EN
August 24, 2000
Sur la ligne / On the Line is an exhibition of paintings, sculptures, installations and photographs created by masters students from l’Université du Québec à Montréal and Concordia University. The exhibition provides a forum from which to experience work created by selected artists who are studying at either of these two institutions.
The impetus for the four curators Michelle Bush and Yvette Porter, from Concordia, and Doug Scholes and Maria José Sheriff, both of UQAM, for the exhibition was a desire to foster a continued dialogue between the masters students of UQAM and Concordia as well as to demonstrate the comparable variety and quality of work that has been produced at both institutions over the past year.
August 24, 2000
Sur la ligne / On the Line is an exhibition of paintings, sculptures, installations and photographs created by masters students from l’Université du Québec à Montréal and Concordia University. The exhibition provides a forum from which to experience work created by selected artists who are studying at either of these two institutions.
The impetus for the four curators Michelle Bush and Yvette Porter, from Concordia, and Doug Scholes and Maria José Sheriff, both of UQAM, for the exhibition was a desire to foster a continued dialogue between the masters students of UQAM and Concordia as well as to demonstrate the comparable variety and quality of work that has been produced at both institutions over the past year.
Sur la ligne / On the Line begins Monday, August 28th and continues until Saturday, September 9th. There are two locations which for this exhibition. The VAV Gallery in the Concordia’s Fine Arts Building and the Centre de diffusion at UQAM. The artist from Concordia will be showing in the Centre de diffusion and those from UQAM will be showing in the VAV Gallery. The artists from UQAM are Frédéric Desjardins, Éric Ilhareguy, Matt Killen, Céline B. LaTerreur et zipertatou and those from Concordia are Rand Berthaudin, Shie Kasai, Isaac Kim, Selena Liss, Afshin Matlabi, Laural Smith, and Kelly Lynne Wood. In order to accomodate the two venues, there will be two vernissages. The first takes place at the VAV Gallery on Tuesday September 5, at 6 pm. The second vernissage will be at the Centre de diffusion on Friday, September 8, at 7 pm.
The VAV Gallery is located at 1395 René-Lévesque Boulevard West on the corner of Crescent street. The Centre de diffusion is located at 405 Sainte Catherine East, on the corner of St. Denis, Pavillon Judith-Jasmin, local JR-930. The hours for the galleries are from 12:00 pm to 6 pm. Both Galleries will be closed September 2nd, 3rd, 4th, for the Labour Day weekend.
The VAV Gallery is located at 1395 René-Lévesque Boulevard West on the corner of Crescent street. The Centre de diffusion is located at 405 Sainte Catherine East, on the corner of St. Denis, Pavillon Judith-Jasmin, local JR-930. The hours for the galleries are from 12:00 pm to 6 pm. Both Galleries will be closed September 2nd, 3rd, 4th, for the Labour Day weekend.
Sur La Ligne / On the Line, 2000.
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Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Sur La Ligne / On the Line, 2000.
Le 24 août 2000
Marcher sur une ligne droite traçée d'avance ou bifurquer, histoire de rencontrer un monde qui pourtant nous côtoie a suscité une exposition qui consiste en un échange entre les étudiant-es du programme de maîtrise en arts visuels de l'Université Concordia et celui de l'UQÀM. Ce désir de connaître l'autre qui, nous l'imaginons, expérimente un processus de travail que nous partageons, nous a lancé à concevoir cette exposition qui présente les oeuvres des étudiants de la maîtrise en arts visuels et médiatiques de TUQÀM à la galerie Visuals Arts Visuels de Concordia ; et les étudiants du programme de maîtrise de l'Université Concordia au Centre de Diffusion de l'UQAM. Nous aimerions offrir ainsi, deux événements qui tiennent lieu de rencontre , soit le vernissage, le 5 sepembre à 18 heures au VAV de Concordia, et la soirée de clôture au Centre de Diffusion de l'UQÀM à 19 heures. Les artistes de l'UQAM : Frédéric Desjardins, Eric Ilhareguy, Matt Killen, Céline B. La Terreur et zipertatou exposeront au VAV qui se situe au 1395 bd René Lévesque O, au coin de de la rue Crescent. Tandis que les artistes de Concordia qui exposeront au Centre de Diffusion de l'UQAM, au 405 rue Ste-Catherine Est au coin de la rue St-Denis sont Rand Berthaudin, Shie Kasai, Isaac Kim, Selena Liss, Afshin Matlabi, Laural Smith et Kelly Lynne Wood.
Exposition : du 28 août au 9 septembre, les heures d'ouverture sont de 12h à 18h. Les galeries seront fermées les 2, 3 et 4 septembre.
EXHIBITION: AUG 28 - SEPT 9, 2000
OPENING RECEPTION: SEPT 5, AT VAV GALLERY
CLOSING RECEPTION: SEPT 8, AT CENTRE DE DIFFUSION DE L’UQAM
CURATION
MICHELLE BUSH
YVETTE PORTER
DOUG SCHOLES
MARIA JOSÉ SHERIFF
GROUP
RAND BERTHAUTIN
FRÉDÉRIC DESJARDINS
ERIC ILHAREGUY
SHIE KASAI
MATT KILLEN
ISAAC KIM
CÉLINE B. LATERREUR
SELENA LISS
AFSHIN MATLABI
LAUREL SMITH
KELLY LYNNE WOOD
ZIPERTATOU (JEAN-PHILIPPE THIBAULT)
EXHIBITION: SEPT 12, 2000
OPENING RECEPTION: N/A
DUO
ADRIANA MIRANDA
VALERIO MARQUES
Adriana Miranda and Valerio Marques, Thinking Without Reason, 2000.
