Liz Magor

This exhibition at the Museum für Gegenwartskunst was conceived in close cooperation with Kunstverein in Hamburg and realized in partnership with Contemporary Art Gallery and Musee d’art contemporain de Montréal. 

### Biography
Liz Magor studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. She has participated in major exhibitions worldwide, including the 4th Biennale of Sydney (1982); Venice Biennale (1984) and documenta VII (1987). Recent solo exhibitions include A Thousand Quarrels, Presentation House Gallery, North Vancouver (2014); Triangle France, Marseille and California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California;  Light my Fire: Some Propositions about Portraits and Photography, Art Gallery of Ontario, Toronto (2013); and After Presence, MacKenzie Art Gallery, Regina (2012).  Magor has also participated in numerous group exhibitions including Wattis Institute, San Francisco; Museum of Contemporary Art, San Diego (2004); National Gallery of Canada (2001); Museum of Fine Arts, Florida State University, Florida (1997); and Museum of Contemporary Art, Sydney, Australia (1996).  Over her career Magor has been recognized through several prestigious art awards such as the Gershon Iskowitz Foundation in partnership with the Art Gallery of Ontario (2014); The Audain Prize for Lifetime achievement (2009); the Governor General of Canada Award (2001) and York Wilson Endowment Award (2000). Magor is represented by Catriona Jeffries Gallery, Vancouver, Susan Hobbs Gallery, Toronto and Marcelle Alix, Paris.


A grey textile with a vertical stripe down the middle is draped on a wire-hanger which hangs on a gallery wall.

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you, you, you

This exhibition, previously at the Migros Museum für Gegenwartskunst was conceived in close cooperation with Kunstverein in Hamburg and realized in partnership with Contemporary Art Gallery and Musee d’art contemporain de Montréal. 

### Biography
Liz Magor studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. She has participated in major exhibitions worldwide, including the 4th Biennale of Sydney (1982); Venice Biennale (1984) and documenta VII (1987). Recent solo exhibitions include A Thousand Quarrels, Presentation House Gallery, North Vancouver (2014); Triangle France, Marseille and California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California;  Light my Fire: Some Propositions about Portraits and Photography, Art Gallery of Ontario, Toronto (2013); and After Presence, MacKenzie Art Gallery, Regina (2012).  Magor has also participated in numerous group exhibitions including Wattis Institute, San Francisco; Museum of Contemporary Art, San Diego (2004); National Gallery of Canada (2001); Museum of Fine Arts, Florida State University, Florida (1997); and Museum of Contemporary Art, Sydney, Australia (1996).  Over her career Magor has been recognized through several prestigious art awards such as the Gershon Iskowitz Foundation in partnership with the Art Gallery of Ontario (2014); The Audain Prize for Lifetime achievement (2009); the Governor General of Canada Award (2001) and York Wilson Endowment Award (2000). Magor is represented by Catriona Jeffries Gallery, Vancouver, Susan Hobbs Gallery, Toronto and Marcelle Alix, Paris.

Peach and brown coloured textiles are draped on a wire-hanger which hangs on a gallery wall. A green, plastic garment bag covers half of the textile.

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This marks the final venue for the large-scale presentation of works by Liz Magor that begun at Peep-Hole, Milan in the winter of 2015. Conceived in close cooperation with Migros Museum für Gegenwartskunst and Kunstverein Hamburg and realized in partnership with Contemporary Art Gallery and Musee d’art contemporain de Montréal. 

