Contemporary Toronto Artists: Artists A-D

Co-published by Dunlop Art Gallery. Exhibition held at Art Gallery of Calgary, Feb. 8, 2002-Apr. 7, 2002 and at Dunlop Art Galley, Regina SK, July 13-Sept. 8, 2002.

"Through his judicious alteration of scale and function, Canadian based artist, Kim Adams, playfully manipulates everyday objects, toys, vehicles and mass-produced shelters into an art all his own. This tiny but action packed catalog opulently illustrates through extensive color reproductions two concurrent exhibitions: a major survey of Adam's work from 1983-2001 sponsored at The Power Plant and Bruegel-Bosch Bus, at Oakville Galleries. Featured essays by Tomas Pospiszyl and Marnie Fleming, along with an interview by curator Marc Mayer."

Catalogue of an exhibition held at Centraal Museum Utrecht, September 2 - October 29, 1995.

Catalogue of an exhibition held at the Galerie Christiane Chassay, Montreal from October 2 to October 3, 1993.

Catalogue of a solo exhibition held March 13 to April 26, 1992, at The Power Plant, Toronto, and July 4 to September 13, 1992, at the Oakville Galleries.

"Patton locates Adams' work within the context of Canadian art and approaches its content using notions of model, utility and eccentricity. Madill outlines how the artist synthesizes the complex relationships between mass culture and technology." -eARTEXTE

Canadian sculptor Kim Adams, known for transforming ordinary manufactured items into miniature worlds and fantastical machines, discusses his survey exhibition held at the Power Plant Gallery in Toronto, Ontario, in 2001.

Catalogue (poster) of an exhibition held at the Institute of Contemporary Arts, May 5 to June 11, 1987. Essay: Philip Monk.

"This catalogue, published in conjunction with an exhibition at the Art Gallery of Ontario, looks at the life and work of Toronto-based artist Stephen Andrews, highlighting his paintings, drawings and videos of the last decade. Stephen Andrews has exhibited his work in Canada, the US, Brazil, Scotland, France and Japan. He is represented in the collections of the National Gallery of Canada, Art Gallery of Ontario, Morris and Helen Belkin Art Gallery, Vancouver, and the Schwartz Collection, Boston, as well as numerous other public and private collections. His work explores memory, identity, technology and their representations in various media including drawing, animation and recently painting and ceramics." --Provided by publisher.

Catalogue of an exhibition held at Gallery TPW, Jan. 18-Feb. 17, 1996 and Mount Saint Vincent University Art Gallery, Halifax, Jan. 9-Mar. 8, 1998.

"Provenance Unknown" brings together two new bodies of work by Toronto artist Sara Angelucci, "The Anonymous Chorus" and "Aviary," both inspired by found, anonymous (unattributed) photographic portraits that the artist purchased on eBay. These works represent a distinct shift in the artist's practice. Here, Angelucci moves away from exploring the familiar to interrogating the anonymous; from investigating her own identity (and family lineage) to tracing the history of others. Throughout her eccentric inquiry into the "live-ness" of the photographic portrait, she performs as well the role of amateur historian, only to very different ends. In these works, she mixes analogue sources and digital techniques and combines artistic genres through collaboration with composers, singers, and ornithologists. "The Anonymous Chorus" and "Aviary" open a temporally suspended space between past and present, where the subjects of these lost portraits may come to life, once again--in a transformed state of being." -- Provided by publisher.

A series of film segments, all taken from the last few seconds of Super 8 family films and all containing the film holes used by Kodak to identify each roll of film.

"Surveying two decades of Astman's artistic practice, Wylie refers to many of the artist's past statements on her work." -eARTEXTE

"Highlighting a continuity with Astman's early camera works, Allen describes the art historical influences in the artist's linoleum architectural reconstructions of memories and dreams. Includes excerpts from Astman's working notes." -eARTEXTE

"Looking at the development of Astman's ideas and photographic work, Freedman focuses on the artist's use of herself, objects and color to examine the relation of images and communication. -eARTEXTE

Catalogue of an exhibition held at the Art Gallery of Ontario from July 12 to October 21, 2018.

Catalogue of an exhibition held at the Vancouver Art Gallery, Jun. 7-Oct. 5, 2008.

Published in conjunction with the 51st Biennale di Venezia.

Catalogue of an exhibition held at the Mackenzie Art Gallery, Regina,March 29-June 2, 2003.