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Adriana Miranda and Valerio Marques, Thinking Without Reason, 2000.
Adriana Miranda and Valerio Marques, Thinking Without Reason, 2000.
Adriana Miranda and Valerio Marques, Thinking Without Reason, 2000.
GET OUT THERE! ART DESERVES AN AUDIENCE:
PLACES LIKE THE VAV AND PRATO ARE GREAT RESOURCES FOR ARTISTS KEEN ON SHOWCASING THEIR WORK.
by Krista Halton
For students looking for their chance to be introduced to this selective society, there are specific outlets available to them. One would be Concordia's own VAV art gallery run by undergraduate Fine Arts students.
The gallery allows students to showcase their work free of charge. Students are required to fill out a standard application form and provide the selection commit-tee, composed of seven students, including the two co-directors, 10 to 12 slides of their work.
"I think it is really important for students," said Lisa Vinebaum, co-director of the VAV gallery.
"Very often it is the first time that they will exhibit in a gallery setting. They do all the work, in terms of making invitations and sending out press releases, although we help them if they need it."
Due to time limitations, students are not allowed to exhibit alone. Usually the committee will pair them up with another student with a similar medium or style for their week-long exhibitions.
"It provides a great opportunity for students to see each other's work and it creates a community in the building, as well," said Vinebaum. "It is very difficult, as a student, to have access to a private gallery. Students can use this experience to show in their personal dossier." Restaurant owner Rosa Simonian sympathizes with the anxiety of young artists. Her daughter, Merissa, is a Communications and Fine Arts student at Concordia.
When Simonian opened the Prato last May, Merissa had the idea to use the extra space in the back of the restaurant to showcase various student art. For her, it was an alternative to the more traditional but expensive route of exhibiting in a gallery.
"The location is great, people have more opportunity to see your work, you don't have big crowds.
It is easy to access and you have a wider audience range," said Fotini Rapanos, a Studio and art history student, who is currently exhibiting at the Prato. "You are getting out of the school and into a differ-ent, more professional sphere."
The students also have the opportunity of selling their work.
The restaurant does not take commission on works sold but charges students a nominal fee of $25 a week to exhibit. They also provide small hors d'oeuvres at the vernissage, along with free publicity prior to the event. Normally, works are showcased three weeks at a time.
"It is a way to encourage the students to have a nice place to exhibit their work without the fear of walking away with nothing. We are giving them a chance, it is good exposure. So far it has worked really well, they are great kids and we have had a great response," said Simonian.
Christina Foufnini, a client at the Prato commented, "I would rather go to that type of a restaurant than somewhere else. [The art] gives it a special quality, something that is different from anywhere else. I am glad that students have this type of opportunity given to them."
It is easy to access and you have a wider audience range," said Fotini Rapanos, a Studio and art history student, who is currently exhibiting at the Prato. "You are getting out of the school and into a differ-ent, more professional sphere."
The students also have the opportunity of selling their work.
The restaurant does not take commission on works sold but charges students a nominal fee of $25 a week to exhibit. They also provide small hors d'oeuvres at the vernissage, along with free publicity prior to the event. Normally, works are showcased three weeks at a time.
"It is a way to encourage the students to have a nice place to exhibit their work without the fear of walking away with nothing. We are giving them a chance, it is good exposure. So far it has worked really well, they are great kids and we have had a great response," said Simonian.
Christina Foufnini, a client at the Prato commented, "I would rather go to that type of a restaurant than somewhere else. [The art] gives it a special quality, something that is different from anywhere else. I am glad that students have this type of opportunity given to them."
EXHIBITION: SEPT 18 - 23, 2000
OPENING RECEPTION: N/A
DUO
CARLOS SANCHEZ
ALEXANDRE-NICOLAS SOUBIRAN
Carlos Sanchez and Alexandre-Nicolas Soubiran, Objectif Lune, 2000.
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Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Objectif Lune, 2000.
Montréal, September 11, 2000
“Multiple Impressions”
Prints by Maria Chronopoulos, Adria Collins, and Lauren Nurse
September 25th - 30th, 2000
We would like to take this opportunity to cordially invite you to the opening of our exhibition at Concordia University, on Tuesday the 26th of September, 2000 at 7pm at the VAV Gallery.
We believe that the processes of layering images and ink through historical as well as contemporary printmaking techniques have resulted in works that reveal a sense of longing and of soul-searching. We are concerned with the act of investigating the past and the ways in which this and our own personal histories, affect our artwork. We have each explored issues particular to our individual life experiences through different approaches and media, and we feel that the conclusions that we have reached in our artworks share a common thread.
EXHIBITION: SEPT 25 - 28, 2000
OPENING RECEPTION: SEPT 26
GROUP
MARIA CHRONOPOULOS
ADRIA COLLINS
LAUREN NURSE
Maria Chronopoulos, Adria Collins, and Lauren Nurse, Multiple Impressions, 2000.
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Multiple Impressions, 2000.
Multiple Impressions, 2000.
Multiple Impressions, 2000.
Multiple Impressions, 2000.
Multiple Impressions, 2000.
Multiple Impressions, 2000.
Lauren Nurse
2000
My work deals with the theme of re-interpretation of family histories, specifically those of my female ancestors. Unlike the fathers, brothers and uncles of my family, the women suffer from an interruption, an omission and absence from the genealogical history. In an effort to confront the void they have left, I manipulate photographs of these past generations of women in order to create a new sense of personal history for them. I insert myself into these manipulations both by authorship, and by physical representation, so that I may create a dialogue between the past and the present in an effort to reconcile and reunite myself with this new, inclusive history.