### Biography 
Liz Magor studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. She has participated in major exhibitions worldwide, including the 4th Biennale of Sydney (1982); Venice Biennale (1984) and documenta VII (1987). Recent solo exhibitions include A Thousand Quarrels, Presentation House Gallery, North Vancouver (2014); Triangle France, Marseille and California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California;  Light my Fire: Some Propositions about Portraits and Photography, Art Gallery of Ontario, Toronto (2013); and After Presence, MacKenzie Art Gallery, Regina (2012).  Magor has also participated in numerous group exhibitions including Wattis Institute, San Francisco; Museum of Contemporary Art, San Diego (2004); National Gallery of Canada (2001); Museum of Fine Arts, Florida State University, Florida (1997); and Museum of Contemporary Art, Sydney, Australia (1996).  Over her career Magor has been recognized through several prestigious art awards such as the Gershon Iskowitz Foundation in partnership with the Art Gallery of Ontario (2014); The Audain Prize for Lifetime achievement (2009); the Governor General of Canada Award (2001) and York Wilson Endowment Award (2000). Magor is represented by Catriona Jeffries Gallery, Vancouver, Susan Hobbs Gallery, Toronto and Marcelle Alix, Paris.


A cream coloured textile with yellow and green stripes hangs from a triangular metal armature mounted on a gallery wall. Pink splotches and small patches of textiles are scattered around the surface. 

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This expanded version of the exhibition first presented at Peep-Hole Art Centre, Milan, Italy, is organized by CAG in partnership with le Crédac.

### Biography
Liz Magor studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. She has participated in major exhibitions worldwide, including the 4th Biennale of Sydney (1982); Venice Biennale (1984) and documenta VII (1987). Recent solo exhibitions include A Thousand Quarrels, Presentation House Gallery, North Vancouver (2014); Triangle France, Marseille and California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California;  Light my Fire: Some Propositions about Portraits and Photography, Art Gallery of Ontario, Toronto (2013); and After Presence, MacKenzie Art Gallery, Regina (2012).  Magor has also participated in numerous group exhibitions including Wattis Institute, San Francisco; Museum of Contemporary Art, San Diego (2004); National Gallery of Canada (2001); Museum of Fine Arts, Florida State University, Florida (1997); and Museum of Contemporary Art, Sydney, Australia (1996).  Over her career Magor has been recognized through several prestigious art awards such as the Gershon Iskowitz Foundation in partnership with the Art Gallery of Ontario (2014); The Audain Prize for Lifetime achievement (2009); the Governor General of Canada Award (2001) and York Wilson Endowment Award (2000). Magor is represented by Catriona Jeffries Gallery, Vancouver, Susan Hobbs Gallery, Toronto and Marcelle Alix, Paris.


A box-shaped sculpture made from translucent silicone with indiscernible shapes inside. 

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All the Names III, 2014 (1).jpg

The Blue One Comes In Black

The Contemporary Art Gallery has been invited to take over Peep-Hole in Milan for the final installment of their Six Ways to Sunday initiative.

On this occasion, CAG will present a major solo exhibition of work by Vancouver based artist Liz Magor. One of the most celebrated and influential figures of her generation, the exhibition will focus on a selection of recent and new work, and in a nod to the immediate historical context of Arte Povera in that area of Italy, primarily include a series of blankets including an ambitious new piece, alongside other sculptures incorporating fabric samples, clothing and labels.

### Biography
Liz Magor studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. She has participated in major exhibitions worldwide, including the 4th Biennale of Sydney (1982); Venice Biennale (1984) and documenta VII (1987). Recent solo exhibitions include A Thousand Quarrels, Presentation House Gallery, North Vancouver (2014); Triangle France, Marseille and California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California;  Light my Fire: Some Propositions about Portraits and Photography, Art Gallery of Ontario, Toronto (2013); and After Presence, MacKenzie Art Gallery, Regina (2012).  Magor has also participated in numerous group exhibitions including Wattis Institute, San Francisco; Museum of Contemporary Art, San Diego (2004); National Gallery of Canada (2001); Museum of Fine Arts, Florida State University, Florida (1997); and Museum of Contemporary Art, Sydney, Australia (1996).  Over her career Magor has been recognized through several prestigious art awards such as the Gershon Iskowitz Foundation in partnership with the Art Gallery of Ontario (2014); The Audain Prize for Lifetime achievement (2009); the Governor General of Canada Award (2001) and York Wilson Endowment Award (2000). Magor is represented by Catriona Jeffries Gallery, Vancouver, Susan Hobbs Gallery, Toronto and Marcelle Alix, Paris.