"The named and the unnamed is from the performance Vigil (June 23, 2002), held at the corner of Gore Street and Cordova Street, Vancouver"--Page 61.

Rebecca Belmore located her PROTEST piece (a giant megaphone) on top of a hill overlooking the clearcut area near the Protectors of Mother Earth camp at the Wiggins Bay Blockade. This video is a document/conversation with Rebecca about her way of working and how art is seen by the people.

"Toronto artist and architect Brian Boigon speed-reads hypercity Tokyo. It is the artist's book of photo collages and essays; a stimulating mix of theory and fiction. The book was published simultaneously with the exhibition." -- From the publisher

"Collaborating with a varied cast of characters--beekeepers, mycologists, astronomers, physicists, bees, cats, snowballs, tango dancers, passersby, plants, curators, hotel porters--Canadian artist Diane Borsato creates works that propose eccentric models for relating to one another and to the world."-- From the publisher

Catalogue of an exhibition held at the Art Gallery of York University in 2003.

Catalogue of an exhibition held at the Power Plant, 3 February to 2 April, 1995. Essay: Gregory Salzman.

"The catalogue highlights the artist’s practice, which spans a diversity of media, including fine craft, drawing, sculpture, experimental performance and immersive installations." -- From the publisher

"This major publication features all new works, many created especially for Boyle's first solo museum exhibition, touring nationally throughout 2011." -- From the publisher

"Otherworld Uprising is the first major monograph for Toronto-based Shary Boyle, who is becoming known for her uncanny and exquisite porcelain figurines that skillfully subvert the historical expectations inherent to this traditional material. Boyle's multifaceted practice also includes figurative drawing, painting and performances that give voice to the under-represented--children, animals and women--while also taking on aspects of the spiritual and the metaphysical. Through dream-like references to mythology and fairytales, her imagery illustrates female desire from a female point of view." -- From the publisher

"In Witness My Shame, a collection of 16 mini-comics, Shary Boyle creates images of childhood and adolescence, exploring issues of power, gender, sexuality, and dysfunction." -- From the publisher

Catalogue of an exhibition held at the Southern Alberta Art Gallery, October 1-23, 1983. Essay: Joan Stebbins.

"An exquisite operator's manual for Burns' battery-operated radio broadcasting unit and the 17 jerry-rigged bird-call devices he produced for his exhibition at Berlin's KW Institute for Contemporary Art. Beautiful hand-drawn diagrams instruct users on proper use, while photos document the project's installation at KW and a receiver station in Buenos Aires." -- From the publisher

"Part exhibition catalog, part sales catalog, this exquisitely designed hardcover edition presents the entire line of hand-made safety gear for small animals: miniature hats, gloves and safety vests." -- From the publisher

"A bookwork in the form of a naturalist's guide. Complete with animal care tips, a passage on the needs of animals, and illustrations of urban animals in their natural habitats. Spy on mice nesting in a power drill, and chipmunks with skunks in a Volkswagen's trunk. Text in English and French." -- Art Metropole

Catalogue of an exhibition held at Mercer Union, November 9 to December 23, 1995.

A production of Galerie Rochefort, Montreal with the assistance of Dunlop Art Gallerie-Regina Public Library, Regina; Mackenzie Art Gallery, Regina; Mendel Art Gallery, Saskatoon.

Catalogue of an exhibition held at the Power Plant, 7 May to 6 September 1993

Catalogue of work by David Buchan, published by Glenbow Museum.

There is no life without water. This book tells the story of where water comes from, how we use it, distribute and waste it. Often from a bird's-eye perspective, Burtynsky shows us water's remote sources, remarkable ancient stepwells and mass bathing rituals, the transformation of desert into cities with waterfronts on each doorstep, the compromised landscapes of the American Southwest. Furthermore, Burtynsky explores the infrastructure of water management: the gigantic hydroelectric dams and terraced rice fields in the heart of China, the vast irrigation systems of America's bread basket and the use of aquaculture. Burtynsky's photographs are both poetic and relevant: they reveal another vital component of our life on earth that drives the bloom of civilization, and foreshadow the extent to which our future depends on our everyday interaction with this increasingly scarce resource.

