Please join us to celebrate the launch of our new book shop at the CAG with a special talk and book signing with Jürgen Partenheimer
Saturday April 5, 1.30–2.30pm.
Audain Distinguished Artist-in-Residence
Emily Carr University of Art + Design
February to May, 2014
In partnership with ECUAD, German artist Jürgen Partenheimer will be living and working in Vancouver for three months, work produced during this residency forming part of his forthcoming solo exhibition at the CAG in September 2014. There will be a series of associated events as part of the residency. Please visit our website for further details.
An accompanying book DAS ARCHIV/THE ARCHIVE published by Distanz Verlag, Germany in partnership with CAG, Pinakothek der Moderne, Munich; Gemeente Museum Den Haag and Deichtorhellen Hamburg Sammlung Falckenberg is available from the CAG Bookshop and online at the special price $50.MORE
Words and phrases in the English language can function in many different ways. Certain words have multiple meanings depending on their context, while the context of a certain phrase can completely change how we understand it. Many contemporary artists have turned to the use of language and text in their practice for this reason; they allow the evocation of multivalent messages.
Currently, Stefan Brüggemann’s Headlines and Last Lines in the Movies covers the façade of the CAG. This piece, which has become a popular conversation topic around the city, takes found phrases and places them in a very different context than their origins. Looking at these Hollywood movie quotes and recent news headlines next to each other causes one to think about them in a completely new way. Their large size and bold colours impose them onto the viewer and into the built environment of the city, rather than their traditional positions as mere utterances or words on paper.
A short look back through the CAG archives brought me to another fascinating textual installation. There have been many over the years, including those by Meriç Algün Ringborg, Tim Etchells and Raymond Boisjoly among others. A particular piece by Nathan Coley, however, struck me.
As part of his wide-ranging practice, the Glasgow artist takes found phrases, enlarges, illuminates and erects them on scaffolding in specific locations. When I encountered his piece There Will Be No Miracles Here (2006) earlier this year in Edinburgh, Scotland, I was taken aback. Placed outside the Scottish National Gallery of Modern Art, which holds many things that I personally consider “miraculous,” I was both offended and intrigued by this statement. At the time I was not familiar with his work, as I assume is the case with many people who stumble upon his pieces that are placed in public space.
Part of his CAG exhibition in 2012, Coley’s installation in the Downtown East Side of Vancouver featured the phrase We Must Cultivate Our Garden (2006), perched atop the roof of the Pennsylvania Hotel. This line, taken from Voltaire’s Candide, took on a new role in this context. The built environment used by Coley was altered by the introduction of this sculpture into the architecture of the neighbourhood. Similarly, the meaning of the phrase itself changed; many are aware of the ongoing and various issues in the Downtown East Side community, and this sculpture addressed the need to fix these in an almost forceful manner.
Nathan Coley’s outstanding monograph spanning the last 10 years, A Place Beyond Belief, can be purchased in the CAG book shop. Make sure you visit Bruggemann’s installation before it comes down on September 7th, and check out his publication in our book shop as well. Our summer book sale is happening now in the CAG book shop and online; use the coupon code CAGSUMMER on check out for a special discount of 40%!
- Kelli SturkenboomMORE
Kicking off our new series of blog posts featuring CAG staff, board members, interns and volunteers writing book recommendations selecting from the CAG’s thirty year history of publishing, Jaclyn Bruneau, CAG Visitor Assistant, picks one of her favourite CAG publications from back in the late 1990′s: French Kiss.
Ghada Amer, Jean-Sylvain Bieth, Bernard Lallemand, Dany Leriche & Patrick Reynaud
Exhibition: December 13, 1997 – January 31, 1998
This exhibition presented works by five French artists around nuanced notions of sex and sexuality. Far from the tedium of ready-made erotica, these works extend into realms of psychological complexity, esotericism and France’s rich philosophical history of desire. French Kiss is soft to the touch, the colours saturated, and the images immense.
French Kiss can be purchased in the CAG book shop or online, with the special Summer discount of 40%, use the coupon code CAGSUMMER on check out. Purchase here.