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Six Ways to Sunday #6

[RSVP](https://www.eventbrite.ca/e/in-conversation-rochelle-goldberg-liz-magor-tickets-916885959587?aff=oddtdtcreator "button")

Please join us for a talk at the gallery between artists Rochelle Goldberg and Liz Magor on the occasion of Goldberg's exhibition *Sun Moon Stars*.

### RSVP
Registration for this event is required. Secure your place [here](https://www.eventbrite.ca/e/in-conversation-rochelle-goldberg-liz-magor-tickets-916885959587?aff=oddtdtcreator).

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### Biographies
Rochelle Goldberg lives and works in Berlin. Her solo exhibitions include Mercer Union, Toronto; Commercial Street, Los Angeles; Kunsthalle Lingen, Germany; The Power Station, Dallas; GAMeC di Bergamo, Italy; and SculptureCenter, New York. Her work has also been featured in group exhibitions at institutions such as Gallerie delle Prigioni, Treviso, Italy; Berkeley Art Museum and Pacific Film Archive; Oakville Galleries, Canada; Montpellier Contemporain; Fondation d’Entreprise Ricard, Paris; Whitney Museum of American Art, New York; Dortmunder Kunstverein, Germany; and Swiss Institute, New York, amongst others. She was Artist in Residence at The Chinati Foundation, Marfa, Texas (2018), and was selected to present for the inaugural Frieze Sculpture at Rockefeller Center, New York (2019). She holds a Master of Fine Arts from the Milton Avery School of the Arts at Bard College, New York.

Liz Magor lives and works in Vancouver. Her recent solo exhibitions include MOCA Toronto; Douglas Hyde Gallery, Dublin; Focal Point Gallery, Southend-on-Sea, UK; Carpenter Center for the Arts, Cambridge; Renaissance Society, Chicago; Kunstverein in Hamburg; and Migros Museum für Gegenwartskunst, Zurich. Her work has been included in group exhibitions including Musée d’art Moderne de la Ville de Paris; Kunsthalle Basel; Wattis Institute, San Francisco; Vancouver Art Gallery; Stedelijk Museum, Amsterdam; National Gallery of Canada; Museum of Modern Art, New York; and Biennale of Sydney. In 1987, she exhibited at documenta 8, and in 1984, she represented Canada at the Venice Biennale. She was named Chevalier dans l'Ordre des Arts et des Lettres, France in 2021, and is the recipient of the Gershon Iskowitz Prize (2014), the Audain Prize for Lifetime Achievement in the Visual Arts (2009), and a Governor General’s Award in Visual & Media Arts (2001).

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Rochelle Goldberg & Liz Magor

In Conversation

This exhibition explores the traditional genre of still life and how it is a sustained practice within contemporary visual art making. The number of artists and works is large for the exhibition spaces of the Contemporary Art Gallery, and yet it seems small in relation to the subject. The quantity of works reflects this genre’s continued importance in current art production and discourse, and is conceptually tied to conventional formal aspects of still life, gathering together many objects for contemplation in a constructed setting.

Many of the artworks in this exhibition were chosen because they stick closely to the familiar conventions and typical subject matter of still life. The first part of the title of this exhibition is an appropriation of one of Peter Fischli and David Weiss’s photographs from their Equilibres series made in the mid 1980s. The triumph of the carrot is linked to the success of still life, as well as the genre's formal properties, namely its use of humble objects. The second part of the title is linked to a question first posed by art historian Thomas Crow, who questioned how an archaic and hierarchical system such as the genres can still be important for understanding contemporary art. In bringing together this group of works that spans generations and crosses mediums, the CAG traces the persistence of still life, in an attempt to understand how it operates differently now than it has in the past, examining the current circumstances and naming some particularities.


Detail image of fruits on a plate carved out of wood. The entire sculpture is coloured black.

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Installation image of the group show Triumphant Carrot. Various artworks are installed throughout the gallery. There is a mix of photographs, sculptures and a light box mounted on a freestanding wall.

