Past Exhibitions

Traffic: Conceptual Art in Canada 1965-1980

September 29, 2012 ?January 20, 2013

FILE Megazine, Mr. Peanut Issue
General Idea (with Image Bank),
FILE Megazine, Mr. Peanut Issue, Vol. 1, No. 1, April 1972
Morris/Trasov Archive at the
Morris and Helen Belkin Art Gallery

Gerald Ferguson
1,000,000 Pennies, 1980
Gerald Ferguson
1,000,000 Pennies, 1980
azo dye print
Courtesy of Heather and Doug Ferguson

Gordon Lebredt
Gordon Lebredt
Get Hold of This Space, 1974
latex paint on wall
Collection of Lin Gibson
Conceptual art is widely considered to be the most transformative art movement of the late 20th century. Marked by political unrest in the 1960s, it challenged the idea of art as a form of individual expression or special technical skill. Rather than adding objects such as paintings or sculptures to a world already full of "things," conceptual art engaged critically with the conditions that have defined art as well as new systems of meaning-making in an age of mass media. Traffic: Conceptual Art in Canada 1965-1980 is the first major exhibition to track the impact of conceptual art as it was taken up across the country. Comprising work by more than 90 Canadian and international artists, it examines the complex, rigorous and diverse forms in which conceptual art appeared and the ways in which its premises were inflected by the specific needs, interests and geographic situations of Canadian artists, collectives and communities. Traffic is organized along regional lines while at the same time emphasizing the effervescent, sometimes contentious, lines of traffic between them.

Organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery (Concordia University), Halifax INK, and with the support of the University of Toronto Art Centre, Blackwood Gallery (UTM) and Doris McCarthy Gallery (UTS). Curated by Grant Arnold, Catherine Crowston, Barbara Fischer, Michèle Thériault with Vincent Bonin, and Jayne Wark.


With generous support from:
Concord Pacific
Aymong Family Trust