The Vancouver Art Gallery’s Artist Editions program produces limited edition artworks by distinguished local and international artists and offers these works for sale exclusively through the Gallery Store. Proceeds from the sale of Artist Editions are used to support Vancouver Art Gallery programs.
Visit the Gallery's new Artist Editions microsite to learn more.
To make a purchase of any one of the ten works in the Artist Edition series, or for more information, please call the Gallery Store at 604.662.4706 or email email@example.com.
edition of 50, 10 APs
69 x 49.5 cm (paper size)
$ 500 (unframed)
This Artist Edition was created by Muntadas specifically for the Vancouver Art Gallery's Artist Edition program in relation to his major show Muntadas: Entre/Between on view at the Gallery from November 9, 2013 to February 10, 2014.
Muntadas has a long history of creating installations and conceptual works that engage the issues of our time from politics and power to business and art. This graphic print relates to a larger work which launches a series of questions in Catalan, Spanish and English-Who? What? Why? How? Where? When? For Who? How Much? In asking these poignant questions in the development of any project, Muntadas probes the ways in which the world functions and in particular how the art world organizes its nomenclature, its language of display, its professional hierarchies, its institutional decisions and its various audiences. How Much? points to the many underlying frameworks imposed on art itself.
A pioneer in the fields of conceptual and media art, Muntadas' practice includes performance, video, photography, multi-media installations, publications, web-based projects and public art. Incorporating in-depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the role of the media in transmitting ideas and information and the dynamics of official architecture and other social frameworks. Muntadas began experimenting with politically motivated actions in the early 1970s. Since that time he has exhibited widely in addition to his career as a professor at such notable institutions as École nationale supérieure des Beaux-Arts, Paris; the San Francisco Art Institute; Cooper Union, New York; the University of São Paulo; and the University of Buenos Aires. He currently holds the position of Professor of the Practice at the MIT program in Art, Culture and Technology/Department of Architecture in Cambridge, Massachusetts and a Visiting Professor at the IUAV in Venice, Italy. He has participated in many international exhibitions including Documenta V and X, the Venice Biennale (1976, 2005), the Whitney Biennial (1991) and biennials in São Paulo, Lyon, Taipei, Kwangju, Istanbul and Havana. He has been the recipient of numerous prestigious prizes including the 2009 Velázquez Prize for the Plastic Arts awarded by the Ministry of Culture of Spain. Muntadas lives in New York and Barcelona.
Contact Sheet for L’Après-Midi
silver gelatin print
edition of 65, 5 APs
27.9 x 35.6 cm (image size)
$ 475 (unframed)
This Artist Edition was created by Ian Wallace specifically for the Vancouver Art Gallery's Artist Edition program in relation to his major retrospective Ian Wallace: At the Intersection of Painting and Photography, on view at the Gallery from October 27, 2012 to February 24, 2013.
Ian Wallace is an internationally renowned Vancouver-based artist known for his conceptual photo-based work. Wallace was among the first to use large-format photography in the 1970s, essentially equating photography with the scale of cinema, advertising and history painting. This strategy has been significant in redefining the nature of picture-making in the 20th century.
Contact Sheet for L’Après-Midi is a black and white silver gelatin contact print created from negatives Wallace shot in 1977 for the works L’Après-Midi and Colours of the Afternoon, which are included in his current exhibition. The work is a series of images depicting a close up of a woman’s face with her eyes closed and her hands pressed against her temples. The sequence features her hands as they move to cover her face and then focuses on her hands and arms as she washes them in the pebble-filled water. This gesture suggests a moment of revelation or enlightenment; the washing of her hands is not only a literal cleansing, but also suggestive of purity, with the idea that the subject is experiencing a moment of transformation. During the 1970s, influenced by cinema and wishing to link photography to the discourses of contemporary art, Wallace experimented with sequential imagery. Of his work during this period Wallace has stated that he “…had to go beyond the discrete and singular image that was typical of classical photography, and to gather images into dramatic sequences, directly influenced by cinema, and serial arrangements directly influenced by abstract minimal sculpture, in order to present a compositional logic that emphasized syntax and rhetorical or dramaturgic devices. This was an expanded notion of what I called in 1969 ‘a literature of images.’” Although produced at a much smaller scale, this work relates to Wallace’s large-scale panoramic work of the 1970s depicting sequences of images.
