published on the occasion of the exhibition Perils of Leisure by Don Gill and Tourism I & II by Terry Atkinson held at the Contemporary Art Gallery, Vancouver from February 16th to March 17th, 1990. The publication contains text contributions by curator Bill Jeffries, David Bate and Terry Atkinson.MORE
This catalogue was published on the occasion of an exhibition of paintings and drawings by David MacWilliam held at the Contemporary Art Gallery, Vancouver, from October 1st to 24th, 1987. The publication contains an essay by curator Christine Elving.MORE
This catalogue was published on the occasion of the exhibition Sacred Grounds, Skin And Bones by artists Judith M. Atkinson and Dianne Radmore held at the Contemporary Art Gallery, Vancouver from March 3rd to the 28th, 1987. The publication contains an introduction by Assistant Director and Curator Alice Rich and statements by each of the artists.MORE
This catalogue was published on the occasion of the exhibition Trigger by Katherine Knight, Sandra Meigs and Colette Urban held at the Contemporary Art Gallery, Vancouver, from June 2nd to 27th, 1987. The publication contains an essay by curator Allyson Clay.MORE
This catalouge was published on the occasion of the exhibition It's Not Over 'Til The Fat Lady Sings. by Jessica Stockholder at the Contemporary Art Gallery, Vancouver from September 1st to the 26th, 1987. The publication contains an essay my Mark Holmes.MORE
This catalogue was published on the occasion of the exhibition Judy Davis: BEING PLACED held at the Contemporary Art Gallery, Vancouver from September 2nd to September 27th, 1986. The publication contains an essay by curator Christine Elving.MORE
This catalogue was published on the occasion of an exhibition by Robert Linsley held at the Contemporary Art Gallery, Vancouver, from April 1st to 26th, 1986. The publication contains essays by Christine Elving and Mark Harris.MORE
This book was published on the occasion of the exhibition by artist Randy Anderson at the Contemporary Art Gallery from October 28 to November 22, 1986. The publication contains an introduction by curator Christine Elving and an essay by Arni Runar Haraldsson.MORE
This catalogue was published on the occasion of the exhibition VoiceOver by Kati Campbell, Sara Diamond, Amy Jones and Ingrid Koenig at the Convertible Showroom and Contemporary Art Gallery, Vancouver, from September 3rd to 28th, 1985. The publication contains text contributions by guest curator Helga Pakasaar and Merike Talve.MORE