These manipulations of imagery also indicate a desire to search through the parapheralia of the past in order to situate myself in the present. Involving items of interior decoration from the era in which these women lived, as a surface upon which to print, brings issues of gender to the fore. I wish to evoke a sense of nostalgia in the work, as well as a sense of investigation and exploration into issues of time, aging, and genealogy.
Adria Collins
2000
In my digital works, layered images and text from various sources are used: newspapers, photographs, photocopies, the internet, hand-written memories, etc... to create a final image that exhibits both information and emotion. In the "rent" series, I have addressed the ideas of dislocation and of the loss of one's home through the layering of disturbing, yet ironically comforting images of houses and of fetuses. The works are personalized by the inclusion of excerpts from my journal in which the senses of loss and of searching have been recorded over several years.
2000
My work deals with the theme of re-interpretation of family histories, specifically those of my female ancestors. Unlike the fathers, brothers and uncles of my family, the women suffer from an interruption, an omission and absence from the genealogical history. In an effort to confront the void they have left, I manipulate photographs of these past generations of women in order to create a new sense of personal history for them. I insert myself into these manipulations both by authorship, and by physical representation, so that I may create a dialogue between the past and the present in an effort to reconcile and reunite myself with this new, inclusive history.
These manipulations of imagery also indicate a desire to search through the parapheralia of the past in order to situate myself in the present. Involving items of interior decoration from the era in which these women lived, as a surface upon which to print, brings issues of gender to the fore. I wish to evoke a sense of nostalgia in the work, as well as a sense of investigation and exploration into issues of time, aging, and genealogy.
Adria Collins
2000
In my digital works, layered images and text from various sources are used: newspapers, photographs, photocopies, the internet, hand-written memories, etc... to create a final image that exhibits both information and emotion. In the "rent" series, I have addressed the ideas of dislocation and of the loss of one's home through the layering of disturbing, yet ironically comforting images of houses and of fetuses. The works are personalized by the inclusion of excerpts from my journal in which the senses of loss and of searching have been recorded over several years.
Maria Chronopoulos, Adria Collins, and Lauren Nurse, Multiple Impressions, 2000.
Click to expand the image and swipe for additional views
Multiple Impressions, 2000.
MULTIPLE IMPRESSIONS: CONCORDIA WOMEN ARTISTS EXPLORE THE PAST AND FIND THEMSELVES
THE CONCORDIAN
by Kate Shingler
27/09/00
V. 18-4
Concordia Fine Arts students Maria Chronopoulos, Adria Collins and Lauren Nurse are excitedly preparing last minute details for their show VAV Gallery show, currently taking place on the main floor of the Concordia Fine Arts building. Multiple Impressions, a collection of prints by the three artists bound together with a common theme.
“We deal with the past,” explains Collins, 23, who graduated from fine arts last spring. “We are concerned with the act of investigating the past and the ways in which this and our own personal histories, affect our artwork.”
Collins will be showing seven prints, connected by her concept of ‘home’. “I’m feeling like a nomad right now,” she said explaining that her work is very personal.
In Collins’ work, images of houses from the real estate sections of the Gazette serve as a backdrop to overlying images of human fetuses, and handwritten excerpts from her personal journal. The result is both a sense of naughty voyeurism for the viewer and a kind of emotional outburst, screaming to be heard from the artist.
Marina Chronopoulos, 26-year-old undergraduate, delves into religious symbols from her Greek Orthodox childhood. Her trademark, a broken dividing line on many of her pieces, symbolizes time and space, the present and the past as well as our world and others.
“We deal with the past,” explains Collins, 23, who graduated from fine arts last spring. “We are concerned with the act of investigating the past and the ways in which this and our own personal histories, affect our artwork.”
Collins will be showing seven prints, connected by her concept of ‘home’. “I’m feeling like a nomad right now,” she said explaining that her work is very personal.
In Collins’ work, images of houses from the real estate sections of the Gazette serve as a backdrop to overlying images of human fetuses, and handwritten excerpts from her personal journal. The result is both a sense of naughty voyeurism for the viewer and a kind of emotional outburst, screaming to be heard from the artist.
Marina Chronopoulos, 26-year-old undergraduate, delves into religious symbols from her Greek Orthodox childhood. Her trademark, a broken dividing line on many of her pieces, symbolizes time and space, the present and the past as well as our world and others.
“It really doesn’t bother me if people don’t get the meaning of my work. It’s very subtle,” she says of the somewhat daunting images.
Chronopoulos is showing 12 small prints, each represents the books from Paradise Lost, a painting, and several other individual works.
It is however 24-year-old Lauren Nurse’s contribution which, seem to tie the whole show together. She pays tribute to women in her family, none of whom she has met. Nurse, whose grandmother died before she was born, attempts to establish a dialogue and give her dark, aged, photographs a voice. Concerned with creating a link with her female ancestors, Nurse infers stories about these women - through pictures and letters.
Chronopoulos is showing 12 small prints, each represents the books from Paradise Lost, a painting, and several other individual works.
It is however 24-year-old Lauren Nurse’s contribution which, seem to tie the whole show together. She pays tribute to women in her family, none of whom she has met. Nurse, whose grandmother died before she was born, attempts to establish a dialogue and give her dark, aged, photographs a voice. Concerned with creating a link with her female ancestors, Nurse infers stories about these women - through pictures and letters.
