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.
To make a purchase of any one of the four works in the Artist Edition series, or for more information, please call the Gallery Store at 604.662.4706 or email gallerystore@vanartgallery.bc.ca.
 Fiona Tan Rapids, 2010 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.)
 Scott McFarland Former Photography Lab, Key Colour, 117 2nd Ave East, Vancouver, 2009 inkjet print unlimited edition 50.8 x 40.6 cm $ 300 (unframed) |
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.
 O Zhang Horizon No.24, 2009 lightjet print edition of 50 27.9 x 25.4 cm $300 (unframed) |
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.
 Marianne Nicolson Sisi’ut screenprint edition of 75 25.25 x 76 cm $175 (unframed) |
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’utl 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’utl 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).
 Gabriela Albergaria 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.
 Kyohei Sakaguchi 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.
 Rodney Graham 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 $475 (unframed) $700 (framed) |
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.
 Franz West Male Sticker, 2005 epoxy resin, metal 28 x 16 x 8 cm with a Certificate of Authenticity numbered and signed by the Artist $950 SOLD OUT |
SOLD OUT