Pascal Grandmaison 

The Contemporary Art Gallery is pleased to present an exhibition of the work of Pascal Grandmaison. Grandmaison is an emerging Montreal artist whose video projections and photographs combine interests in conceptualism with commercial trends in rock video and advertising. He will showcase two new works, *Running* (2003) and *Manner* (2003). Both document durational activity, in this instance its aftermath and effects. *Manner* is a suite of photographs of drum skins which exhibit the abuse of hours of service. The video *Running* shows a foot, its rhythmic motion almost imperceptibly hinting at past activity. With these two works, Grandmaison's articulation of physical activity takes the form of nuanced documents of its effects and aftermath. 

### Biography

Pascal Grandmaison's recent solo exhibitions include Gallery B312 and Gallery Réne Blouin in Montreal, and Galerie BF15 in Lyon, France. Forthcoming is a solo exhibition at the Musée d'art contemporain de Montréal in 2005. He has also recently participated in the touring exhibition *Soundtracks*, which opened at the Edmonton Art Gallery in 2003 before touring to multiple venues in Toronto. Pascal Grandmaison is represented by Galerie Réne Blouin, Montreal. 


Essay: "TIME!," Reid Shier

Five large-sized coloured photographs are installed on the gallery walls. They are all same-sized, and each of them depicts a different circular-shaped flat object in the middle.

thumbnail_02-PascalGrandmaison-2003.jpeg

02-PascalGrandmaison-2003.jpeg

Eight large-sized coloured photographs are installed on the gallery walls. They are all same-sized, and each of them depicts a different circular-shaped flat object in the middle.

thumbnail_01-PascalGrandmaison-2003.jpeg

01-PascalGrandmaison-2003.jpeg

Five large-sized coloured photographs are installed on the gallery walls. They are all same-sized, and each of them depicts a different circular-shaped flat object including a drum cover. 

thumbnail_03-PascalGrandmaison-2003.jpeg

03-PascalGrandmaison-2003.jpeg

A single-channel video of a runner’s foot is projected at the top of the wall in a gallery space. The video shows a foot wearing a white sneaker and blue jeans running in the dark.

thumbnail_04-PascalGrandmaison-2003.jpeg

04-PascalGrandmaison-2003.jpeg

Pascal Grandmaison

Ron Terada

The Contemporary Art Gallery is pleased to present an exhibition by Vancouver artist Ron Terada. Terada's recent work uses the exhibition as a medium, and employs promotional and didactic material — things that might normally be thought of as ancillary to the art itself — as raw material. In *Catalogue*, Terada will occupy and exaggerate the mandate of a public institution by making private patronage the content and means of the artwork. *Catalogue* will take the form of an exhibition publication. The catalogue will look and function like any other publication would within the typical institutional frame of an exhibition. But by highlighting the patronage of those who collaborated with the artist in support of the show, the catalogue aims to re-align conventions which presuppose such contextualizing and legitimating vehicles as supplementary. 

### Biography

Recent solo projects by Ron Terada include the magazine *Defile*, *Art Metropole*, Toronto and *Big Toast* at the Charles H. Scott Gallery, Vancouver. His work has been included in numerous group exhibitions, including *Baja to Vancouver: The West Coast in Contemporary Art*, which opened at the Seattle Art Museum before touring to Museum of Contemporary Art San Diego; Wattis Institute, Oakland and the Vancouver Art Gallery. His work was also included in the 2003 Prague Biennale and *Subscribe: Recent Art in Print* at Bard College, Annandale, New York. He is represented by the Catriona Jeffries Gallery, Vancouver. 