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Installation image of the group show Triumphant Carrot. Various artworks, such as paintings, framed photographs, a lightbox mounted on a wall, and sculptures, are installed throughout the gallery.

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Installation image of the group show Triumphant Carrot. Various artworks, paintings, framed photographs, a lightbox, sculptures, and a tv monitor on a plinth, are installed throughout the gallery.

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Four framed photographs hang on either side of a corner wall in a gallery. A small table with a brown top and black legs sits in the middle. A smaller object sits on top of the table.

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Two framed photographs hang on one side of a corner wall. Three photographs hang on the other side. A small, skull-like object sits on the floor in the corner. A TV sits on a black plinth to the right.

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A monitor mounted on a wall in a dimly lit gallery displays an image. A black bench sits in the center of the room.

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A bright, projected image appears to lean against the wall of a dimly lit gallery. The image displays several objects scattered on a floor. A black bench sits in the center of the room. 

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A small area under the stairs of a gallery is installed to appear as a living room. A burgundy couch with matching ottoman, a lounge chair, a sideboard, a lamp, and three rugs occupy the space.

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Installation image of the group show Triumphant Carrot. Various artworks installed in a gallery space, from framed photographs on the wall, sculptural objects on plinths to colourful objects on a table.

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Robert Arndt, Eric Cameron, James Carl, Gerald Ferguson, Chris Hanson & Hendrika Sonnenberg, Hans-Peter Feldmann, Peter Fischli & David Weiss, Ceal Floyer, Rodney Graham, Jay Isaac, Elad Lassry, Evan Lee, Arvo Leo, Kelly Lycan, Liz Magor, Kelly Mark, Damian Moppett, Ron Moppett, Brad Phillips, Jayce Salloum, Erica Stocking, Zin Taylor, Ron Tran, Lesley Vance, Jeff Wall, Rhonda Weppler & Trevor Mahovsky, Sam Taylor-Wood

Triumphant Carrot: The Persistence of Still Life

Liz Magor is a senior 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 is Magor’s first solo exhibition in a public gallery in Vancouver in almost twenty years.

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.


A small brown backpack with two front pockets is installed on the white gallery wall. The bag is fully closed and looks heavy. Viewers are given no clue what would be stored inside this bag.  

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Two artworks are installed in the gallery space. One is a closed backpack with yellow paint scattered beneath where it is mounted. Thick paper and a piece of wood are leaning against the other wall.

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A pile of small rocks and stones is placed on the gallery floor. The pile is quite low. A layer of orange strings, which seems to be either ropes or fried snacks, are visible under the rocks. 

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Stores

The Contemporary Art Gallery is the custodian of a civic collection of 3000 artworks by Vancouver artists. This collection was acquired between 1973 and 1978 by the Social Planning Department of the City of Vancouver, with the assistance of the Federal Government’s Manpower and Immigration Department. With funding from the “Local Initiatives Program” artists were hired to make artwork that would be exhibited in the Gallery and later circulated throughout the many civic buildings in Vancouver. After 1978, a few additional works were donated to the Contemporary Art Gallery, so the core of the collection remains a reflection of the art activity in Vancouver during the 1970s.

The upcoming exhibition will be the first time the collection has been exhibited in the Contemporary Art Gallery since 1985. The focus is on works by five women artists active in Vancouver during the 1970s: Marian Penner Bancroft (photography), Cathy Charlton (drawing), Judith Lodge (painting), Liz Magor (sculpture), and Chick Rice (photography). The 1970s was an important period for women artists generally, as they began to break away from male-dominated discourses. The work in this exhibition is varied, but there is an underlying sense of the “domestic" in its broadest terms. Works in this exhibition document the intimacy of familial and social events, and personalize portraits of friends.

*Permanent collection: Works from the 1970s* marks the beginning of a re-evaluation of the Contemporary Art Gallery collection and an opportunity to explore an important era in the recent history of Vancouver's art activity.


A scanned exhibition invitation. It has a white background with black text with information about the exhibition, artists and gallery. A bold yellow and black block of text says PERMANENT COLLECTION.