Wallace was born in Shoreham, England in 1943 and moved to Canada in 1944. He has exhibited his work since 1965, including solo exhibitions at Art Gallery of Ontario, Toronto (1975); Vancouver Art Gallery (1988); Hamburg Kunstverein (1998); Witte de With, Rotterdam (2008); Kunsthalle fur die Rheinlande und Westfalen, Dusseldorf (2008); Kunsthalle Zurich (2008); Mackenzie Gallery, Regina (2010); and The Power Plant, Toronto (2010.) His work has also been included extensively in group exhibitions internationally. Wallace was recognized with a VIVA Award of Honour in 1997, the Canada’s Governor General’s Award in Visual Art in 2004 and the Molson Prize from the Canada Council for the Arts in 2009. His work is held in prominent public and private collections nationally and internationally, including Art Gallery of Ontario, Toronto; Generali Foundation, Vienna; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Musée d’art contemporain, Montréal; National Gallery of Canada, Ottawa; and Vancouver Art Gallery.
The Fifth Night, 2010
ink jet print
edition of 50
56 x 37.3 cm (image size)
$ 675 (unframed)
This Artist Edition was created by Yang Fudong specifically for the Vancouver Art Gallery’s Artist Edition program in conjunction with his solo exhibition Yang Fudong: Fifth Night, presented at the Gallery from May 12 through September 3, 2012.
Yang Fudong is a Shanghai-based artist who produces dramatic and highly stylized films and installations. His works, often described as dream-like, engage the cinematic traditions of both Hollywood and experimental film while referencing the changing cultural conditions of contemporary China.
In Fifth Night, a single scene has been filmed simultaneously from seven different vantage points to create an open-ended narrative. The scene depicts a number of figures who wander and cross paths in a dark city square. This disjunctive narrative offers a sense of dislocation that is reflective of the new China as well as a rapidly changing contemporary society, and explores the tension between traditional ideologies/values, and recent modernization. Described by the artist as “a midnight theatre for an audience of one,” the film explores internal dialogues and emotive states during this “loneliest hour of the night.” For this Artist Edition, Yang Fudong selected a single image from his seven-screen installation that captures some of the mysterious and poetic beauty of his film: a young woman in a floral dress gazes into the distance while a young man stands behind her, his gaze fixed on her.
Yang Fudong graduated from the China Academy of Fine Art, Hangzhou, in 1995 and is one of the most significant and influential artists to emerge in China since the 1990s. He has exhibited at the Venice Biennale (2003, 2007), Documenta XI, Kassel (2002), Shanghai Biennale (2002), Carnegie International, Pittsburgh (2005) and Asia Pacific Triennial, Brisbane (2006.) His work also is in numerous public collections, including The Museum of Modern Art, New York and Centre Pompidou, Paris.
Live from the ‘Latch, 2012
archival pigment print
edition of 67
50.8 x 35.6 cm (image size)
$ 225 (unframed)
This edition was created by Sonny Assu specifically for the Vancouver Art Gallery’s Artist Edition program in relation to his work in Beat Nation: Art, Hip Hop and Aboriginal Culture on view at the Gallery from February 25 – June 3, 2012.
Assu, a multi-disciplinary artist, is Laich-kwil-tach of the We Wai Kai Nation (Cape Mudge.) Using a range of materials, he merges Northwest Coast Aboriginal iconography with the aesthetics of popular culture as an exploration of his mixed ancestry. His work appropriates, or transforms, items of consumer and popular culture to trace the lineage of his own personal life.