Essay: "Follow the Money," Reid Shier

This is an installation shot of a gallery space. On a white wall, the names of people are printed in a large black font. There are two listed as “Anonymous” in this list of names. 

thumbnail_02-RonTerada-2003 .jpeg

02-RonTerada-2003 .jpeg

Two of the CAG window spaces are visible in this photograph. Four logos of different companies and organisations are printed on the white walls behind the windows. 

thumbnail_01-RonTerada-2003 .jpeg

01-RonTerada-2003 .jpeg

This is an installation shot of a gallery space. There are ten large-sized logos of different companies and organisations printed on a gallery wall.

thumbnail_03-RonTerada-2003 .jpeg

03-RonTerada-2003 .jpeg

This is an installation shot of a gallery space. There are ten large logos of different companies and organisations printed on a gallery wall.

thumbnail_04-RonTerada-2003 .jpeg

04-RonTerada-2003 .jpeg

Two of the CAG window spaces are visible in this photograph. Six black and white logos of different companies and organisations are printed on the white walls behind the windows. 

thumbnail_05-RonTerada-2003 .jpeg

05-RonTerada-2003 .jpeg

This is an installation shot of a gallery space. On a white wall, names of people are printed in a large black font. There are two listed as “Anonymous” in this list of names. 

thumbnail_06-RonTerada-2003 .jpeg

06-RonTerada-2003 .jpeg

Catalogue

Dan Graham

American artist Dan Graham is one of the most important contemporary visual artists practicing today. His work over the past four decades is widely recognized for its lead in the advent of conceptualism as an art movement. His work was also instrumental in the development of Vancouver based photo-conceptualism, and his long involvement and friend­ship with a number of locally based artists has been of enormous influence. While his work is featured in collections around the city, Graham has, surprisingly, never been afforded a solo show in Vancouver. This exhibition will provide the opportunity to view a selective survey of the artist's works over the past thirty years and assess the significant effect Graham’s practice has had on the local community.

Essay: "Dan Graham in Vancouver," Ian Wallace

thumbnail_00-HEADER-DanGraham.jpg

00-HEADER-DanGraham.jpg

Grey cube-shaped sculptures are installed inside a display box. On the white wall behind this box, a text-based work about a human body function is printed. 

thumbnail_01-DanGraham-2003.jpeg

01-DanGraham-2003.jpeg

A set of three artworks are mounted on a gallery wall. Two of them are text-based works. The rest mimics an advertisement page in a newspaper. 

thumbnail_02-DanGraham-2003.jpeg

02-DanGraham-2003.jpeg

A silver film projector is placed on a white table. It projects a film on a gallery wall. The projected blurred image depicts a hand and a green coloured large insect-like shaped object. 

thumbnail_03-DanGraham-2003.jpeg

03-DanGraham-2003.jpeg

Two large pedestals sit in a gallery. The one in the front holds a wood and metal made sculpture that roughly resembles a record player. The one in the back holds sculptures in a display box. 

thumbnail_04-DanGraham-2003.jpeg

04-DanGraham-2003.jpeg

Five artworks are installed on a gallery wall. A text-based work is placed in between a coloured photograph and a drawing. Two large black and white drawings are mounted in the back. 

thumbnail_05-DanGraham-2003.jpeg

05-DanGraham-2003.jpeg

A film projector projects a moving image on a white gallery wall. The film shows a torso of a naked person holding a video camera to a person who was filming. 

thumbnail_06-DanGraham-2003.jpeg

06-DanGraham-2003.jpeg

A closeup showing a film projector playing a video on a wall. The video shows a naked person sitting with a camera in their hands, filming.

thumbnail_07-DanGraham-2003.jpeg

07-DanGraham-2003.jpeg

On a large plinth placed in the middle of the gallery, six square-shaped sculptures sit. Four framed two-dimensional works are mounted on the walls around this plinth. 

thumbnail_08-DanGraham-2003.jpeg

08-DanGraham-2003.jpeg

Chris Dahl

Glenn Lewis

Chick Rice

John Mitchell

Judy Williams

Wing Chow

Marian Penner Bancroft

Irene Smith Rosenberg

George Casprowitz

In celebration of its 30th Anniversary, the Contemporary Art Gallery presents an exhibition honoring its early years. On February 23, 1973, the Artists’ Gallery opened its doors at 555 Hamilton Street. Later to be renamed the Contemporary Art Gallery, the Artists’ Gallery was initiat­ed by an arts advisory committee under the umbrella of the City of Vancouver. Central to its early mandate and philosophy was the promotion and creation of local visu­al arts. 