Nurse also uses other mediums, a digital print, a book and wallpaper, to pay homage to the dead women. The digital print is a striking close up image of Nurse’s mouth with other images, including passages from old letters, super-imposed.
“I wanted to insert myself into the image,” she said. “To create a dialogue through history and time.” And by the same token, I am giving voice to women who don’t have one,”
The exhibit runs until September 30th. All three of the artists will be on-hand to speak about their work.
EXHIBITION: OCT 1 - 7, 2000
OPENING RECEPTION: N/A
DUO
DAPHNÉE KARAS
ANNIE DESCOTEAUX
Daphnée Karas and Annie Descoteaux, Mixed Media, 2000.
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Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Mixed Media, 2000.
Renseignements: Nadine Bourgeois
LES COLLABOS: une exposition de peintures et dessins à la Galerie VAV
(Montréal, le 2 octobre 2000) Deux étudiantes en arts visuels de l’université Concordia exposent leurs oeuvres picturales à la Galerie VAV. Toutes deux en fin de baccalauréat, elles ont récemment uni leurs imaginaires afin de créer en collaboration des oeuvres sur papier film. En effet, Nadine Bourgeois et Emmanuelle Larose nous transportent dans des tableaux où se mêlent abstraction et figuration et où la texture, la coleur et la transparence révèlent une sensibilité commune.
Cette exposition sera également l’occasion pour chacune d’elle de présenter des travaux qui relèvent d’une démarche personnelle.
De son côté, Nadine Bourgeois explore à travers le dessin, la peinture et le collage la temporalité du quotidien. Le passage du temps, l’accumulation des gestes répétés laissent des marques. Ces signes qui composent son univers sont une métephore de la mémoire, de l’identité.
Emmanuelle Larose, pour sa part, est préoccupée par les similarités qui existent entre le corps humain et la nature. Elle rapproche ces deux éléments en se questionnant sur la place de l’Homme dans l’environment.
Des oeuvres matures d’une grande sensibilité.
Vous êtes donc cordialement conviés au vernissage qui aura lieu le 10 octobre prochain à 19h00 à la Galerie VAV de l’université Concordia sise au 1395, boulevard René-Lévesque ouest à Montréal. Veuillez voter que l’exposition se poursuivra jusqu’au 14 octobre.
Vous trouverez ci-joint, pour votre information, des renseignements supplémentaires sur les deux artistes. Nous joignons également un carton d’invitation.
EXHIBITION: OCT 10 - 14, 2000
OPENING RECEPTION: N/A
DUO
NADINE BOURGEOIS
EMMANUELLE LAROSE
Nadine Bourgeois and Emmanuelle Larose, Les Collabos, 2000.
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Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Les Collabos, 2000.
Nadine Bourgeois and Emmanuelle Larose, Les Collabos, 2000.
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Les Collabos, 2000.
Les Collabos, 2000.
EXHIBITION: OCT 16 - 21, 2000
OPENING RECEPTION: OCT 17
GROUP
DAN BRAULT
IAN GAMACHE
JESSICA MACCORMACK
NICK ROSSIGNOL
Brault, Gamache, MacCormack, and Rossignol, Dog Balloon, 2000.
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Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Brault, Gamache, MacCormack, and Rossignol, Dog Balloon, 2000.
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Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
Dog Balloon, 2000.
EXHIBITION: OCT 23 - 28, 2000
OPENING RECEPTION: OCT 24
DUO
JACINTHE LESSARD-L.
DENIS RIOUX
Jacinthe Lessard-L. and Denis Rioux, Et (une racontre a-géographique), 2000.
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Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
Et (une racontre a-géographique), 2000.
EXHIBITION: OCT 30 - NOV 4, 2000
OPENING RECEPTION: N/A
GROUP
GERARD LECKEY
ERIN LEE SNOW
JOSÉ FELIPE MERCEDES BASTANTE
NED SCHWARTZ
NATACHA D’ANTIN
Skulpture Zirkus, 2000.
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Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
Skulpture Zirkus, 2000.
WILD RIDE: VAV SCULPTURES GO HANDS ON
THE LINK | FRINGE
by Kathy Zucca
October 31, 2000
Forget stuffy museums full of stern security guards. Or signs admonishing you to "Please do not touch." This is SkulpturZirkus and normal rules do not apply.
Unlike the traditional art experience, the VAV's latest offering is more carnival than conservative. Rather than viewing the sculptures at a distance, spectators are invited to touch, hear, and even ride the artworks.
Artist José Felipe Mercedes Bastante explains, "You go into galleries and the sculptures are to look at. You are not allowed to touch. Here the visual is important, but so is sound and touch."
The premise is a 'carnival of senses' for which spectators can buy a week-long pass for 75 cents. The audience is then invited to actually ride the sculptures. For example, one can hop on a large moving plate and try not to fall off.
Another 'ride' consists of a chair made of tubes. The spectator sits in the chair while immersing her feet in a warm bath. Several artists blow into the tubes creating a series of vibrations which, along with the foot bath, relax the participant.
Bastante stresses the importance of sound in this show. Each sculpture makes its own series of sounds which are put into a mixer. "We have a sound guy who plays with them a little, acknowledges Bastante, "But we try to keep the sounds pure. You can just listen to the sounds for what that creates."
In addition to Bastante, fellow Concordia artists Ned Schwartz, Gerard Leckey, Erin Lee Snow, and Natacha D'Antin have pieces in the show.
Opens Monday, Oct 30. VAV Gallery, 1395 René Lévesque W. The sculptures are on display all week but the artists will be on hand for two special performances on Tuesday, Oct 31 at 7:30 p.m. and Friday, Nov. 3 at 8 p.m.
