Open Space prints a majority of its publications in-house. For information about ordering and purchasing any of the below publications, contact our Administrator. Shipping and handling apply.


Reclaim the Streets, Marlaina Buch, Barbara Cole, Sara Fruchtman, Doug Jarvis, Cameron Kidd, Justin A. Langlois, James Finalyson Lindsay, Mikhail Miller, Kelly O'Brien, and Kika Thorne, 2015. 90 pages, 36 illustrations. Perfect-bound. ISBN 978-1-895532-44-9. $15.00 

This publication was created in conjunction with Reclaim the Streets, a symposium on art and public space held on April 25 to April 24, 2014. This event occurred in conjunction with Victoria artist Cameron Kidd’s residency at Open Space from August 2013 to May 2014. The book brings together artists, scholars, curators, and activists to examine the perceptions, problems, and possibilities of public art in Victoria. 




Sandra Meigs: The Basement Panoramas, Toby Lawrence, Joan McNeely, Jen Hutton, and Helen Marzolf, 2013. 64 pages, 27 illustrations. Perfect-bound. ISBN 978-1-895532-42-5. $20.00 


This publication was created in conjunction with The Basement Panoramas, Victoria artist Sandra Meigs’ exhibition held from November 1 to December 14, 2013. Taking as a point of departure the invisible underthings of architecture—basements and crawl spaces—Meigs resuscitates forgotten, often neglected, storage spaces and charges them with potent psycho-social intensity. 



Wendy Hough: Wall Drawing, Toby Lawrence and Helen Marzolf, 2013. 42 pages, 42 illustrations. Perfect-bound. ISBN 978-1-895532-40-1. $15.00

This publication was created in conjunction with Wall Drawing, Vancouver artist Wendy Hough’s artist residency and installation held from May 18 to June 8, 2013. Large-scale chalk drawings explore the possibilities of the contemporary practice, performance, and the idea of drawing.



Transporter: Charles Campbell, Toby Lawrence, Helen Marzolf, and Kevin Rodgers, 2013. 60 pages, 63 illustrations. Perfect-bound. ISBN 978-1-895532-39-5. $20.00

This publication is for Transporter, an exhibition by Charles Campbell (Victoria) held from March 1 to April 6, 2013, at Open Space Arts Society and from May 4 to June 15, 2013, at Modern Fuel Artist-Run Centre. Transporter revived the genre of history painting in a series of 3D paintings that combined Buckminster Fuller’s utopian architecture with loaded political imagery and elements. 



My Story of Making and Sewing Hides: Penny Louie, Penny Louie, 2013. 83 pages, 106 illustrations. Perfect-bound. $20.00

Penny Louie, Kaska/Tahltan artist, explains step-by-step how to prepare a hide for tanning. Louie shares her knowledge about preparing moose hides and sewing skins so that the art of tanning skins the old traditional way will continue for future generations. 



islands: Emilio Portal, Peter Morin and April Piluso, 2012. 40 pages, 18 illustrations. Perfect-bound. ISBN 978-1-895532-38-8. $15.00

On May 14, 2012, Emilio Portal (Toronto) began the installation of islands in the gallery. islands was an ongoing performance that honoured the Lekwungen peoples of Vancouver Island. Through a series of creative acts, Portal performed a respect to the land and the remnants of history that lie underneath. 



Shut Up and Listen: Trimpin: (CanonX+4:33=100), Helen Marzolf, Kristy Farkas, and Andrew Schloss, 2012. 60 pages, 47 illustrations. DVD. Perfect-bound. ISBN 978-1-895532-36-4. $20.00

Combining ancient concepts and methods with the latest in digital technology, Trimpin (Seattle) gave new life to five abandoned pianos by constructing visually dynamic and aurally stunning acoustic and electroacoustic sculptures and automatons out of their carcasses. The pianos were "prepared" with mechanical actuators, small robotic devices such as dampers, hammers, and bow wheels, to play the piano strings in a way in which composers John Cage and Conlon Nancarrow started to experiment more than half a century ago. 