During this time the City of Vancouver began a program, with assistance from the Federal Local Initiatives Program (LIP) to collect works by local artists. In support of this ambitious project, the Artists’ Gallery was con­ceived as both a depository and exhibition space. The Contemporary Art Gallery continues to act as custodian for over 3000 collected works, many dating from the early to mid 1970s when the majority of works were created. The history of this important collection of art, of the Artists’ Gallery and of the early years of the community that shaped what would become the Contemporary Art Gallery will be showcased this summer in an exhibition featuring selected works from the collection. 


Essay: “L.I.P. Service,” Reid Sheir

A black and white photograph depicting a person wearing a striped shirt drinking from a glass bottle. They are outdoors in a vast crowd of people milling around or seated in the grass.

thumbnail_00-HEADER-LIPService.jpg

00-HEADER-LIPService.jpg

Four coloured paintings are mounted on the gallery wall. These images depict people working in various natural environments including lakes and woods. Their gestures mimic some biblical stories. 

thumbnail_01-LIPService-2003.jpeg

01-LIPService-2003.jpeg

A coil-shaped wood sculpture is placed on a pedestal. Two coloured prints and a pair of black and white drawings are mounted on the wall behind this wood sculpture.  

thumbnail_02-LIPService-2003.jpeg

02-LIPService-2003.jpeg

A tall sculpture is placed in the middle of the gallery floor. It has two cube shapes; one is on the floor and another in the air supported by a thin leg. These two cubes are connected with a chain.

thumbnail_03-LIPService-2003.jpeg

03-LIPService-2003.jpeg

A number of black and whire photographs are mounted on the wall. They are arranged in two rows running horizontally to the floor. A wood sculpture on a pedestal stands in front of this wall.

thumbnail_04-LIPService-2003.jpeg

04-LIPService-2003.jpeg

A large sculpture is placed on a pedestal. It looks like a flat square-shaped slab of white marble. This slab has a carved gun bullet shape placed in its middle. 

thumbnail_06-LIPService-2003.jpeg

06-LIPService-2003.jpeg

Eight black and white photographs are mounted on the wall. They are placed in a row horizontal to the floor. Many of those photographs depict pedestrians on the streets. 

thumbnail_07-LIPService-2003.jpeg

07-LIPService-2003.jpeg

In a gallery space, a set of blue and white landscape drawings and another set of small coloured drawings are mounted on the wall. Two wood sculptures are placed on pedestals.

thumbnail_09-LIPService-2003.jpeg

09-LIPService-2003.jpeg

Different two-dimensional images cover CAG’s window spaces. One window is covered by a detailed image of a black and white photograph of children standing outside. 

thumbnail_10-LIPService-2003.jpeg

10-LIPService-2003.jpeg

A set of eight coloured drawings are mounted on the wall. Those images are dominated by blue, grey, and white. These depict different scenes of a city foregrounding blue mountains and the sky.

thumbnail_11-LIPService-2003.jpeg

11-LIPService-2003.jpeg

Two of CAG’s window spaces are visible in this photograph. Different works cover those windows. One is covered by an enlarged image of a photograph of people at English Bay in Vancouver. 

thumbnail_12-LIPService-2003.jpeg

12-LIPService-2003.jpeg

A set of three drawings are mounted on the wall. They all depict geometric shapes that could be found in geometry exams. None of the drawn shapes are shaded. 

thumbnail_13-LIPService-2003.jpeg

13-LIPService-2003.jpeg

Two of CAG’s window spaces are visible in this photograph. Enlarged images from different black and white photographs cover those windows. Both images depict people but in different social settings.

thumbnail_14-LIPService-2003.jpeg

14-LIPService-2003.jpeg

Works from the City of Vancouver collection

L.I.P. Service

Jemima Stehli

Catherine Thomas

The work of this British artist explores the relationships between aesthetics, gender and desire. Using her own nude body, Stehli restages iconic images from recent moments of art history and popular culture in order to draw attention to relationships of power, where objectification, agency and pleasure commingle. Her work often goes against the grain of discourses surrounding photographic representation. Her exhibition at the Contemporary Art Gallery will include photographic works from two recent series. Though her references are not explicit, these works carry clear inferences to early work of Vancouver artist, Jeff Wall, which Stehli takes indirections that are distinctly at odds with the ways in which Wall’s work has been received within local practices. 