Skulpture Zirkus, 2000.
Click to expand the image
EXHIBITION: NOV 6 - 11, 2000
OPENING RECEPTION: NOV 7
GROUP
ART & THE EVERYDAY
Rue du Quotidien, 2000.
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Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Rue du Quotidien, 2000.
Connecting copper points that are wired with speakers through a line of graphite on a sheet of paper, “Sound Drawings” is a series of work that allows Burgoyne’s audience to see the immediate cause and affect of their actions. By adding layers of graphite, viewers intensify the emitting tone and contribute to the soundscape produced by all of the singing drawings.
As you hurl yourself towards the next millennium tangled up in wires, gadgets, gizmos and other devices that you find electronically terrifying, you might fantasize about abandoning your shell of a body to exist in the virtual reality of cyberspace. Or you could revel in the simplicity of low-level technology and hug your toaster. Diana Burgoyne, a Vancouver based performance and installation artist, embraces simple electronic devices of everyday living. Her work humanizes machines and demystifies our connection with electronics and challenges our relationship with technology that is often complicated by fear, frustration, and intimidation. She assigns responsibilty to her audience by offering them an opportunity to take an active role in overcoming their passive participation in a dominating relationship with technology by placing control in their hands. Always leaving the seams of her constructions exposed, Burgoyne produces intense work that publicizes the alienation caused by mediating technology between human beings by putting it to work for her. She’ll have you ringing doorbells and flipping switches in no time.
EXHIBITION: NOV 13 - 18, 2000
WORKSHOP: NOV 13
ARTIST TALK: NOV 15
OPENING RECEPTION: NOV 16
SOLO
DIANA BURGOYNE
Diana Burgoyne, Sound Drawings, 2000.
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Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Diana Burgoyne is an artist based in Vancouver. Her performances and installations have been exhibited internationally. She completed her MFA at UCLA in 1985, and is currently teaching at the University College of the Fraser Valley and at Emily Carr Institute of Art and Design.
Diana Burgoyne takes the notion “handmade” and applies it to technology, integrating it into performance, installation and sculpture. Her installations and performances combine drawing, sculpture, performance, sound, light, video, computer assisted imagery, and digital projections, inviting the viewer to experiment and manipulate various elements. In this way, drawing on paper produces sound, motion sensors trigger video, and interaction with gallery lighting produces movement.
Diana Burgoyne takes the notion “handmade” and applies it to technology, integrating it into performance, installation and sculpture. Her installations and performances combine drawing, sculpture, performance, sound, light, video, computer assisted imagery, and digital projections, inviting the viewer to experiment and manipulate various elements. In this way, drawing on paper produces sound, motion sensors trigger video, and interaction with gallery lighting produces movement.
Diana Burgoyne, Sound Drawings, 2000.
Click to expand the image and swipe for additional views
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
Sound Drawings, 2000.
STUDENTS WHO WORK
MOVING BEYOND FECES AND ROAD-KILL AT THE VAV GALLERY
(ARTS) VISUAL
DAYNA MCLEOD
11.02 to 11.08, 2000
How many times have you heard people talk about student work with that patronizing tone of voice, a slight rolling of the eyes and body language that, if condescension could be personified, would be a pat on the head?
Visions of cardboard cut-out fur-niture, sculpture that fits in a backpack and figurative painting rendered slightly off kilter jump to mind- often packed full of naiveté and glue-gun string seams. It's the awkward stages of becoming an artist, the rights of passage, the growing pains complete with visuals that can haunt graduates worse than a bad hair-do in a yearbook photo. Art school is the place where you get all of that tampon art, garbage statues, feces and/or road-kill sculpture and kitten paintings out of your system to discover a practice worth demon-strating. It's also the time and place where much weeding is done that separates the hobbyists from the true practitioners that, along with the accumulation of bad art that one must make in order to get to the good stuff, contributes to the contemptuously smug, "Oh no, not student work."
Enter Lisa Vinebaum and Vanessa Robinson, two curators who are trying to shake up these stereotypes at the VAV Student Gallery at Concordia University.
Visions of cardboard cut-out fur-niture, sculpture that fits in a backpack and figurative painting rendered slightly off kilter jump to mind- often packed full of naiveté and glue-gun string seams. It's the awkward stages of becoming an artist, the rights of passage, the growing pains complete with visuals that can haunt graduates worse than a bad hair-do in a yearbook photo. Art school is the place where you get all of that tampon art, garbage statues, feces and/or road-kill sculpture and kitten paintings out of your system to discover a practice worth demon-strating. It's also the time and place where much weeding is done that separates the hobbyists from the true practitioners that, along with the accumulation of bad art that one must make in order to get to the good stuff, contributes to the contemptuously smug, "Oh no, not student work."
Enter Lisa Vinebaum and Vanessa Robinson, two curators who are trying to shake up these stereotypes at the VAV Student Gallery at Concordia University.
Vinebaum, a third-year fibres major, emphasizes the professionalism to which these girls aspire. "We're trying to model the gallery after artist-run centres," she tells me confidently. Taking the high road and staying away from artist-run-centre stereotypes of complete disorganization, board meetings that can go on forever and incestuous in-clubs that can corrupt even the most democratic administrator, Vinebaum says that they are preparing students for the "real art world!" "This is going to sound really corny and gushy, but [l've learned] just what a valuable space it is for students," she says wist-fully.