Continuing our new series of blog posts featuring CAG staff, board members, interns and volunteers writing book recommendations selecting from the CAG’s thirty year history of publishing, Kelli Sturkenboom, CAG Communications intern, picks her two most favourite CAG publications:
Exhibition: Nov 21, 2008 to Jan 18, 2009
$25, sale price $15 + tax
This compact CAG publication gives a look into Shannon Oksanen’s work. CAG Curator, Jenifer Papararo writes a charming and engaging essay for Summerland. Although part of the exhibition was a film installation, the way this book is laid out gives the reader a very clear idea of how the exhibition looked, and would have been experienced. The overall theme of nostalgia coupled with the colour palette of Oksanen’s paintings and video work makes this a joy to flip through.
An Invitation to An Infiltration
Contemporary Art Gallery
Exhibition dates: January 21 – February 28, 2010
$30, sale price $18 + tax
This publication is an interesting, behind-the-scenes look at the issues and controversies underlying the exhibition process by including content like e-mails between curators, artists, and donors. The exhibition was part of the Cultural Olympiad Vancouver 2010 and co-presented by VANOC, which had huge implications for its meaning and makes this book a must-read to find out more. I also love how the cover and half-title pages were cut from the wallpaper and posters that were actually displayed in the exhibition; purchasing the publication is like purchasing a piece from the show.
Both titles can be purchased in the CAG book shop or online, with the special summer discount of 40%, use the coupon code CAGSUMMER on check out. Summerland: Purchase here. An Invitation to An Infiltration: Purchase here.
CAG Curator Jenifer Papararo joins our series of CAG book recommendations with a short review of the popular 2004 publication SUPERNATURAL.
When I began working at the CAG in late 2004 this exhibition catalogue was well under production, in its final stages of proofing and colour correction. Unfortunately, I missed the exhibition SUPERNATURAL curated by Roy Arden, but feel the catalogue captures the radical and reflective drive behind pairing the wall and collage work of abstract painter Neil Campbell next to the masks of master carver Beau Dick.
The slim hardcover book which respectively features an image of each artist’s work on the front and back covers, immediately sets a formal opposition between the two artists practices: Campbell’s as a cool white and Dick’s bathed in dramatic black. The numerous installation shots throughout the publication establishes this divide, showing Campbell’s work presented in the typical starkness of a white cube while Dick’s work is suspended in darkness.
The aligning of these two artists is mysterious, but also seems to make perfect sense. Arden states, “Supernatural aims … to entertain the similarities of intention, means, and effect in their work without losing sight of their significant differences.”
SUPERNATURAL can be purchased, with a special discount of 40% during August, either online (click on the titles above – on check out use the coupon code CAGSUMMER) or in person at the CAG bookshop.MORE
Continuing our Summer series of book recommendations from CAG staff, volunteers, interns and board members, CAG Director Nigel Prince highlights three publications from the CAG’s thirty year publishing history:
Some Detached Houses
Robin Collyer, Todd A Davis, Dan Graham, Amy Jones, Bill Jones, Robert Linsley, Warren Murfitt, Margaret Naylor, Ed Ruscha, Nancy Shaw, Greg Snider
Contemporary Art Gallery
March 29 – April 1989
This was a crucial exhibition and publication linking West and East Coast conceptual practices, including a number of key artists. The photograph on the cover is an aerial view of the Eastside of Vancouver circa 1960. Included in the exhibition were Dan Graham’s New Balloon Houses, Surrey made in the then suburb of Vancouver. It was one of the first CAG publications I purchased on my initial visit to Vancouver in 2000.
Contemporary Art Gallery
November 14, 2003 – January 4, 2004
Terada often uses the things normally thought of as ancillary to art itself as raw material for exhibitions, for example, by employing promotional and didactic material as the objects for display. Catalogue took the form of an exhibition publication but highlighted the patronage of those who collaborated with the artist in support of the show by their logos becoming the actual artwork on display on the gallery walls. The book itself becomes the exhibition representing everything that it encompasses.
For Example: Dix-Huit Leçons sur la Société Industrielle
Contemporary Art Gallery
January 14 – March 6, 2005
A key exhibition for the Contemporary Art Gallery and the artist, Christopher Williams’ work grows out of the history of conceptual art of the 1960s and 1970s, which used language and photography to address issues related to painting and sculpture. The publication, beautifully designed and conceptually rigorous with the exhibition, was curated by Claudia Beck, an individual who along with husband Andrew Gruft has made a significant contribution to Vancouver’s artistic scene.
