Tag Archives: Robert Orchardson

Contemporary Art Gallery at the New York Art Book Fair, opens tonight!

We are all set up and excited for tonight’s opening of the New York Art Book Fair at PS1 MoMA, come by our booth Q49 on the second floor.

We are presenting CAG publications from 30 years of publishing, among them Christopher Williams, Robert Orchardson, Sarah Browne, Roy Arden, Hans-Peter Feldmann, Ken Lum, Shannon Oksanen, Frances Stark and many more. We are also featuring limited edition prints by Robert Orchardson and Thomas Bewick. We will also have some rare signed copies of several of our publications as well!

See you at the fair, yours Jill and Soledad.

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Filed under Behind the Scenes, events, News, Publications, Staff and Volunteer news

Artist editions for sale!

“Hello & welcome to the Contemporary Art Gallery!”

Have you been by in the last few months? There are 3 great exhibits showing right now, and you should make time to come visit! When you’re by & chatting with the friendly front desk volunteer, you might spy a few Artist Edition prints behind them. Don’t forget to look behind you as well, because there is another print hanging to the left of the BC Binning Gallery entrance. Let me tell you about these pieces that we have displayed in the entrance foyer. For even more information, visit the publication page at www.contemporaryartgallery.ca

Thomas Bewick, Limited Edition Print, Apr 2009
Ikon Gallery, Birmingham, UK, Edition of 75.
$150, unframed

A limited edition printed on a hand press by Iain Bain from the original wood-blocks. Of the 3 subjects, the Bulldog was engraved for the 1790 edition of the Quadrupeds; the Lesser Redpole, and the tail-piece of the man relieving himself beside a fragment of ruined wall were made for the first 1797 volume of the British Birds. What is amazing about Thomas Bewick’s work is both the delicate and intricate marks he was able to make with the tools of the time, and the witty narrative that Bewick injected into his work. To quote the exhibition notes:

Intended as illustrations of ‘some truth or point of some moral’ they provide an invaluable insight into social history while also demonstrating the artist’s imagination and wit. As such these narrative works will provide an interesting counterpoint to the work of many internationally established artists in Vancouver, engaging in image making which critically examines and reflects on the city and conditions which surround them.

Robert Orchardson, Study for Endless Façade ,Limited Edition Giclée print, Nov 17, 2011
Contemporary Art Gallery, Vancouver / Ikon Gallery, Birmingham, UK, Edition of 50.
$150, unframed

This limited edition print, 13″ x 18.5″, was produced to coincide with the exhibition Robert Orchardson Endless façade which ran from November 2011 until January 2012. The show transformed half of the gallery into another world as visitors walked through a giant triangular entrance way into a science-fiction-like set featuring Robert’s work. I quite liked the following quote from the exhibit notes:

He also sees this sense of possibility inherent in stage sets, where a narrative exists between the material character of the set itself, and the ‘other’ identity it adopts within the context of a play.

His installation partially revisited stage sets designed by Isamu Noguchi in 1955 for a Royal Shakespeare Company production of King Lear.

Rodney Graham Jacob Grimm’s Study in Berlin/Wilhelm Grimm’s Study in Berlin (1960), Etchings, 1992
Contemporary Art Gallery, Vancouver, 2 prints unframed.
$2,000 (pair), unframed

Perhaps you’re stopping by the gallery after having spent some time checking out Rodney Graham’s new exhibition over at the Vancouver Art Gallery? Remember, the CAG is only 5 blocks away from the VAG so you can continue your gallery-viewing excursion all afternoon!

We are showcasing a set of etchings by Graham that was published by the Contemporary Art Gallery in 1992, and was conceived in relation to Five Interior Proposals for the Grimm Brother’s Studies in Berlin (1992), the project Graham exhibited at Documenta in Kassel, Germany. The images are variations on the studies occupied by the Brothers Grimm in the 1860s in Berlin, based on period watercolours.

Scott Massey, Via Lactea (above Glacier Lake) – Limited Edition Print, Feb 2012
Contemporary Art Gallery, Vancouver, Archival inkjet print, edition of 15, unframed.
$150, unframed

There is still time to see Via Lactea (above Glacier Lake) at the Yaletown-Roundhouse Station (Canada-Line), co-presented Contemporary Art Gallery and Translink for the Canada Line Public Art Program.To coincide with the exhibition, Massey has produced a limited edition, Via Lactea (above Glacier Lake) (2012), an archival inkjet print, edition of 15, 20 x 20 inches.

In Via Lactea (above Glacier Lake), Massey combined 170+ photographs of the night sky on the same strip of film. I like that I can walk down to Davie street and not only see the night sky in the middle of the city, but I also get to see it during the day time. For more information about this exhibition, please see: http://www.thecanadaline.com/

Interested in buying one of these editions? Come down to the Contemporary Art Gallery Tuesday – Sunday, Noon-6PM and speak to someone at the front desk, or email info@contemporaryartgallery.ca.

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Filed under Behind the Scenes, From the Archives

Looking Forward to Robert Orchardson

Despite recently arriving in Vancouver as the new Director, I was already back in the UK in February to install the exhibition Endless façade with artist Robert Orchardson. Orchardson was born in Dundee and now lives in London. Here’s an image of the first room at Ikon Gallery, Birmingham. A version of this ambitious new installation comes to the CAG in November.

The exhibition partially revisits stage sets designed by Isamu Noguchi in 1955 for a Royal Shakespeare Company production of King Lear. His proposals aspired to an other-worldly feeling where abstract, mobile forms created a shifting landscape against which the play unfolded. However, the designs were met with damning criticism and regarded unsympathetic. For Orchardson, who appropriates various forms and reconfigures them as prototypes for ideas, the inherent modernist idealism and eventual redundancy of the designs become carriers for something beyond themselves. Here’s a preview of some more rooms with huge monochrome cement walls acting as backdrops for a series of prop-like forms.

As well as the exhibition we’re working on a catalogue in collaboration with Ikon, the first devoted entirely to the work of Robert Orchardson.

The nature of Orchardson’s work with its references to modernist architecture and theatre design, mean the occasion of his exhibition here will mark an appropriate moment to celebrate Abraham Rogatnick’s ongoing legacy of support for the CAG. We plan to host a number of events in honour of his memory.

More blogs from me soon.

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