The inspiration for the two new works for Beat Nation and this Artist Edition was a double record album Assu encountered, titled “Indian Music of the Pacific Northwest Coast.” Recorded by the musicologist Ida Halpern for the legendary Folkways Records label, the record features Assu’s great-grandfather Chief Billy Assu singing with the renowned Kwakwaka’wakw artist Mungo Martin.
In his work Billy and the Chiefs: The Complete Banned Collection, Assu references the form of the vinyl record by painting a cartoon-like image of a spinning disc overlaid with traditional formline imagery onto sixty-seven traditional deer-hide drums, one for every year the potlatch was banned in British Columbia (1884-1951.) For his Artist Edition Live from the ‘Latch, Assu has created a poster advertising the performance of Billy and the Chiefs on their 1921 “Strict Law” tour, proudly proclaiming that they have been “Banned By Canadian Gov’t.”
Sonny Assu is a graduate of Emily Carr University of Art + Design. His work has been featured in numerous solo and group exhibitions across Canada and the United States, and he recently won the Creative Achievement Award for Excellence in First Nations Art (2011) from the British Columbia Achievement Foundation.
I Can't Believe I'm in Paris, 1995-2011
archival inks on arches watercolour paper
edition of 100
54.6 cm x 68.6 cm
$400 non members; $360 for members (unframed)
edition of 5
104.1 x 134.6 cm
$4,500 non members; $4050 for members.
This edition was produced by Ken Lum in conjunction with his solo exhibition at the Vancouver Art Gallery, on view from February 12 – September 25, 2011.
This work is from a series of repeated text portraits that Lum began to pursue in the 1990s. In this instance, he features a staged image of a smiling woman with a Michelin guide tucked in her arm. She stands on a quay overlooking the Seine River across from the Louvre Museum. Framed by spring blossoms, she wears a heavy coat. There is a scar visible on her left ankle. The repeated text, I can’t believe I’m in Paris, functions as a monologue and suggests her incredulity that she has finally been able to visit the French capital. In this way, the text signifies the woman’s disbelief in terms of achievement. What is implied is that this achievement was hard earned and that it has taken a lifetime of work to reach this point in her life.
Lum works in a variety of media, including sculptures made from rented furniture, photographic portraits combined with faux corporate logos and texts, mazes made of mirrors inscribed with text, and works that mimic the signage affiliated with working class mini-malls.
Ken Lum is one of Canada’s leading international artists. Born in Vancouver in 1956, he studied at Simon Fraser University, where he received a Bachelor of Science degree in 1980 and the University of British Columbia, where he completed a Master of Fine Arts degree in 1985. He taught in the Department of Art History, Visual Art and Theory at UBC from 1990 until 2006, and has also taught at the École Nationale Supérieure des Beaux-Arts in Paris, the Akademie der Bildende Kunst in Munich, the China Academy of Art in Hangzhou and the School of the Arts at Bard College in New York State.
Lum’s work has been widely exhibited since 1978. Solo exhibitions of his work have appeared at Power Plant, Toronto; National Gallery of Canada, Ottawa; Haus der Kulturen der Welt, Berlin; Centre for Contemporary Art, Kitakyushu; Kunstmuseum Luzern, Lucerne; Witte de With, Rotterdam; and the Vancouver Art Gallery (including a major installation at Offsite, the Gallery’s new outdoor exhibition space in 2010) among others. He has been represented in prominent international group exhibitions that include the 7th Gwangju Biennale in Gwangju, Korea (2008); the 10th Istanbul Biennale in Istanbul, Turkey (2007); the Liverpool Biennale, Liverpool, England (2006); the 4th Austrian Triennial on Photography in Graz, Austria (2003); Documenta XI in Kassel, Germany (2002); the 49th Venice Biennale, Venice, Italy (2001) the Habana Biennale in Havana, Cuba (2000); the Shanghai Biennale in Shanghai China (2000); the XXIVth Bienal de São Paulo in São Paulo, Brazil (1998); the 2nd Johannesburg Biennale, Johannesburg, South Africa (1997); and the 46th Venice Biennale, Venice, Italy (1995), among many others.
photographic colour print on archival paper, edition of 50
59.4 x 42.0 cm
signed and numbered
$700 for non-members; $600 for members (unframed)
This edition was produced by Fiona Tan in conjunction with her solo exhibition Fiona Tan: Rise and Fall at the Vancouver Art Gallery, May 8 – September 6, 2010, Tan’s first major exhibition in Canada.