"Burtynsky's latest body of work gives visual form to the industrial and urban transformation of China, a place where industrial forces are gathering on a scale that the world has never experienced before. If the earth's resources were up to now under siege through western colonialism and technological progress, then China is on the brink of a sweeping assault on the planet's ecosystem that is only just forming and is nowhere close to expressing its full impact." -- From the publisher

"In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution." -Burtynsky

"Over a twenty-five year career exploring the landscape as transformed by industry, the celebrated Canadian photographer Edward Burtynsky has accumulated a body of work on large scale quarries around the world. Including Canada, Italy, China, Spain, Portugal, India and America these thought provoking studies of sites that are created as we dig into the earth for material in order to build our cities, urge us to consider how we as viewers are simultaneously attracted yet repulsed by these landscapes - somewhere a building is created while a landscape is destroyed."-- From the publisher

"Over a period of 25 years, the internationally renowned Canadian photographer Edward Burtynsky has been an explorer of unfamiliar places where human activity has reshaped the surface of the land. His astonishing large-scale colour photographs of the landscapes of mining, quarrying, railcutting, recycling, oil refining and shipbreaking uncover a stark, almost sublime beauty in the residue of industrial "progress". The implicit social and environmental upheavals that underlie these images make them powerful emblems of our times. This catalogue of a major retrospective of Burtynsky's work features essays by Lori Pauli, Kenneth Baker and Mark Haworth-Booth, as well as a wide-ranging interview with the artist by Michael Torosian." -- From the publisher

"Manufactured Landscapes is a feature documentary on the work of internationally renowned artist Edward Burtynsky. The film follows him as he travels through China photographing the evidence and effects of that country's massive industrial revolution. The Three Gorges Dam, factory floors a kilometre long and the breathtaking scale of Shanghai's urban renewal are subjects for his lens. Shot in Super-16mm film, the documentary extends the narratives of Burtynsky's photographs, meditating on the human impact on the planet without trying to reach simplistic judgements or reductive resolutions. In the process, it shifts our consciousness about the world and the way we live in it." -- From the publisher

"Documentation of a lecture held at the Ontario College of Art and Design by photographer Edward Burtynsky on November 21, 2005, in which he discusses his use of photo images to heighten awareness of environmental damage produced by industrial growth." -- From the publisher

Published as a booklet by Art Metropole to accompany a three-tape package of Colin Campbell’s work.
"Gale reviews the progression of Campbell's work from video to film to writing, commenting on the nine videos in this retrospective and identifying the artist's preoccupation with shifting identities, sexuality, and psychological doubt." -eARTEXTE

Catalogue of an exhibition held at the Winnipeg Art Gallery, Dec. 15, 1990 - Feb. 24, 1991 and touring to several other locations. "Ferguson comments on Campbell's use of specific local themes rather than universal generalizations, while Tuer describes his simulation and appropriation of mass culture. Marshall examines his subversion of the codes of media production through his use of self-representation to focus on the relationship between truth and subjectivity. Includes an interview with the artist, a biography, videography, a videoscript and descriptions of videos." -eARTEXTE

Publication of an essay by Bruce Ferguson based on a presentation at Art Metropole on April 25, 1991.

Publication reproducing excerpted transcripts from the videotape Modern Love by Colin Campbell, 90 minutes, b/w, sound, 1978. Published in a limited edition of 500 copies.

Publication of excerpts from a video entitled The Woman from Malibu, 1976, b/w, sound, 30 minutes. Includes biography, bibliography, and videography.

Set of three videotapes, published by Art Metropole. Tape 1: "Sackville, I'm Yours" (1972, 15 min.); "Janus" (1973, 20 min.); "Hindsight" (1975, 23 min.); and "Hollywood & Vine" (1976, 20 min.). Tape 2: "Bad Girls" (excerpt, 1980, 6 min.); "Conundrum Clinique" (1981, 14 min.); "No Voice Over" (1986, 25 min.); and "Skin" (1990, 18 min.) Tape 3: "Dangling By Their Mouths" (1980, 60 min.)

Catalog of an exhibition held at the National Gallery of Canada.

Catalogue of an exhibition held at the Justina M. Barnicke Gallery, Toronto, Ont., Nov. 22, 2008-Jan. 25, 2009, at the Macdonald Stewart Art Centre, Guelph, Ont., Jan. 17-Mar. 22, 2009 and at the Cambridge Galleries, Cambridge, Ont., Jan. 17-Mar. 1, 2009.