All three of these publications can be purchased, with a special discount of 40% during August, either online (click on the titles above – on check out use the coupon code CAGSUMMER) or in person at the CAG bookshop.MORE
Looking back on past CAG exhibitions, a particular performative piece caught my eye; one that seemed to involve a simple, wooden chair. Max Dean’s 2008 exhibition Robotic Chair took a familiar household object and transformed it into a shocking and thought-provoking piece. With the help of robotic technology, the chair would move, fall apart—and then pull itself back together.
It is exciting how technological developments have allowed artists to create pieces that express ideas in completely new ways. The great thing about this exhibition, for me, was the fact that the meaning behind this piece was left for the spectator to contemplate. A common theme drawn from it was the idea of hope and picking oneself up after a tragedy. However, as the curator suggested, it also pointed to our human attraction to failure.
I couldn’t help but draw a similarity between this exhibition and Kelly Richardson’s current exhibition at the CAG, Legion. Through the use of technology, Richardson is able to create extraordinary moving images that transform real, photographed landscapes into completely different worlds; Orion Tide (2013) and Leviathan (2011). These images are presented in a way that invites visitors to sit down and become immersed in the landscapes, drawing their own meaning from their personal experience with them.
I have led several friends through this exhibition and all have had completely different responses; some seeing the projections as beautiful and enchanting, and others experiencing an uncomfortable and suspenseful sensation.
Stop by the CAG to encounter Kelly Richardson’s Legion for yourself, and tweet us @CAGVancouver with your thoughts! Also—snag a copy of her publication The Last Frontier, for sale in our bookshop for a special exhibition price of $40.
- Kelly Sturkenboom, Communications internMORE
A few months ago, the Governor General’s Awards in Visual and Media Arts were announced, and several of the eight winners had previously exhibited at the CAG. Jayce Salloum, one of the recipients, is a successful Canadian-born media artist who has lived and worked in a variety of locations in Canada, the US, and elsewhere. Continuing to move around and experience new spaces and environments, his “nomadic practice” significantly informs his work, which raises questions of identity and historical, social, and cultural contexts of place.
I came across untitled in our library archives. This book was co-published by the CAG and the Agnes Etherington Art Centre on the occasion of the exhibitions NEUTRAL/BRAKE/STEERING at the latter institution from November 12 to December 24, 1998 and 22 OZ. THUNDERBOLT which was presented here from March 27 to May 8, 1999. These photo-installations by Salloum consisted of an archive of street photography featuring images of storefront displays in what the curators called the “overlooked corners” of the urban environment. The installations drew their names from phrases on various items and signs in these displays.
Salloum’s photographs took otherwise banal scenes and transformed them into an intriguing subjective record of his travels; augmenting their meaning by arranging them in certain ways. He challenged the conventional ordering of photographs in a documentary format; presenting an appropriation of these images which forces the viewer to create their own narrative. Looking through some of his images as they were arranged in the book, I was left wondering whether they were taken in the same locale, whether these stores were even open for business, and if there was any human activity occurring around these scenes.
This idea of ordering and configuring is important in contemporary art; the way in which an artist organizes components or pieces in an installation has implications for how the audience derives meaning from and experiences them. Our current façade installation by Stefan Brüggemann, Headlines and Last Lines in the Movies, exemplifies this as well. The phrases painted here can be interpreted in very distinct ways when contemplated next to each other rather than alone, or next to a different phrase. For me, it is essential to think about the way exhibitions and installations are presented by their artists and curators when we encounter them.
Jayce Salloum was also part of a group exhibition at the CAG in 2010, The Triumphant Carrot: The Persistence of Still Life, which explored the practice of the traditional still life genre in the context of contemporary art. More of his work can be found here.
Check out untitled in the CAG Bookshop to find out more, and keep these ideas in mind when you come to see the current shows at the CAG and elsewhere! Tweet us @CAGVancouver with your thoughts on the exhibitions to join the conversation.
- Kelli SturkenboomMORE
My name is Kelli Sturkenboom and this summer I will be working as the Communications Intern at the Contemporary Art Gallery. I have just completed my third year of study towards a B.A.Hons. in Art History with a minor in Management at McGill University in Montreal. For the past nine months I have been on exchange at the University of Edinburgh in Scotland, and having returned only two weeks ago, I’m still adjusting to this completely different pace of life (and time zone).