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Marian Penner Bancroft, Cathy Charlton, Judith Lodge, Liz Magor, Chick Rice

Permanent Collection: Works from the 1970s

*Ten Years Later*, an exhibition marking the 10th anniversary of the Contemporary Art Gallery, opens at the gallery on November 25 and runs through December 20. The exhibition contains work by Marian Penner Bancroft, Judith Lodge, Liz Magor, Al McWilliams, Richard Prince, Judy Williams, and Robert Young. A special 10th Anniversary celebration for CAG and a reception for the artists will take place at the gallery on December 8 at 8pm.

The Contemporary Art Gallery began life as the Artist’s Gallery and was initially funded by a Local Initiatives Project Grant under which artists were hired to produce artwork. The seven artists represented in *Ten Years Later* were among the artists on the gallery’s payroll in those early days. The LIP Program was co-sponsored by the City of Vancouver and the artworks produced were exhibited in public buildings throughout the city and became part of the city's collection. This public exhibition policy is still in place and is administered by CAG.

While *Ten Years Later* focuses on current work by the seven artists, the catalogue not only documents the exhibition but also reproduces representative works from the City's collection. The catalogue also contains interviews with the artists by Avis Lang and a historical essay by founding CAG board member Rosemary Poll and Christine Elving, the gallery's current Director.




Publication: Ten Years Later

A close view of a sculpture in a gallery. The sculpture is made of a flat metal disk sitting upright in a black stand.

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Several artworks visible in the hallway of a gallery. The works include large abstract paintings on canvas and paper, large framed photos of a group of people with text overlay, and small sculptures. 

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Several artworks on the wall of a gallery. At the centre there is a large abstract painting made of rough black and gold marks on canvas. On the sides, there are sets of black and white photos.

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3 artworks in a gallery. One work is made of 2 portraits facing each other, and text between them reads "Appearances are important. Appear important." The other 2 works are a sculpture and a painting. 

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Two artworks in a corner. One of the works is a set of photos of toy soldiers in tall grass. The other is a small metal stand with a round form at the top, and a maquette of the same form on the wall.

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Marian Penner Bancroft, Judith Lodge, Al McWilliams, Liz Magor, Richard Prince, Judy Williams, Robert Young

Ten Years Later

*Birgit* is a limited edition bookwork by Hans Peter Feldmann, published by the Contemporary Art Gallery in 2006 and released in conjunction with Feldmann’s first solo exhibition in Canada at CAG, June 9 – August 20, 2006. The publication is comprised of 72 successive colour snapshots of a woman applying her make-up from beginning to end, and is accompanied by a comprehensive text by the exhibition’s curator, Roy Arden.


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Birgit

Hans-Peter Feldmann

*STILL LIFE* is the second in a series of three publications that used the petit genres of landscape, still life and portraiture to reflect programming at the Contemporary Art Gallery which framed tendencies in contemporary art.

It was published by the Contemporary Art Gallery in 2010 in conjunction with the exhibition *Triumphant Carrot: The Persistence of Still Life*, and contains essays by Evan Lee, Jenifer Papararo and Trevor Mahovsky. Jenifer Papararo looks at the continued relevance of this genre and its relation to the development of the avant-garde. Also included are texts by two of the artists in the exhibition. Trevor Mahovsky draws parallels between recent theoretical interests in the everyday and the value of still life; and Evan Lee uses the dollar store to discuss the complex relations between the consumption of objects and what a still life represents.

#### Other publications from this series:

*LANDSCAPE*

*PORTRAIT*

Purchase all three publications for $25 below.


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petit genres

STILL LIFE

This catalogue was published in 1986 by the Contemporary Art Gallery on the occasion of the 10th Anniversary of the Contemporary Art Gallery and the exhibition *Ten Years Later* by artists Marian Penner Bancroft, Judith Lodge, Al McWilliams, Liz Magor, Richard Prince, Judy Williams and Robert Young, held at CAG from November 25 – December 20, 1986. The publication contains text contributions by Director and Curator Christine Elving, Rosemary Poll, Avis Young and texts by each individual artist.

Liz Magor

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