Stained, Shelley Miller, Sarah Stein, and Helen Marzolf, 2012. 12 pages, 12 illustrations (including fold-out poster). Saddle-stitched. ISBN 978-1-895532-35-7. $5.00

Stained is a catalogue documenting a public sugar mural that was on the wall of Waddington Alley during Montreal artist Shelley Miller's one-month production residency hosted and organized by Open Space, March to July 2011. PDFs: inner pages and cover/poster



Pulse Interval, 2012. 20 pages, 13 illustrations. Saddle-stitched.

Pulse Interval was an exhibition that featured work by Jamie Drouin, Andrew Forster, Farheen Haq, and Azin Seraj curated by Catlin Lewis and Helen Marzolf. The curators adapted the term "pulse interval," a gap or interval between regular or intermittent signal waveforms such as the sounds made by bats as they navigate the night sky. The curators proposed that "technology and human movement act as navigational aides in forming an interiorized local knowledge of place or identity. The artists in this exhibition investigate the nuances of how we mobillize habits of movement, technology, and data to navigate and inhabit our geographic, psychosocial and political locales." 



RICHARD RAXLEN: introspective?!*√º"ç¥å?!, Marilyn Brakhage, Peter Sandmark, Chelsea Rushton, and Helen Marzolf, 2012. 64 pages, 48 illustrations. DVD. Perfect-bound. ISBN 978-1-895532-34-0. $20.00

RICHARD RAXLEN: introspective?!*√º"ç¥å?! was an inter-disciplinary project exploring the diverse range of Victoria artist Richard Raxlen’s art. While Raxlen’s film work has been applauded internationally, the full sweep of his art practice had not been similarly acknowledged. Open Space joined forces with MediaNet to launch this mid-career survey or, as Raxlen prefers to call it, an introspective. 



Drifter's Clip, Randy Gledhill, Melanie Siebert, and Peter White, 2012. 31 pages, 11 illustrations. folio. $15.00

Drifter’s Clip, featuring Jeremy Borsos and the DRIL artists collective (Dylan McHugh, Leisha O’Donohue, Ian Prentice and Rachel White), invoked the vagaries of histories and memory, recasting tropes of Hollywood cinema, popular, and DIY cultures. 



Greenw∞sh, Helen Marzolf, Elyse Portal, Xane St Phillip, Marlene Jess, Robert Hengeveld, Rachel Evans, Scott Evans, Kyath Battie, Marlaina Buch, Brenda Petays, and Bronwyn Preece, 2011. 87 pages, 50 illustrations. Perfect-bound. ISBN 978-1-895532-33-3. $20.00

Greenw∞sh was an art project, featuring work by Kyath Battie, Rachel Evans, Scott Evans, Robert Hengeveld, Marlene Jess, and Xane St Phillip, that entangled the relationships among natural, technological, and consumerist ecosystems. 


Like Some Pool of Fire, Byron Peters, Heidi Nagtegaal, and Gerry Gauthier, 2011. ISBN 978-895532-32-6.

Download FREE PDF: 27MB 

The Like Some Pool of Fire parallel publication further explores the colour-based strategies of the exhibition of the same name held from January 14 to February 12, 2011, featuring new works by Elizabeth Zvonar, Michael Drebert, Heidi Nagtegaal, and Raymond Boisjoly, whose research into the Berlin-Kay theory produced a stunning exhibition poster and subsequent work for this book. Boisjoly is also responsible for the title Like Some Pool of Fire. The book features critical prose by Byron Peters, Heidi Nagtegaal, and Curator, Gerry Gauthier, as well as documentation of the exhibition featuring the work of Michael Morris and Vincent Trasov, Rhonda Weppler and Trevor Mahovsky, Kristina Lee Podesva, and Miles Collyer.



Walls of Intrigue and Cabinets of Curiosity, Jan Gates and Helen Marzolf, 2011. 32 pages, 39 illustrations. ISBN 978-895532-29-6. $15.00 

In 2008, Victoria artist Trace Nelson embarked on a research project to construct 100 sock monkeys. It didn’t take long before her research veered into new hypotheses and materials. The cuddly toy monkeys morphed into life sized simian sculpture. Nelson’s murals and drawings attended the sculpture—and monkey furnishings upholstered with reused sweaters, video peepholes and a drawing robot animated a rampant installation. Art historian Jan Gates discusses Nelson’s project from the perspective of the historical cabinet of curiosity, interrupted by monkey back talk. 