### Biography

Born in 1961, Jemima Stehli lives and works in London. She has had solo exhibitions at Lisson Gallery, London (2003); ARTRA, Milan (2001); Chisenhale Gallery, London (2000); Artlab, Imperial College, London (2000) and has participated in numerous group exhibitions in Europe. Jemima Stehli is represented by Lisson Gallery in London

Guest Curated by Catherine Thomas

Essay: "What is your premise?," Catherine Thomas

A photograph of an interior photo studio. Most of the image is obscured by an indiscernible blurred shape in the foreground. 

thumbnail_00-HEADER-JemimaStehil.jpg

00-HEADER-JemimaStehil.jpg

Several large-sized photographs are installed on a gallery wall. Those photographs show a naked woman posing in the middle of an artist studio.

thumbnail_01-JemimaStehli-2003.jpeg

01-JemimaStehli-2003.jpeg

Large-sized photographs are installed on the gallery walls. Four photographs visible in this image all show blurred images of a person dancing with a piece of red-coloured fabric. 

thumbnail_02-JemimaStehli-2003.jpeg

02-JemimaStehli-2003.jpeg

Two large-sized photographs are installed on a gallery wall. Both photographs show a naked woman posing in the middle of an artist studio. One image shows the person lying down on the floor.

thumbnail_03-JemimaStehli-2003.jpeg

03-JemimaStehli-2003.jpeg

Large-sized photographs are installed on the gallery walls. Three photographs visible in this image all show blurred images of a person dancing with a piece of red-coloured fabric. 

thumbnail_04-JemimaStehli-2003.jpeg

04-JemimaStehli-2003.jpeg

mm, Studio

Scott McFarland

Scott McFarland is an emerging Vancouver artist whose photographs are highlighted by meticulous staging. McFarland documents a discrete range of subjects in serial format, and his close attention to the minutia of his topic allows for an empathetic, yet critical viewpoint. The exhibition at the Contemporary Art Gallery will concentrate on one of these ongoing projects: a large body of photographs detailing the interior and exterior of a rural cabin on BC’s Sunshine Coast. McFarland's naturalistic staging and close cropping suggest photo-journalism in their approach, however the familiarity with which his images emphasize and valorize objects and personal artifacts accumulating within the cabin detail a more subjective, involved relationship. 

### Biography

Scott McFarland received a Bachelor of Fine Arts from the University of British Columbia in 1997, and has had recent solo exhibitions at the Sharon Essor Gallery, London and Monte Clark Gallery, Toronto and Vancouver. He has participated in recent group exhibitions at the Morris and Helen Belkin Gallery, Vancouver and the Vancouver Art Gallery, as well as in Berlin, Germany and Salamanca, Spain.


Essay: "Lavender Oil," Reid Shier

A photograph by Scott McFarland depicting the interior of a domestic space, which appears to be a living room with a wood burning stove, bookshelves, a couch and wood paneled wall. 

thumbnail_Embers, Late Evening.jpg

Embers, Late Evening.jpg

Two large-sized coloured photographs are installed on the gallery walls. Both of them depict the interior of a wood cabin. The one on the right shows a small fireplace beside bookshelves. 

thumbnail_01-ScottMcFarland-2003.jpeg

01-ScottMcFarland-2003.jpeg

Two photographs are installed on the gallery walls. The photograph on the left depicts cooking mittens. The large photograph on the right depicts a surface of a piece of colourful quilt work. 

thumbnail_02-ScottMcFarland-2003.jpeg

02-ScottMcFarland-2003.jpeg

Two artworks are mounted on the gallery walls. The photograph on the left depicts a wall lamp. The photo collage on the right contains five various photographs taken at different locations.  

thumbnail_03-ScottMcFarland-2003.jpeg

03-ScottMcFarland-2003.jpeg

Lucy Pullen

The work of Victoria artist Lucy Pullen is marked by its conceptual curios­ity and disparate, wide-ranging form. Developing from an interest in performative and collaborative practices, her art often takes the form of rem­nants of staged actions. This show includes Pullen's most recent work, a series of meticulous double-line drawings composed on metallic paper. From a distance, the intricate, circuitous patterns appear made by computer, but on closer inspection reveal themselves to be laboriously rendered in free hand. A sculptural work is paired with this suite of drawings, and together form the first solo exhibition of works by the artist in Vancouver. 