Starting with her film A Lapse of Memory, Tan has been creating photographic series that are connected to her film and video productions but also stand on their own as independent works. Rapids is a photograph that was produced in conjunction with Tan’s two-screen installation, Rise and Fall, which she filmed in Niagara Falls, Belgium and the Netherlands. In Rise and Fall, Tan constructs a narrative of isolation, loss and dislocation by using water as an evocative metaphor for time and for memories of a woman’s life. She intersperses images of an older and younger woman — depicting a story of two lives while suggesting they may be the same person — with images of moving bodies of water. The viewer is shown glimpses of intimate moments – bathing, caresses of a lover, routine make-up application – that both unite and divide these two iterations of a woman separated by time. Rapids similarly juxtaposes two images of moving water, suggesting the passing of time and a separation or dislocation. This image was taken on location at Niagara Falls during the filming of Rise and Fall.
Fiona Tan was born in 1966 in Indonesia. She studied at the Gerrit Rietveld Academie and the Rijksakademie van beeldende kunst in Amsterdam, where she now lives and works. She has been exhibiting in private and public galleries and museums since the early 1990s. Most recently, Tan was selected as the Dutch representative at the 53rd Venice Biennale (2009.) Recent solo exhibitions of her work have been presented at Sherman Contemporary Art Foundation (2010); Rijksmuseum, Amsterdam (2008); Pinakotek der Moderne, Munich, (2007—2008); Lunds Konsthall (2007); Wako Works of Art, Tokyo (2007); and Royal Institute for British Architects, London (2007), and her work is included in museum collections in North America, Europe and Asia. She has participated in Documenta XI, along with biennales in Sydney, Istanbul, Berlin, Venice, Shanghai, Johannesburg and Sweden. Notable recent group exhibitions include Rethink, Nikolaj Copenhagen Contemporary Art Center (2009-2010); XXst Century, Gemeentemuseum Den Haag, The Hague (2009); The Tropics: Views from the Middle of the Globe, Iziko South African National Gallery, Cape Town (2009); and Self and Other: Portraits from Asia and Europe, National Museum of Ethnology, Osaka travelled to National Museum of Art, Osaka, Asian Art Museum, Fukuoka, Museum of Modern Art, Hayama, and Prefectural Museum of Cultural History, Kanagawa (2008-2009.)
Former Photography Lab, Key Colour, 117 2nd Ave East, Vancouver, 2009
50.8 x 40.6 cm
This edition debuts in conjunction with Scott McFarland’s solo exhibition at the Vancouver Art Gallery, October 3, 2009 – January 3, 2010. The image relates to a larger version of this work included in his exhibition.
Former Photography Lab, Key Colour, 117 2nd Ave East, Vancouver depicts an old photo lab with graffiti accumulating on its doors, and its awning showing traces of erased “Photo Lab” lettering. The faded signage is a reminder of the increasing obsolescence of analogue dark rooms with the advent of digital photography. In the context of McFarland’s practice which makes considerable use of digital techniques and hints at the constructed nature of photographs, this image of a disused photographic facility speaks to the history of a medium which is intertwined with claims to truth and attempts to accurately represent ‘reality.’
In depicting an analogue photo lab, McFarland’s image represents a facility associated with a democratic modern medium, intended to be available to the masses. As opposed to the larger, unique work in his solo exhibition, this smaller photograph was conceived to mimic its subject matter in its accessibility, offered as an unlimited edition.
Scott McFarland was born in Hamilton, Ontario and studied at the University of British Columbia where he received his Bachelor of Fine Arts in 1997. In a relatively short period, McFarland has mounted an impressive exhibition history that includes a solo exhibition at the National Gallery of Canada, Ottawa and group shows at the Museum of Modern Art, New York; Haus der Kunst, Munich; and the Victoria and Albert Museum, London. His work is in numerous national and international collections including National Gallery of Canada, Ottawa; Museum of Modern Art, New York; and Vancouver Art Gallery.