Using the space to its full potential is something that this duo wants to con tinue to work on during their reign as curators. "This semester, we're focusing on our series of visiting artists as well as specifically themed shows, like the Interactive Sculpture Show that's coming up this week" says a shy Robinson. Coordinating the visitation of Diane Burgoyne, a Vancouver-based performance and installation artist, Vinebaum and Robinson have Burgoyne giving workshops on new technology. These workshops further their goal of helping students.
"The space needs to be there as an accessible resource," states Vinebaum firmly. "It needs to respond better to students, specifically students who are uşing new media, which we're working on." For her part, Burgoyne will attempt to demystify the complexities of intimidating technologies that often keep students away from the whistles and bells of electronic gadgets and gizmos. (-)
INTERACTIVE EXHIBITION AT CON U
ENTERTAINMENT - 9
by Van Rico
Even the most experienced art connoisseur might be left scratching his head when faced with an entire gallery adorned solely with blank sheets of paper strung with copper foil and tiny speakers.
That is until the party arrives with pencils in hand and sets to the the undecorated pages, with a doodling fervour reserved only for phonebooks and detention room desks.
In an instant the gallery is transformed into a late night kindergarten craft-time with drawings on the walls and high pitched squealing emanating from all directions. This of course all part of the fun of Diana Burgoyne’s exhibition Sound Drawings shown last week at the VAV Gallery.
Burgoyne is a Vancouver based installation/performance artist who currently teaches at the Emily Carr Institute of Art and Design. Her work seeks to humanize machines and technology while at the same time attempting to breakdown the often frustrating and negative relationship between the individual and machine. She does this by putting the technology in the hands of the audience and giving them control.
Her latest exhibition lets the audience sculpt sound from drawing by having them make pencil line sketches between two copper points on a blank page. The drawings connect the copper points, which in turn emit a tone from a small speaker. The audience sees the immediate cause and effect of its actions as the tone varies in intensity with the amount of graphite drawn onto the page.
In addition to Sound Drawings, Thursday night’s vernissage included a performance by Burgoyne. The performance took place in the dark and consisted of a troop of volunteers who, equipped with light sensitive speaker units, formed a circle around the artist. Burgoyne, armed with a pair of flashlights, proceeded to randomly illuminate each one of her volunteers and set off their buzzers. This continued until the volunteers began to descend all at once upon her, resulting in a cacophony of squealing speakers that ended the show.
When asked about the importance of her art Burgoyne replied, “It’s important for me to create. Since I was a kid I’ve been making things. I need to make things and to go on making things.” Diana Burgoyne’s show is the second performance/installation to be shown at the VAV Gallery this year. The next performance art exhibition is slated for the end of January, when there will be an entire week of Concordia students exhibiting their performance art.
This week the VAV Gallery will be hosting amazing! the annual student fibres show. The vernissage for amazing! will take place on Sunday the 26th at the VAV Gallery at 1395 Rene Levesque West.
ENTERTAINMENT - 9
by Van Rico
Even the most experienced art connoisseur might be left scratching his head when faced with an entire gallery adorned solely with blank sheets of paper strung with copper foil and tiny speakers.
That is until the party arrives with pencils in hand and sets to the the undecorated pages, with a doodling fervour reserved only for phonebooks and detention room desks.
In an instant the gallery is transformed into a late night kindergarten craft-time with drawings on the walls and high pitched squealing emanating from all directions. This of course all part of the fun of Diana Burgoyne’s exhibition Sound Drawings shown last week at the VAV Gallery.
Burgoyne is a Vancouver based installation/performance artist who currently teaches at the Emily Carr Institute of Art and Design. Her work seeks to humanize machines and technology while at the same time attempting to breakdown the often frustrating and negative relationship between the individual and machine. She does this by putting the technology in the hands of the audience and giving them control.
Her latest exhibition lets the audience sculpt sound from drawing by having them make pencil line sketches between two copper points on a blank page. The drawings connect the copper points, which in turn emit a tone from a small speaker. The audience sees the immediate cause and effect of its actions as the tone varies in intensity with the amount of graphite drawn onto the page.
In addition to Sound Drawings, Thursday night’s vernissage included a performance by Burgoyne. The performance took place in the dark and consisted of a troop of volunteers who, equipped with light sensitive speaker units, formed a circle around the artist. Burgoyne, armed with a pair of flashlights, proceeded to randomly illuminate each one of her volunteers and set off their buzzers. This continued until the volunteers began to descend all at once upon her, resulting in a cacophony of squealing speakers that ended the show.
When asked about the importance of her art Burgoyne replied, “It’s important for me to create. Since I was a kid I’ve been making things. I need to make things and to go on making things.” Diana Burgoyne’s show is the second performance/installation to be shown at the VAV Gallery this year. The next performance art exhibition is slated for the end of January, when there will be an entire week of Concordia students exhibiting their performance art.
This week the VAV Gallery will be hosting amazing! the annual student fibres show. The vernissage for amazing! will take place on Sunday the 26th at the VAV Gallery at 1395 Rene Levesque West.
Diana Burgoyne, Sound Drawings, 2000.
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Activist Art Week in the
GALERIE VAV GALLERY
Concordia University
location: Galerie VAV Gallery, 1395 Reve Levesque West Montreal
show dates: Monday, November 27 - Saturday, December (10am-11pm daily) vernissage: Tuesday, November 28, 7: pm
Activist Art week at the VAV will be presenting various artists, both collective & individuals, conveying socio-political subject matter. Throughout the week visitors will be encouraged to participate in activities within the gallery setting with: a clothing drive by the Hem Collective, winter cycling workshop by Right to Move, as being invited to eat a free hearty vegetarian meal by People's Potato. Other interactive projects will, include public interventions and the distribution of zines (independent; publication) as a form of D.I.Y. communicatior.