I am really looking forward to gaining hands-on experience at the gallery this summer. I have always been interested in working in a space like this, but until now I have only been given the opportunity to experience similar institutions as a visitor. I am excited to be involved in the production of the gallery’s functions for its enthusiastic guests, as well as contribute to spreading information and creating buzz about the awesome exhibitions, programs and events that the Contemporary Art Gallery puts on for those who may be unfamiliar with it. So far, I have been working on research related to social and online media and how use of certain platforms can benefit the gallery.
Stay tuned to the CAG Blog for updates about my projects throughout the summer.
PS: I can’t wait for the upcoming exhibition at the CAG; Legion by Kelly Richardson which opens on Thursday July 10, 7-10pm. Join me for the opening!MORE
You are invited to visit the brand new CAG Bookshop!
The CAG Book Shop is launching this Saturday (1.30pm-2.30pm) with the first book launch and signing in the newly renovated space:
DAS ARCHIVE / THE ARCHIVE by Jürgen Partenheimer
The transformation is complete, with a new look, new shelving and increased space for many many more titles. Visitors can now browse and purchase publications from over 80 titles from our 30 year publishing history.
The bookshop features the CAG’s exhibition catalogues and artist’s book works from as far back as 1986, the shop is a great resource for anyone wanting to get a better idea of the CAG’s exhibition history including notable and pivotial publications by Stan Douglas, Christopher Williams, Damian Moppett, Hans-Peter Feldman and Frances Stark.
We are also proud to present new CAG publications on Erin Shirreff, Mungo Thomson, Nathan Coley and Jürgen Partenheimer, all available for sale in the shop.
We also carry additional publications on artists exhibited at the gallery with select books on Nancy Holt, James Welling, Mike Nelson, and Kay Rosen to name a few.
In addition to buying books and catalogues, visitors can also find information on upcoming talks and events and use the space to sit down and leaf through information binders on our exhibitions and projects, currently Kevin Schmidt, Marian Penner Bancroft, Tim Etchells and Broken City Lab.
Please visit the shop section of our website for detailed information on all our publications. Click here for the CAG online SHOP.MORE
Designed by James Langdon,Has Man A Function In Universe? is part of an ongoing project begun in 2002 to develop forty projects related to forty questions written by R. Buckminster Fuller. Each project is an artwork or a combination of artworks, developed in response to one of the questions. Of all the questions ‘Has Man A Function In Universe?’ may be the key that binds and directs all of the other questions. Gavin Wade has commissioned artists and writers to respond to this question using a combination of text and image.
The publication will reflect the process of the project – an ‘exquisite corpse’ involving collaboration, dissemination and the combining of works.
Edited and designed by James Langdon, this is the fifth draft user's manual for Eastside Projects, a free public gallery in Birmingham opened in September 2008, that is being imagined and organised by artists. It explains what the organisation is made of, how it was set up, who it is for, how it can be used and what it can offer. As would be the case when operating a machine or learning a subject, a manual may be necessary for the full use of of Eastside Projects. In this draft, the manual is structured as an alphabetical compendium of verbs. Each of these interconnected entries describes an activity engaged in by Eastside Projects as an organisation or a process occurring in the Eastside Projects building. Beneath each entry is a prompt to the reader to follow one of multiple narrative paths through the text. Readers unfamiliar with Eastside Projects should begin at Describing. Others suggested starting points Welcoming, Exhibiting, Narrating, Complicating, integrating.MORE
This book compiles research produced at five 'A School for Design Fiction' workshops at London College of Communication (London), Fahrenheit 39 (Ravenna, IT), Konstfack (Stockholm), Registration School (London) and Contemporary Art Gallery (Vancouver), with contributions from Peter Nencini, Francesco Pedraglio, Samara Scott and Batia Suter.MORE
Conceived and designed by James Langdon with Peter Nencini and Gavin Wade, this is the sixth draft manual for Eastside Projects, a free artist-run public gallery in Birmingham opened in September 2008. The sixth draft - in the form of a story for children - describes an alternative to the cycle of urban erasure and renewal. In the iconic 1972 publication ‘Adhocism’, architectural historian Charles Jencks wrote: “... the environment should preserve a record of past action, so that present and future actions may become intelligible.” In this spirit Eastside Projects proposes to initiate a new planning policy for Birmingham — informed by values of accumulation, complexity and story-telling — to make a more ‘legible’ environment.MORE