Horizon No.24, 2009
edition of 50
27.9 x 25.4 cm
O Zhang is a young photographer whose compelling work examines issues of identity and transformation in contemporary China. This edition was conceived by the artist in relation to her solo exhibition at the Vancouver Art Gallery’s new outdoor exhibition space, Offsite, located at the junction of Georgia, Alberni and Thurlow streets at the foot of the Shangri-La development. O Zhang launched this public art space and is on view from July 20 – November 29, 2009. The image relates to a larger version of this work included in her exhibition.
Horizon No. 24 is from a major work where she returned to the rural context of her youth, documenting young female subjects posed before the camera for the first time. Pictured individually, their unconventional stance differs from popular media representations of young girls. The subjects return the viewer’s gaze directly—unabashed, bold and powerful—while the vibrant colour of the blue sky behind signals hope and possibility. This image, and the other works in this series, reflects a positive vision of the future of China as a powerful force in a new global economy and in particular the role that women might play in its transformation, something evident in the role of the artist herself.
O Zhang (b. 1976, Guangzhou, China) currently lives and works in New York and Beijing. She was trained at the Central Academy of Fine Art in Beijing (2000) before moving to London where she earned two Masters degrees, the first in fine art from Byam Shaw at Central Saint Martins College of Art and Design (2001), and the second in photography from the Royal College of Art (2004). Zhang has had solo exhibitions in New York, Beijing and London. Her work has been included in group shows throughout Europe, America and China, including the Millennium Monument Art Museum, Beijing (2003); Folkwang Museum, Essen (2003); Kunsthalle Museum, Hamburg (2006); Kunstmuseum, Bern (2006); Museum of Contemporary Art, Shanghai (2006); Joan Miro Museum, Barcelona (2007); UC Berkeley Art Museum, (2008); and Peabody Essex Museum, Massachusetts (2009). Zhang's work is in the collections of Guggenheim Museum, New York; Santa Barbara Museum; Clifford Chance Art Collection, London; and the Millennium Monument Art Museum Collection, Beijing.
edition of 75
25.25 x 76 cm
Artist Marianne Nicolson is a member of the Dzawada’enuxw First Nations Tribe of the Kwakwaka'wakw Nation. This is the first screenprint by the artist, which Nicolson prepared in conjunction with her site specific installation The House of the Ghosts, on view at the Vancouver Art Gallery October 4, 2008 – January 11, 2009. For this work, she used high-powered theatrical lighting, transforming the Gallery’s Georgia Street architectural façade into a re-imagining of a traditional Kwakwakawakw ceremonial house.
In this new Artist Edition titled Sisi’ut
l Crossbeam, Nicolson extracted an element of the imagery used in The House of the Ghosts and created a two colour screenprint, a medium traditionally associated with First Nations artists. The elongated figure is called a Sisi’ut l which is a crest depicted as a two headed sea serpent with an anthropomorphic head (and hands) forming the central portion of the body. Nicolson then embossed a text, an unusual intervention in the screenprinting process, in both Kwakwaka'wakw and its English translation reading “Come, Ghosts! You, whose night is day and whose day is night, in this Great House.” Nicolson has stated that in traditional Kwakwaka'wakw ceremonies “it is believed that spirits can be enticed into communion with humans, allowing them to conduct extraordinary feats… Ultimately the work seeks assistance in the healing of the compromised landscape within which all Kwakwaka'wakw, First Nations and Canadians live.”
Marianne Nicolson has had solo exhibitions at Or Gallery, Vancouver (1992); Campbell River Public Art Gallery (2000); National Indian Art Centre, Hull (2001); Thunder Bay Art Gallery (2002); Esquimalt Municipal Hall (2004); Artspeak, Vancouver (2006); and the Art Gallery of Greater Victoria (2008).