On Friday, Dec. 1st the VAV Gallery will be participating in Day With Out Art', the national day of action and mourning in the response to the AIDS crisis, by shrouding the gallery walls with black curtains. Concordia's 'HIV/AIDS: Cultural Social & Scientific Aspects of the Epidemic' course will have an information table on the epidemic & health and will be distributing 'care cards' as well as condoms.
schedule of events
monday (27)
12-2pm
free lunch
zine sale
tuesday (28)
12-2pm
free lunch
zine sale
7pm-
vernissage
zine sale
wednesday (29)
12-2pm
free lunch
zine sale
thursday (30)
12-2pm
free lunch
zine sale
7pm-
Workshop
winter cycling
friday (1)
day w/out art
11am-8pm
HIV/ AIDS
info-table
EXHIBITION: NOV 27 - DEC 2, 2000
OPENING RECEPTION: NOV 28
GROUP
N/A
Activist Art Week, 2000.
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Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
Activist Art Week, 2000.
EXHIBITION: DEC, 2000
OPENING RECEPTION: N/A
DUO
ALEXANDRE PARADIS
NICOLAS FLEMMING
Alexandre Paradis and Nicolas Flemming, Paintings, 2000.
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Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Paintings, 2000.
Alexandre Paradis and Nicolas Flemming, Paintings, 2000.
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Paintings, 2000.
EXHIBITION: JAN 7 - 13, 2001
OPENING RECEPTION: JAN 9
DUO
JULIE LEQUIN
JUSTINE RUBIN
Julie Lequin and Justine Rubin, Ok Bye, 2001.
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Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
Ok Bye, 2001.
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[Performance Week]
Jan. 22 - 27 2001
vernissage Tuesday, Jan. 23, 7pm
exposure will be a week long exhibition devoted to showcasing performing arts as well as cross-disciplinary works at the VAV Gallery. Inspired by the success of last year's event which included an on-site tattoo parlor and live-in performance, this year's Performance Week (Jan. 22-27) will feature innovative programming including students from a rage of disciplines featuring guests artists from NYC and Toronto.
The gallery also hopes to expand it's audience beyond the university community by hosting performance's diverse in skills and ideas both at the VAV and outside venue. Due to performance being cross-disciplinary; one might venture to say non-disciplinary, often pushing the definitions of music, dance, theatre, visual arts, and every day life, EXPOSURE will feature:
✫Drum & Bass Weight Loss by Gerard Leckey and Waterdreams by Magda Wesolkowska, two interactive video installations in the gallery throughout the week,
✫ an artist statement kiosk which will offer to write you up a free artist statement justifying your work ("including all the nods to x-artist or x-philosopher and use all
✫ the hot new artist lingo.. cue-cards and memorabilia") by Anna-Louise Crago,
✫ a contemplation of food preparation through a participatory performance at which 100 pounds of onions will be chopped,
✫ VOL. Live improvised soundtrack to film projections by Richard Parry and Sarah Neufeld.
✫ Bound Up a dance solo by Ilona Dougherty,
✫ Acoustic performance by Warren Spicer,
✫ as well as undercover Chicken Spys offering their services and more!?!
The vernissage will include guest performing artists Taylor Savvy(Toronto), ABC & watertowers with Sam HillmerNYC). Taylor Savvy, who recently signed with Berlin-based record label Kitty-to, will charm you with their theatrical choreography and radical lyrics while both ABC and Watertowers, currently active on the New York new and improvised music scene, will perform collectively formulated compositions and improvisations. All three acts will also be performing extended sets at Jailhouse Rock Wednesday, Jan. 24 at 8pm with Wade Morissette (Mti).
Vanessa Robinson & Beth Stuart
Co-curators, EXPOSURE
Exposure Performance Week, 2001.
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Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
OPENING RECEPTION: JAN 23
GROUP
TAYLOR SAVVY
GABE ANDRUZZI (ABC)
JOSH BLAIR (ABC)
PETE CAFERELLA (ABC)
SAM HILLMER (WATERTOWERS)
FRANKE VOGL (WATERTOWERS)
WADE MORISSETTE
PRESS
BLENDING ART AND LIVE PERFORMANCES AT THE VAV
THE LINK | FRINGE
by Julia Cyboran
January 23, 2001
p.21
In an attempt to expand the horizons of interdisciplinary performance art, Exposure Performance week will showcase the talents of Concordia performing arts students.
This week-long event exhibits selected talent in the context of the performing arts. It also brings together the two campuses, and allows students usually housed at Loyola to take advantage of the facilities of the Visual Arts building and the VAV Gallery. The event also includes three invited guest artists from New York City and Toronto who, in conjunction with CKUT, will be performing extended sets at the Jailhouse Rock.
"The aim of the event is to expose students and other Montrealers to new art, said event co-curator Vanessa Robinson.
Robinson, a Concordia student, said the event is comprised of student submissions.
"A jury selected the works to be shown during the performance week and guest artists were invited to draw a larger non-university based crowd, she explained.
The performance week began last year, and Robinson hopes that it will become an annual tradition, as it allows the two campuses to come together, many of the performing art students being somewhat isolated at Loyola. During the performance week, many interactive exhibits will be housed at the VAV Gallery.