"Ian Carr-Harris makes works that pass for other things, but are not quite. He makes sculptures that look like furniture, but have no such function. Carr-Harris poses them in the gallery space, creating a theatrical effect, as if they were part of some occluded narrative that we are too late to experience. The school bookish works included in the exhibition seem preponderantly about ruin, loss and abandonment; they are memorial and melancholic emblems of allegory." -- From the publisher

Catalogue of an exhibition held March 16-May 5, 1996 at the Southern Alberta Art Gallery in Lethbridge, and at 4 other locations in Canada through Jan. 31, 1999. Catalogue essay, "Truth & desire: the illuminated bookworks of Ian Carr-Harris" by Walter Klepac.

This publication reflects and expands on an installation at Galerie Optica in January 1994.

Catalogue to accompany an exhibition held at Galeria Carles Poy, Barcelona, Ecole des beaux arts, Metz, and Centre d'Art Contemporain d'Herblay. "Renau identifies the fundamental themes of Carr-Harris' work (desire for self-knowledge and natural/social dichotomy) while Cummins investigates its intertextual aspects. Neddam examines the effect produced by the element of 'deception'." -eARTEXTE

Catalogue to accompany an exhibition held at the Art Gallery of Ontario, Nov. 12, 1988-Feb. 5, 1989.

Catalogue of an exhibition held at the Dalhousie Art Gallery, 7 January to 14 February, 1982.

Catalogue for the exhibition Carlo Cesta : Flourish Inc., held at the Koffler Gallery, Aug. 21-Oct. 12, 1998.

Catalogue of an exhibition held at the Art Gallery of Ontario, Toronto from October 26, 1994 to January 8, 1995.

Catalogue of an exhibition held at the Frederick Horsman Varley Art Gallery of Markham, Markham, Ont., from Sept. 26, 2010 - Jan. 30, 2011 and at the Textile Museum of Canada, Toronto, Ont., from Nov. 7, 2010 - May 1, 2011.

Catalogue of an exhibition held at the Art Gallery of Mississauga, Oct. 25-Dec. 7, 2001; Mount Saint Vincent University Art Gallery, Halifax, Jan. 2-Feb. 24, 2002; Tom Thomson Memorial Art Gallery, Owen Sound, Mar. 8-Apr. 21, 2002; Museum London, May 11-June 23, 2002; Art Gallery of Peterborough, Aug. 3-Oct. 6, 2002; Southern Alberta Art Gallery, Lethbridge, Dec. 7, 2002-Jan. 19, 2003; and the Illingworth Kerr Gallery, Calgary, Feb. 15-Mar. 15, 2003.

"Quinton weaves quotes from conversations with the artist into her perceptions of his work, which lie somewhere between the tangible and the ineffable. For her, Chan’s use of materials, toothpicks clustered along thread nailed to the wall, creates an unstable plane that renders the familiar inexpressible and reinvents common practices and tasks, like collecting or weaving. Carpenter, like Quinton, finds Chan’s work to be deceptively simple. In his notes, Chan avers to the transformation of the energy of daily life into creativity, based on a notion of paradise that is uncertain but necessary." -- eARTEXTE

Catalogue to an exhibition at the Craft Gallery, Toronto, Feb. 4-Mar. 1, 1987.

"Corinna Parks used to have big plans. While studying English Literature in college, she imagined writing a successful novel and leading the ideal life of an author. After graduation, she moved to a big city and took a job at an advertising agency--just to pay off her student loans--but now she's worked in the same office for five years and the only thing she's written is . . . copy. She longs for companionship (other than her cat), receives no satisfaction from her job, and feels numbed by the monotony of a life experienced through a series of screens. But whenever she shoplifts a magazine from the corner store near her apartment, she feels a little, what? A little more alive. Yet Corinna knows there must be something more to life, as she faces the question everyone of her generation is right now: how to find it?" -- Provided by publisher.

"Toronto's hidden passageways brought to life in a celebration of urban life: Michael Cho began creating drawings of the back alleys near his Toronto home in 2006. With this book, he has amassed a collection that speaks to the beauty of the urban landscape: sometimes grittily citified, sometimes unexpectedly pastoral, and always bewitching." --Book jacket

"This is the coming-of-age tale of a young woman, set in the urban environments of Toronto and Vancouver. The clarity of specific landmarks - the mountains, rain and Wreck Beach in Vancouver, the CN Tower, winter slush and Victorian row houses in Toronto - allows for easy identification but also serves to articulate the disjointed life of a character forever compromised by distance." --Publisher's description.