Essay: “Lucy Pullen: A Thousand Miles of Dust and Ashes,” Reid Shier

This is a close-up view of a circular shaped sculpture made by Lucy Pullen. On its silver metallic surface, an abstract line drawing is made. The drawing looks like leaves emerging from fishing nets.

thumbnail_08-LucyPullen-2003.jpeg

08-LucyPullen-2003.jpeg

Four artworks are installed in a gallery space. A large grey sculpture sits on the floor. A  framed black and white photograph and two circular shaped sculptures are mounted on the walls.

thumbnail_01-LucyPullen-2003.jpeg

01-LucyPullen-2003.jpeg

A large grey sculpture that looks like a tangled fishing net is placed in the middle of the gallery floor. Three circular shaped sculptures that resemble white marble are mounted on the walls. 

thumbnail_02-LucyPullen-2003.jpeg

02-LucyPullen-2003.jpeg

A framed black and white photograph is mounted on a wall. It depicts the entire body of a woman standing on a street at night. This person wears a skirt that reflects the flashing light of the camera.

thumbnail_03-LucyPullen-2003.jpeg

03-LucyPullen-2003.jpeg

A large grey sculpture that looks like a tangled fishing net is placed in the middle of the gallery floor. Five circular shaped sculptures that resemble white marble are mounted on the walls. 

thumbnail_04-LucyPullen-2003.jpeg

04-LucyPullen-2003.jpeg

Two circular shaped sculptures are mounted on the gallery wall. They both have a silver metallic surface, on which some abstract line drawings are made. 

thumbnail_05-LucyPullen-2003.jpeg

05-LucyPullen-2003.jpeg

This is a close-up view of a circular shaped sculpture made by Lucy Pullen. On its silver metallic surface, an abstract line drawing is made. The drawing looks like two marionettes dancing together. 

thumbnail_06-LucyPullen-2003.jpeg

06-LucyPullen-2003.jpeg

A large grey sculpture that looks like a tangled fishing net is placed in the middle of the gallery floor. Four circular shaped sculptures that resemble white marble are mounted on the walls. 

thumbnail_07-LucyPullen-2003.jpeg

07-LucyPullen-2003.jpeg

A Thousand Miles of Dust and Ashes

James Carl

Toronto artist James Carl likes to mix things up — to confound references and test limits and then to step back and watch things get funny. With a title such as *Plot*, the installation that he is preparing for the Contemporary Art Gallery, he could be reciting a cozy bedtime story, alluding to a secret con­spiracy or making a claim to some domestic real estate. Combining sculp­ture with graphic work, *Plot* demonstrates his contrary approach to tradi­tional artistic methods and materials, and the ways these things are both conditioned and altered by expectation and use. 


Interview: James Carl and Christina Ritchie

Seventeen paper-made boxes are installed in a gallery space. Some of them are just black and other boxes' surfaces mimic wood patterns. Some of the boxes are open and most of them are closed. 

thumbnail_00-HEADER-JamesCarls2003.jpg

00-HEADER-JamesCarls2003.jpg

Two small grey desks are placed in a gallery space. The gallery wall behind the tables is covered with a black and white abstract pattern that looks like an enlarged photograph of a TV screen. 

thumbnail_01-JamesCarl-2003.jpg

01-JamesCarl-2003.jpg

In the corner of a gallery space, A large black and white shape of a map is printed on a wall. The map is blank and half folded. Two hammer toys are placed on the floor close to the wall. 

thumbnail_02-JamesCarl-2003.jpeg

02-JamesCarl-2003.jpeg

A small grey table is placed in a gallery. Its tabletop looks like that of a ping pong table. The gallery wall is covered with a black and white pattern similar to a wood surface. 

thumbnail_03-JamesCarl-2003.jpeg

03-JamesCarl-2003.jpeg

This is an installation shot of CAG’s building facade. Silhouettes of household objects such as cleaning sprays are printed at the top of the windows. Books are installed inside the window spaces.