Some notable and interesting events will be the Artist Statement Kiosk, which runs Wednesday Jan. 24th from 1:30 to 4:30 p.m. The exhibit offers to write up free artistic statements using all the latest academic lingo. As well, the Onions will be performing their "contemplation on food preparation" Thursday, Jan. 25th. The Onions are a group from the Peoples Potato, and will offer an interactive opportunity for people to peel 100 pounds of onions.
"The Onions are bringing the kitchen into the gallery, explained Robinson.
The event also boasts interactive installations that will run the duration of the performance week. They are "Drum and Bass weight loss" by Gerard Leckey, "Waterdreams" by Magda Wesolkowska, and Continuous Pinhole Camera documentation by David Floren and Chicken Spies.
This year, with guest ABC, Taylor Savy and Watertowers, Robinson hopes that more than just university students will attend the event All three groups are forerunners in their respective disciplines. Both ABC and Watertowers are active in the improvisational music scene in New York City, and will be bringing their innovation to the VAV gallery and to the Jailhouse Rock. Taylor Sawy will offer an interesting and comedic set which Vanessa Robinson describes as "men wearing suits repeating slogans while doing synchronized dance movements.
Exposure Performance Week runs Jan. 22-27 2001 at the VAV Gallery 1395 René-Levesque West 514-848-7388. All performances are free.
Extended sets are at the Jailhouse Rock.
30 Mount Royal W. On Wed. Jan. 24 at 8 p.m.
Exposure Performance Week, 2001.
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Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
Exposure Performance Week, 2001.
January 17, 2001
VAV Gallery presents Maureen Murphy and Maren Ullrich in a shared Fibre-based exhibition:
Strands.
January 29 - February 3, 2001
Maureen Murphy and Maren Ulrich
Maureen Murphy and Maren Ullrich currently study at Concordia in the Fibres Department, and are up and coming Fibre artists. Both of these artists have exhibited several pieces in school sponsored group shows, the latest of which was the juried show
"AmaaaZing!" put on in November by the Fibres Department. They also collaborated in the Janet Morton show "Casting Off in spring 2000 at the Textile Museum in Toronto.
In their work, Maren and Maureen share themes of identity and distinction, and compliment each other in both technique and aesthetic.
Vernissage Tuesday, January 30, 2001, 7-10 pm
The exhibition at the VAV Gallery is the latest work of Maureen Murphy and Maren Ullrich. Strands is a show that embodies, through various fibre techniques, works that utilize strands of diverse materials to create imagery and complete cloth. The use of wool, thread, silk, and human hair has resulted in works of unique texture and intricate detail. The viewer is compelled to discover each work with careful examination.
Lisa Vinebaum and Vanessa Robinson, Co-Directors
EXHIBITION: JAN 29 - FEB 3, 2001
OPENING RECEPTION: JAN 30
DUO
MAUREEN MURPHY
MAREN K ULLRICH
Strands, 2001.
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Strands, 2001.
Strands, 2001.
Strands, 2001.
Strands, 2001.
Strands, 2001.
Strands, 2001.
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Strands, 2001.
Strands, 2001.
EXHIBITION: FEB 4 - 10, 2001
OPENING RECEPTION: N/A
GROUP
N/A
Overdue: Living with Books, 2001.
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Overdue: Living with Books, 2001.
Overdue: Living with Books, 2001.
Overdue: Living with Books, 2001.
Overdue: Living with Books, 2001.
EXHIBITION: FEB 11 - 17, 2001
OPENING RECEPTION: FEB 13
DUO
ELIZABETH SWEENEY
ZOE KREYE
Human Resources, 2001.
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Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
Human Resources, 2001.
EXHIBITION: MAR 11 - 17, 2001
OPENING RECEPTION: N/A
GROUP
N/A
Happy Rabby, 2001.
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Happy Rabby, 2001.
Happy Rabby, 2001.
Happy Rabby, 2001.
Happy Rabby, 2001.
Happy Rabby, 2001.
Happy Rabby, 2001.
Happy Rabby, 2001.
EXHIBITION: MAR 25 - 31, 2001
OPENING RECEPTION: N/A
DUO
MIRIAM VERBURG
AUDREY ROBINSON
Miriam Verburg and Audrey Robinson, [untitled], 2001.
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[untitled], 2001.
[untitled], 2001.
[untitled], 2001.
[untitled], 2001.
[untitled], 2001.
[untitled], 2001.
EXHIBITION: APR 1, 2001
OPENING RECEPTION: N/A
GROUP
NATALIA ZIEBA
ELIZABETH CHAN
JULIE HOUTE
Co-Laboratory, 2001.
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Co-Laboratory, 2001.
Co-Laboratory, 2001.
Co-Laboratory, 2001.
Co-Laboratory, 2001.
Co-Laboratory, 2001.
A Week long performance by Ashleigh Elson.
Housewarming: Tuesday, April 24, 7 p.m.
EXHIBITION: APR 22 - 28, 2001
OPENING RECEPTION: APR 24
DUO
MELISSA A. THOMPSON
ASHLEIGH ELSON
Melissa A. Thomson and Ashleigh Elson, Moving No. 9, 2001.
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Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Moving No. 9, 2001.
Annual Undergraduate Exhibition
Exposition anuelle des etudiants-es de premier cycle
Galerie d’art Leonard & Bina Ellen Art Gallery
EXHIBITION: APR 26 - MAY 16, 2001
OPENING RECEPTION: APR 26
GROUP
N/A
Out of Order: Undergraduate Student Exhibition, 2000.Click to expand the image and swipe for additional views
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Click to expand the image and swipe for additional views
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.
Out of Order: Undergraduate Student Exhibition, 2000.