As part of Responsive Subjects, A School for Design Fiction convened on November 8, 2013 at the Museum of Contemporary Art, Leipzig. This itinerant school employs the curious genre of ‘design fiction’ to assert storytelling as the primary function of design, assuming that every artefact has the potential to express the character of the culture that produced it. This publication documents and expands on the founding of the school through a series of imagined scenarios. These include a drama at the printer for architect Augustus Pugin in 1836, the history of the universe as observed on an English hillside in 1937, the first human trial of split brain surgery in California in 1961, and a Scottish speech synthesis studio in 2013. As the CAG's contribution to the Vancouver Design Week 2014, James Langdon conducted a three day workshop exploring narrative approaches to design, a series of connected exercises subjecting a collection of found materials to various manual and conceptual processes.MORE
This catalouge has been published on the occasion of the installation Wheel of Everyday Life by artist Gunilla Klingberg at Rice Gallery from January 31st to March 13th, 2013. Through covering up entire architectural spaces with ornate, circular patterns that were constructed from everyday logos and brands and resemble sacred mandalas, the artist explores her interest in consumerism and forms of Eastern spirituality. The publication contains a foreword by director Kimberly Davenport and an article by Houston-based arts writer Kelly Klaasmeyer.MORE
This new 2014 catalogue was been published on the occasion of the exhibition James Welling: The Mind on Fire presented at the Contemporary Art Gallery, Vancouver; MK Gallery, Milton Keynes, UK and Centro Galego de Arte Contemporáneo, Santiago de Compostela, Spain. This publication includes a foreword by Miguel von Hafe Pérez, Anthony Spira and Nigel Prince. Also includes essays by Jan Tumlir and Jane McFadden alongside an interview, archival materials and selections of Welling's own writing published for the first time. All texts are written in English and translated into Spanish.MORE
UK based artist Kelly Richardson has won international acclaim for her large scale, multi-channel video installations. This superbly illustrated retrospective of audiovisual installations works is the first retrospective publication featuring an extensive look at the UK-based Canadian born artist's audiovisual installation works of the last fifteen years. The Last Frontier is a comprehensive survey of Richardson’s artistic output, features four beautiful cover options to choose from, and includes essays by Alistair Robinson, Holly E. Hughes and Kelly Gordon and an introduction by Ryan Doherty and Louis Grachos. Designed by Three Legged Dog Design.
This publication is available in a choice of three covers, Orion Tide, Leviathan and Mariner.
*Special exhibition price of $40, only during the exhibition.MORE
To mark the end of Kelly Richardson’s 15 year survey exhibition ‘Legion’ with its final installment this summer at the Contemporary Art Gallery Vancouver (July 11-Sept 7, 2014), a series of new limited edition prints have been produced and are now on offer.
The Erudition (IV & V) are brand new prints adding to the existing large scale video installation and C-prints. As an edition of 100, they can be purchased either singly or as a pair. Editions 1-20 will be sold only as a pair.
Kelly Richardson - The Erudition (IV & V), 2010
C-prints, edition of 100.
For sale as a set of two for $450 or sold individually for $250 each. To order please email firstname.lastname@example.org, thank you.
These prints are ordered from the artist with an additional shipping cost of $20, shipping from the UK.MORE
This offset print on optigloss is name stamped and numbered by the artist. Edition of 100.
Kay Rosen makes use of words and their font in order to explore the ways in which knowledge is structured by language. She is interested in how language can evoke thought on its own by treating each letter as a body part. In this way, Kay Rosen is less concerned with neither explicit political messages nor the intrusion of the artist’s voice so as to allow the letters themselves to subvert verbal systems of power. The six conceptual and formal strategies employed by the artist include colour, sound, anti-grammar, letters, systems and patterns, and graphics. The Contemporary Art Gallery Vancouver held a Kay Rosen exhibition between June 28th and November 3rd, 2013. This particular edition allows viewers to encounter language and type as both something to be read and something to be seen.