Model of a Tree, 2008
4 types of wood, cotton, thread, screw
Edition of 15
$495 CDN ($650 with vitrine)
Gabriela Albergaria is an internationally exhibiting mid-career artist based in Lisbon and Berlin who uses “nature” as both subject and material in her practice. She examines human interfaces with the natural world, considering the ways in which nature has been manipulated, transported, catalogued and hierarchized.
Albergaria has created a new, exclusive Artist Edition for the Gallery in the form of a miniature tree. For Model of a Tree, she uses the ancient technique of grafting, in which two pieces of living tissue are connected so they fuse into one. In this work she combines commercial materials that have been processed and prepared using industrial machinery with natural materials that have been collected and joined together by hand using traditional horticultural grafting methods. The sculpture highlights both the artificial and natural ways in which we experience nature.
The artist’s work titled Blenheim Street and 29th, a new site-specific installation for the Gallery rotunda consisting of a “rebuilt” oak tree, is currently featured in the exhibition The Tree: From the Sublime to the Social. To supply the material needed for this large-scale sculptural work, Albergaria collaborated with the Vancouver Board of Parks and Recreation to identify a dead oak marked for felling. The tree was cut in pieces under her direction and reassembled according to her rules of composition, creating a sculptural installation out of natural matter. The work invites the viewer to consider the transposition of nature into the Gallery’s interior space. In grafting and unifying the fragmented tree, Albergaria’s intervention evokes a poetic action of reparation – reviving that which was considered dead.
Gabriela Albergaria’s exhibition highlights include Garden of Eden at Kunsthalle in Emden (2008); and recent exhibitions at Kunstlerhaus Bethanien; Galeria Vermelho, Sao Paolo; and Centro Culturel de Belem, Lisbon.
A Japanese Restaurant!?, 2006
lightjet chromagenic photographic print
on Kodak Endura archival paper
44.5 x 70.0 cm
Edition of 65
Edition Price: $175 (unframed)
The work of Kyohei Sakaguchi, featured in the 2006 exhibition NEXT: Kyohei Sakaguchi: Zero Yen House, examines the significance of non-traditional and informal architecture. In the past few years, Sakaguchi has documented an elaborate sub-culture of architecture that includes diverse types of temporary and semi-permanent houses built in public spaces by homeless persons utilizing scavenged materials.
His photo-based book titled Zero Yen Houses, published in 2004 by Little More, Tokyo , is the first in Sakaguchi's planned series of books documenting informal architecture. Describing the house featured in this Artist Edition, Sakaguchi wrote, “Although this one [house] resembles a Japanese restaurant, it is not open for business. A man lives alone in this house. The green plant and discarded public telephone help to further the atmosphere.”
Priced at $175 (unframed), each of the 65 works includes a certificate of authenticity signed by the artist and is available for purchase through the Gallery Store. Framed prints are also available.
Oak Tree, Red Bluff, #8, 1993/2005
Silver gelatin print
Print size: 40 x 47 cm.
Image size: 28 x 35 cm.
Numbered and Signed by the Artist -
Edition of 500
Vancouver-based artist Rodney Graham, featured in the Gallery’s 2005 exhibition Rodney Graham: A Little Thought, began his artistic career at a time when the work of legendary American artists Dan Graham and Robert Smithson greatly influenced the city’s artistic community. While Rodney Graham is often identified with the "Vancouver School" of photography, he has taken a singular and often arcane path, combining whimsical references to pop culture with a rigorous multidisciplinary breadth. Graham has been exhibited widely throughout Canada and Europe.
The image chosen by the artist for this Edition is that of an upside-down California oak tree, one of a series of photographs originally shot in 1993. Graham's now famous inverted image of the tree is intended to evoke the origins of photography by echoing the reversed and inverted image that was created by the early camera obscura, but also to call attention to the rationalizing processes that frame and define our vision of the world.
Male Sticker, 2005
epoxy resin, metal
28 x 16 x 8 cm
with a Certificate of Authenticity
numbered and signed by the Artist $950