Wunder Worry, Megan Dickie, 2010. 30 pages, 12 illustrations. Perfect-bound. ISBN 978-1-895532-31-9. $15.00

Troi Donnelly, Kevin Yates, and Suzanne Franks looked at anxiety and fear of the unknown from a place of curiosity with Wunder Worry an exhibition curated by Megan Dickie and Hailey Finnigan. This book features an essay by Megan Dickie and hand screen-printed covers.



Bamberton: Contested Landscape, Nathan and Cedric Bomford, 2010. 61 pages, 42 illustrations. Perfect-bound. ISBN 978-1-895532-27-2. $20.00

Bamberton: Contested Landscape confronts land use skirmishes of Bamberton (an abandoned cement plant on Vancouver Island site) through architectural references and a fabricated oratorical arena. This book includes an introduction by Helen Marzolf, as well as a essay by Kathleen Ritter that add context to the 42 pages of installation shots taken by Nathan and Cedric Bomford.   



Gust Burns Piano De/Re-constructed, Gust Burns, 2010. 168 pages, 144 illustrations. Binder-clipped. ISBN 978-1-895532-30-2. $10.00

In March 2010, Open Space hosted the piano series Between the Notes. Following special performances by Tzenka Dianova and Lubomyr Melnyk, we invited Seattle pianist and composer Gust Burns to spend a week in residence working with an old upright piano donated by Michelle Purvis. Burns’ haptic deconstruction process, Piano De/Re-Constructed, is the consequence of his profound engagement with the piano. See this process documented in a 144 page flip book image series from start to finish. 



Circuitous Routes: Excess/Abundance, John Luna, 2009. 44 pages, 22 illustrations. Perfect-bound. ISBN 978-1-895532-25-8. $20.00

Featuring a winding and spiralling essay by John Luna and an annotated list of works by the artist Wendy Welch (Victoria), Circuitous Routes: Excess/Abundance attempts to unknot the plentiful installation that filled Open Space. 


Eidola, David Cecchetto and Ted Hiebert, 2009. 30 pages, 7 illustrations, 4-track audio CD. ISBN 978-1-895532-28-9. $15.00

Curated by David Cecchetto and Ted Heibert, Eidola brought together two distinct disciplinary practitioners: one (William Brent) a musician who makes objects, and the other (Ellen Moffat) a visual artist who makes sound; between the two, a cross-pollination occured as sounds emerged through object presences.

Us Ones in Between, Marlaina Buch and Nicholas Robins, 2009. 60 pages, 32 illustrations. Perfect-bound. ISBN 978-1-895532-24-1. $10.00

Curated by Nicholas Robins, Us Ones in Between featured the work of Victoria artists Ty Danylchuk, Caitlin Gallupe, Liam Hannah-Lloyd, Cody Haight, Cameron Kidd, Brooke Semple, Eden Veaudry and Erik Volet. Us Ones in Between—the publication—includes full-colour reproductions of the artists’ work and an introductory essay by Marlaina Buch which discusses the work of this group in terms of privacy and community, the role of drawing, and the normalization of art in all aspects of the artists’ lives. Covers come in five different—very eye-catching—colours.


Bannockology, compiled and edited by Peter Morin, 2009. 82 pages, 14 illustrations. Coil-bound. ISBN 978-1-895532-23-4. $20.00 

Bannockology is an anthology of anecdotes, recipes, poetry and insights about bannock, the ubiquitous bread that is a part of every First Nations social event, private or public. Compiled and edited by artist, writer, curator Peter Morin, Bannockology was initiated in Watson Lake, Yukon where Peter worked with the local library and youth, and grew as Peter’s cultural adventures lead him to organize the World’s Largest Bannock event, and shaped by a deep commitment to his Tahltan culture. An essay by acclaimed curator Candice Hopkins introduces Bannockology. Revenues from sales will be directed to the Watson Lake Library and Surrounded by Cedar Child and Family Services. Co publishers: Camosun College, Western Front, Surrounded by Cedar Child and Family Services.