Love Letter, 1/20/2009, commemorates the inauguration of Barack Obama as president of the United States on January 20, 2009. Love Letter continues a theme formerly used in the Klosterfelde edition O (1999), whose nine titles range from "Open" to "Halo," in which O functions as a visual object as well as a letter. The edition Stilllife with Blue Table (Earthquake) (2007) slyly contains an O which behaves as an orange and a letter. As letters and symbols, the O's and X's in Love Letter are semi-abstract and universal, transcending language's meaning and syntax. They may be considered ciphers or stand-ins for other things. For example, the O's might represent Obama, with the X's the alternative that is rejected. X's and O's might represent hugs and kisses, an affectionate way of signing off a letter. Just as a previous generation was designated X, the current state of mind is resoundingly O. The beauty of these letters is their ability to transform themselves, making many interpretations possible.
KAY ROSEN WOULD LIKE TO QUALIFY HER EDITION "LOVE LETTER, 1/20/2009 " TO PRESIDENT OBAMA. WHILE PRESIDENT OBAMA HAS DONE SOME GOOD THINGS, HE HAS FALLEN FAR SHORT OF BEING THE TRANSFORMATIVE PRESIDENT THAT HIS CAMPAIGN RHETORIC PROMISED. INSTEAD HE HAS SHOWN THAT HE IS SIMPLY A TALENTED POLITICIAN.MORE
Headlines And Last Lines In The Movies was published on the occasion of an installation within the exhibition of the same name by Stefan Brüggemann presented at the Yvon Lambert Gallery, New York from February 27th to April 10th, 2010. The publication contains an introduction by Enrique Giner de los Ríos and the essay Beginning Of Writing by Glenn O'Brian. Each copy of this edition - limited to 500 - is numbered and signed by the artist.MORE
This artist's book is the final part of a photographic work, the first three parts of which were installations. The book consists of twelve fold-outs with text by the artist. Bancroft posits a concern with the landscape as an individual creates it through her/his own history and imagination. The bookwork reflects the impulse to interrupt a smooth narrative reading.MORE
This survey of Duncan Campbell’s inventive and provocative practice looks back over a number of arresting, meticulously assembled film works that this Dublin-born, Glasgow-based artist has produced during the last decade, and coincides with the launch of the latest in that series, Make it new John (2009). The publication contains an essay by Martin Herbert and an in-conversation between the artist and critic, Melissa Gronlund.MORE
This publication is the first artist's substantial monograph, covering the past 10 ten years. Born in 1967 in Glasgow, Nathan Coley is interested in the idea of “public” space, and his practice explores the ways in which architecture becomes invested—and reinvested—with meaning. Across a range of media Coley investigates what the built environment reveals about the people it surrounds and how the social and individual response to it is in turn culturally conditioned. Using the readymade as a means to take from and re-place in the world, Coley addresses the ritual forms we use to articulate our beliefs—from hand-held placards and erected signs to religious sanctuaries. Whether highlighting in illuminated letters the testimony of a New Yorker recalling the World Trade Center attacks or erasing the names of the dead from their gravestones, his work frequently turns the specific into the general, thereby testing its function as a form of social representation; simply, does this aphorism, this gravestone, this building, speak on my behalf?MORE
Burning Bush was published on the occasion of the exhibition by the same name held at Artspeak, September 9 to October 15, 2005. Speculating on belief, Kevin Schmidt's video Burning Bush and Juan Gaitan's essay Doubt as an Optical Illusion, instigate discussions around faith, disbelief and humanity. Schmidt's extended landscape portrait of a burning bush intermingles religious, political and art historical mythologies to point to the languages, both visual and textual, of doctrine. In the staging of a miracle, the bush assumes a kind of faltering breath, a sense of possibility. If the bush is indeed "a sleeping life," Burning Bush awakens in the viewer the prospect of humanistic consideration. Schmidt's and Gaitan's investigations are pertinent given the ongoing disasters reported on daily: New Orleans' sinking, Iraq's continued bedlam, environmental disaster, terror. In this climate of physical and philosophical crisis, miracles gain possibility, potency and even efficacy. They can ask us to suspend our (dis)belief and bear witness to the world. Burning Bush extends an invitation to meditate on aesthetic, cultural, political and spiritual references, offering the potential of sublime wonder and growth.MORE
This publication is based on an online project by renowned UK artist, writer and theater director Tim Etchells.
Throughout 2011, Vacuum Days created online announcements like playbills for a rolling programme of imaginary events. Spelled out in overzealous capitals and small print, the project web site was updated each day in a process of call and response with unfolding political situations and events.