Catalogue of an exhibition held at the Koffler Gallery, November 10 to December 30, 1994. Guest Curator: Carolyn Bell Farrell. Essays: Carolyn Bell Farrell, Alexandre Bohn.

"To date, much of the attention on Collyer’s art has been focused on his sculptural work. This is the first publication to deal extensively with Collyer’s photographs, dating from 1970-98." -- From the publisher

Part of a two volume set of exhibition catalogues under the title Canada XLVth Beinnale di Venezia. Vol. 1, also titled Robin Collyer: Idioms of Resistance, is based on the exhibition at the Art Gallery of Ontario held from Jan. 24 - Apr. 18, 1993.

Part of a two volume set of exhibition catalogues under the title Canada XLVth Beinnale di Venezia. Vol. 2 is a catalogue of the Robin Collyer installation in the XLVth Biennale di Venezia held from Jun. 13 - Oct. 10, 1993. Vol. 2 may also be considered an artists book.

Catalogue of an exhibition at the XLV Biennale di Venezia, June 13, 1993 to October 10, 1993

Catalogue of an exhibition held at Credac, Ivry-sur-Seine, France and at the Musee des Beaux-Arts, Mulhouse, France.

Catalogue of an exhibition held at the Alberta College of Art Gallery, February 8 to March 1, 1990. Essay: Jeanne Randolph.

For the last 35 years artist-activists Carole Condé and Karl Beveridge have been engaging issues of social justice through their extraordinary staged photography. This documentary explores their stunning body of work, and witnesses the artists in action - creating provocative new images about the environment, the rights of workers and the current global financial crisis. An intimate view of subjects who shun celebrity, Portrait of Resistance is about two artists who challenge the way we see our world.

"This book "presents the first comprehensive examination of the collaborative art practice of Canadian photographic artists Carole Condé and Karl Beveridge, featuring 112 colour reproductions that illustrate their major photographic projects spanning a thirty-year career of working with organized labour to represent the increasingly complex relationships between paid work and global ethical and environmental concerns."-- Book jacket.

A look at the work of Canadian photo artists Carole Conde and Karl Beveridge, whose photomontages have highlighted issues raised by community groups and trade unions for more than 25 years.

"Catalogue for the exhibition "Recent histories", April 30-May 30, 1998".

Publication of a visual series based on interviews with Members of The Industrial Sector, CWC. An eductional project of the CWC.

Catalogue of an exhibition held at the Toronto Sculpture Garden, November 16, 1993 to April 15, 1994

Exhibition held at Agnes Etherington Art Centre, Kingston, Ont., Dec. 2, 1990 - Feb. 3, 1991.

"Maintenance in the Year of … is the work of artist Stephen Cruise, a treasury of days culled from the bedside diaries in which he recortded his life in dream state. Meticulous drawings, precise wording that avoids self-interpretation, Maintenance in the Year of … approximates the notes of a traveller in a foreign land; the experience is all." -- From the publisher

"Referencing Mallarme, Euclid and Nijinsky, Davis presents four new works which explore the relationships between geometry, dance and time. Over the last twenty years, the Toronto-based artist has developed an installation practice that, while eschewing easy classification, has resulted in a range of highly evocative works that are intellectually demanding, yet resonate on visual, visceral and material levels." -- From the publisher

Catalogue of an exhibition held at the Macdonald Stewart Art Centre Sept. 23 - Oct. 30, 1993.

"This catalogue was published to accompany the exhibition Ruins (of the floating staircase), March 9-May 3, 2002 ..."--Colophon.

Catalogue of an exhibition held in the Canadian Pavilion during the Venice Biennale, Venice, Italy, June 12-November 7, 1999.

"According to Antaki, Dean's sculptures made of bronze and hair describe the 'mutability of life and matter.'" - eARTEXTE

"This catalogue documents an exhibition of work completed while Dean was an Artist-in-Residence at York University. The three essays by Christopher Dewdney, A. A. Bronson, and Catherine Crowston attempt to characterize his diverse output. These essays are further complemented by an artist’s text and drawings." - From the publisher

Catalogue of an exhibition held at Oakville Galleries, January 12 to February 12, 1989. "Dewdney focuses on Dean's arrangement and display of objects on table tops. In an excerpt from a 1980 text, the artist describes perception, surfaces and planes." -eARTEXTE

Catalogue of an exhibition held at the Walter Phillips Gallery, February 2 to March 1, 1987.

