- October 23, 1985 to November 2, 1985
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"autobiographical/ a reaction to the outer world/ making something out of nothing with found objects/ building constructions out of non-art materials/ panels of newspaper images layered relayered pasted and then printed/ obscure yet legible about memory and the onslaught of media images/ for entirely personal reasons with personal rules/ part random part decision part indecision; an artist's response-ability."
By Tom Runkle
medium | 30 Programs
Medium AssemblageArt produced by the assembling of disparate elements, often scavenged or bought by the artist.
- September 25, 1985 to October 5, 1985
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Lunar Suede is another of an increasingly visual group of artists who make use of 'found objects' in their work. Lunar is from Courtenay on Vancouver Island and along with Ken KRAK Gerberick and MANDAD, these artists have worked out the "Pigeon Lake Mall" (Cumberland dump) to create a body of work that is at once visually exciting, humourous and contains a great deal of social and political relevance. Lunar was originally a carver but his tie up with MANDAD and KRAK changed all that. Most of the work is assemblage pieced together with an eye for both painting and sculpture. Its use of other people's garbage provides fascinating visual pieces taken out of context and an interesting commentary on how we live in the consumer society.
By Lunar Suede
Lookout Lookout
- June 26, 1985 to July 6, 1985
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No description available
By David Asmodeus
Assemblage
- February 12, 1985 to February 23, 1985
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"This work can turn the noun angst into a verb carrying the viewer into a dark forest of lost hope. Ultimately we find the hope within ourselves and are better for seeing the work." - unknown
By Howard Brenton, Ken Gerberick, Mickey Stankovic, Susan McKinley
Krak Studio Goes to the Grunt
- January 28, 1985 to February 9, 1985
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"Humourous, witty, kitch, ....irreverent, reverent..... patriotic, obscure and obvious." - David Roundbell
By Daav McNab
Visual Poems For the Ill at Ease:
- June 2, 2014 to July 5, 2014
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Play, Fall, Rest, Dance, is an installation that continuously changes based on the creative output by children with disabilities. Valerie Salez creates an environment that encourages artistic freedom, exploration and installation-making over the course of several weeks.
By Amélie Andres, Deshik Chowdhury, Henry Yu, Isabelle Ghioda, Solange, Valerie Salez
Play, Fall, Rest, Dance
- January 1, 1994 to January 6, 2016
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The Al Neil Collection includes materials on artist, musician, and writer Al Neil whose long and storied career has included grunt's Al Neil Project (see 2005.1015ALN) as a part of the LIVE Biennale of Performance Art 2005, features in brunt Magazine and the web project Ruins In Process: Vancouver Art in the 60s, and continues with grunt's involvement with the relocation, preservation, and reactivation of Al Neil and Carole Itter's cabin from the Dollarton shore. The Al Neil Collection includes physical copies of Neil's music recordings, photocopied and original articles on Neil, and various ephemera related to Neil's life and work.
By Al Neil
The Al Neil Collection
- October 25, 2013 to November 30, 2013
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location/dis-location(s): contingent promises continues Salloum’s visualization of the nature of the ‘natural’ and constructed environments. An extensive assembly of photographs, taken at various places the artist has visited over recent years, is composed through various signifiers and aesthetics. The images depict locations considered public and private, claimed and unsigned spaces, forms of the common, socio/ideological stage fronts, and domestic settings.These photographs are from Salloum’s ongoing body of work, untitled: photographs, that attempts to critically engage in the representation of public and private space. location/dis-location(s) approaches coming to terms with what it means to be making photographs here (and elsewhere) and the exploration of the possibilities of visualizing the nature of natural, urban, semi-urban, and sub-urban environments (and the totality of the constructs signified in those terms).
By Jayce Salloum
location/dis-location(s): contingent promises
- July 3, 1990 to July 21, 1990
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Linda Mennie's exhibition WHERE THE SMOKESTACKS LIVE raises questions about our environment and the role that industry plays in our lives, death, sexuality and creativity. This mixed media work is created from man-made debris, organic materials, and photographs of smokestacks; transforming these elements at the artist attempts to reconcile paradoxes and contradictions of our existence.
By Linda Mennie
Where the Smokestacks Live
- October 28, 2016 to December 10, 2016
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CALL To support the work of Indigenous North American women and artists through local art commissions that incite dialogue and catalyze action between individuals, communities, territories, and institutions. To stand together across sovereign territories as accomplices in awakened solidarity with all our relations both human and non. RESPONSE To ground art in responsible action, value lived experience, and demonstrate ongoing commitment to accountability and community building. To respond to re/concilliation as a present day negotiation and reconstruction of communities in the aftermath of colonial trauma. callresponseart.ca
By Cheryl L'hirondelle, Christi Belcourt, Esther Neff, Isaac Murdoch, IV Castellanos, Laakkuluk Williamson-Bathory, Marcia Crosby, Maria Hupfield, Tania Willard, Tanya Tagaq, Ursula Johnson - Curated by Maria Hupfield, Tania Willard, Tarah Hogue