In this published version of Vacuum Days, Etchells’ explores the zone of sensationalist media, news-as-pornography, hyped-up current affairs, Internet spam, twitter gossip and tabloid headlines. Vacuum Days – a Dadaist year book of sorts – conjures a set of caustic, far-fetched, unlikely, absurd and uncomfortable performances, lectures, contests, fights, film screenings and other forms of public display.
Designed by Åbäke, a limited edition game with a box of 96 colour cards, edition of 146.
Display all the cards face down on a table.
Players take it in turn to flip over two cards at a time until a pairing is found and agreed. Remove the pairs and continue until the table is empty.
Co-published by Dente-De-Leone, UK and Motive Gallery, Brussels.MORE
This booklet accompanied the exhibition Gasoline Rainbows by artists Eli Bornowsky, Geoffrey Farmer, Eli Langer, Derek Sullivan, Kika Thorne and Holly Ward at the Contemporary Art Gallery from January 26 to March 18, 2007. The publication contains an essay by Jenifer Papararo.
This product is an ebook pdf file, as the print version of this book is out of print and no longer available for purchase.
When you purchase this product you will receive the ebook pdf by email with your receipt, you may also make additional downloads of the pdf file by clicking on the 'shopping cart' symbol on the top right on this website, log into your account with your username and password, then click on 'My Orders'then go to 'Your Downloads'.MORE
DR STRANGELOVE DR STRANGELOVE, 2003-2006
Medium: Giclee prints on archival photo paper mounted on DiBond
Description: A series of 200 images.
Dr. Strangelove Dr. Strangelove is an ambitious project in which the artist reproduced 200 scenes from the film Dr. Strangelove as sculptures. He starts with Kubrick’s definitive film, drawing on it to look at issues surrounding appropriation, as a means to move beyond the shortlist outlined above. Using various commonplace items from his studio (a glue-stick, garbage bags, cutlery, felt markers and dirt to name a few) Horton constructs the overall composition of each scene. He then places, side by side, a black and white photograph of his improvised constructions with a reproduction of the original film still, amalgamating them into a single printed image. He directly uses images from the film painstakingly recreating them with a somewhat unexpected precision.MORE
This foldout brochure / poster was published on the occasion of the exhibition A Thousand Miles of Dust and Ashes by artist Lucy Pullen, held at the Contemporary Art Gallery from March 14 to April 27, 2003.MORE
This foldout brochure was published on the occasion of the exhibition L.I.P. Service from July 11th to August 31st, 2003, which showcased a small cross section of artworks from the collections of the City of Vancouver and the Contemporary Art Gallery that were produced during the 1970's and early 80's in Vancouver.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 performance script was performed in various combinations in conjunction with Landon Mackenzie's Saskatchewan Paintings exhibition (1993-1997) at galleries and art schools, including the Contemporary Art Gallery. Landon Mackenzie: Saskatchewan Paintings exhibited at the CAG from December 16, 1995 to February 3, 1996. They were not crafted for the 'written page' but rather for the oral event as an overlay to sight, and were performed in the tradition of monologues from 'girls on stools.'
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
In this brochure, curator Rubén Gallo introduces the Tendencies: New Art From Mexico City exhibition which took place at the CAG from May 18 to June 29, 1996.
This exhibition was guest curated by Rubén Gallo of Mexico City and Terence Gower of Vancouver. It included eight young artists based in Mexico City. The exhibition was conceived as a response to the stereotypes that circulate about Mexican art being in the tradition of figurative painting or based in folk art. It included painting, sculpture, installation and photography. This exhibition complemented an exploration by the CAG of work by Latin American artists which included Fernando Arias and an exhibition of Cuban art planned in collaboration with the Belkin Gallery for 1997. Tendencies: New Art from Mexico City was presented at the San Francisco Art Institute before coming to Vancouver.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 House / Boat shown at OBORO, Montréal from September 20th to October 30th, 1994. The publication contains an essay in English and French by curator Marie-Michèle Cron.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 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
This book was published on the occasion of the first one-person exhibition of Allyson Clay in Canada which was presented by the CAG from April 30 to May 25, 1985. Included is a foreword by curator Christine Elving and a catalogue essay by Russell Keziere.MORE