"From its opening pages, Ant Colony immerses the reader in a world that is darkly existential, with false prophets, unjust wars, and corrupt police officers, as it follows the denizens of a black ant colony under attack from the nearby red ants. On the surface, it's the story of this war, the destruction of a civilization, and the ants' all too familiar desire to rebuild. Underneath, though, Ant Colony plumbs the deepest human concerns--loneliness, faith, love, apathy, and more. All of this is done with humor and sensitivity, exposing a world where spiders can wreak unimaginable amounts of havoc with a single gnash of their jaws." -- From the publisher.

"Teenage misfits and adolescent rabble-rousing take center stage in this dark coming-of-age tale Big Kids is simultaneously Michael DeForge's most straightforward narrative and his most complex work to date. It follows a troubled teenage boy through the transformative years of high school as he redefines his friends, his interests, and his life path...Eerie and perfectly paced, DeForge's Big Kids muses on the complicated, and often contradictory, feelings people struggle with during adolescence, the choices we make to fit in, and the ways we survive times of change." -- From the publisher.

A major star of minor crime struggles for delinquency relevancy as she ages out of the delinquent scene she pioneered. Michael DeForge presents the mid-career crisis of a merry prankster in his singular style that blurs the banal with the absurd.

"When a group of outcasts have to leave the valley, how will they survive the toxicity of the big city?" -- From the publisher.

"Sticks Angelica is, in her own words, "49 years old. Former: Olympian, poet, scholar, sculptor, minister, activist, Governor General, entrepreneur, line cook, headmistress, Mountie, columnist, libertarian, cellist." After a high-profile family scandal, Sticks escapes to the woods to live in what would be relative isolation were it not for the many animals that surround and inevitably annoy her. Sticks is an arrogant self-obsessed force who wills herself on the flora and fauna. There is a rabbit named Oatmeal who harbors an unrequited love for her, a pair of kissing geese, a cross-dressing moose absurdly named Lisa Hanawalt. When a reporter named, ahem, Michael DeForge shows up to interview Sticks for his biography on her, she quickly slugs him and buries him up to his neck, immobilizing him. Instead, Sticks narrates her way through the forest, recalling formative incidents from her storied past in what becomes a strange sort of autobiography." -- From the publisher.

Culled from mini comics, online comics, and anthology contributions, Very Casual collects notable short stories from Michael DeForge's prolific oeuvre. Included are stories about litter gangs, meat-filled snowmen, righteous cops, beagle/human hybrids, and forest-bound drag queens.

Short, succinct and, more often than not, strange stories have always been a central part of Michael DeForge's oeuvre. In a career that's volume outweighs its years, DeForge's most powerful work has often been his most pithy.

Long after the demise of humankind, birds roam freely around a new earth complete with fruitful trees, sophisticated fungal networks, and an enviable socialist order. The universal worm feeds all, there are no weekends, and economics is as fantastical a study as unicorn psychology. No concept of money or wealth plagues the thoughts of these free-minded birds. Instead, there are angsty teens who form bands to show off their best bird song and other youngsters who yearn to become clothing designers even though clothes are only necessary during war.

In a thoroughly modernized, constantly updating society, where can true connection be found? The bodies of citizens and the infrastructure surrounding them is constantly updating. People can't recognize themselves in old pictures, and they wake up in apartments of completely different sizes and shapes. Commuter routes radically differ day to day. The citizens struggle with adaptability as updates happen too quickly, and the changes are far too radical to be intuitive. There is no way to resist--the updates are enacted by a nameless, faceless force. Familiar Face is a masterful and deeply funny exploration of how we define our sense of self, and how we cope when so much of life is out of our control.

Catalogue of an exhibition held at the Woodland Cultural Centre, Brantford, Ontario, 2004.

A documentary about Serpent River and the community that lived around it, including history, legend, art and stories about the river. Includes artwork by Bonnie Devine.

Exhibition held at the Canada House Gallery, London, April 1-June 24, 2005 and at the Agnes Etherington Art Centre, Sept. 25-Nov. 28, 2005.

Catalogue of an exhibition held at the Laurentian University Museum and Arts Centre, April 12 to May 7, 1989.
Includes biography.

Number Eight in the "Top Stories" series, featuring writing by Judith Doyle.

A multilayered video montage is used to argue that nature and culture are inextricably bound, with each one affecting the way we define the other

Computer animation, text, and optical printing are combined to evoke the physical trauma suffered by artist Andy Patton when he broke his back and endured the subsequent medical treatments.