4x8_5x7, James Carl, 2008. 140 pages, all illustrated. Perfect-bound. ISBN 987-1-895532-21-0. $4.00

4x8_5x7 breaks a life-sized black and white digital drawing of a 4 x 8 sheet of plywood into 5 x 7 sections. Each page is a 5 x 7 section of the drawing. 



workbench, David Capell, 2009. 32 pages, 14 illustrations. Perfect-bound. $3.00

A colourful document of a 2007 curatorial project lead by Ross Angus Macaulay and Zoë Kreye, workbench assembled the live-work realities of six young artists: Marlene Bouchard, Charlotte Campbell, Emily Goodden, Rachel Evans, Jordan Beggs and Caleb Beyers. Essayist David Capell situated their practices within a relational and action-based present.


Unpacked and Reheated, Ted Hiebert, Helen Marzolf, and Catlin Lewis, 2007. 45 pages, 26 illustrations. ISBN 978-1895532-15-9. $4.00

Unpacked and Reheated examined the interplay between the organic and the synthetic, the real and the illusory, and dared the viewer to determine what constitutes authenticity. These works by Steven Rayner and Brendan Fernandes questioned the relationships between nature, technology and society by juxtaposing the natural with the hyperreal. 



Dowsing for Failure, Ted Hiebert and Doug Jarvis, 2007. 62 pages, 20 illustrations. Perfect-bound. ISBN 1-895532-18-3. $15.00

Curated by Doug Jarvis and Ted Hiebert, Dowsing for Failure featured works by Benjamin Bellas, Nate Larson, Gordon Lebredt, Mike Paget, June Pak, Daniel Olson and Anthony Schrag.  Failure is re-positioned to reveal paradoxes hard-wired into the practices and attitudes of contemporary culture and life. 

Transmission of Knowledge, Irene Bindi, 2007. 14 pages, 13 illustrations. CD. Saddle-stitched. ISBN 978-1-895532-17-3. $5.00

Transmission of Knowledge was published to document part of a residency exchange jointly organized by Open Space Arts Society in Victoria, BC, and La Chambre Blanche artist-run centre in Quebec City. Two Québécois artists, François Mathieu and François Lamontagne, were in residence at Open Space from January 16 to February 24, 2006. 


Vulnerable Light, Ted Hiebert, 2006. 28 pages, 8 illustrations. Perfect-bound. ISBN 1-895532-16-2. $10.00

Vulnerable Light invokes the vulnerability and ineffability of photographic representation in the works of two nationally recognized photo-based artists: Isabelle Hayeur (Montreal) and Jennifer Long (Toronto).  This exhibit was curated by Tamsin Clark and Ted Hiebert, with writing from Micheal Turner.


Domestic Bliss, Roy Green, 2006. 24 pages, 10 illustrations. GBC-bound. ISBN 1-895532-14-0. $5.00

Domestic Bliss was curated by Roy Green (artist, poet) and featured recent work by Martin Golland (Guelph, ON), Karina Kalvaitis (Victoria), and Robert Randall (Victoria). Spurred by the retreat into the privacy of the domestic space, this exhibition deliberated ideas of the home: as status symbol, architecture, shelter/security, exterior and interior decor, investment/commodity, and a site of personal expression and identity. 


Supermodels, Ted Hiebert and Steve Rayner, 2006. 36 pages, 7 illustrations. Saddle-stitched. ISBN 1-895532-12-4. $5.00

SuperModels is a sophisticated inquiry into the mechanics of representation, hinged upon the model building (and mimicking) preoccupations of four artists: Chris Gillespie, Toni Hafkenscheid, Duncan Mackenzie and Tim van Wijk.  SuperModels was curated by Victoria artists Tamsin Clark and Ted Hiebert, featuring an essay written by Steve Rayner (Victoria).  



Book of Small, Sonja Ahlers, Ginger Brooks Takahashi, Sarah Cain and Carey Ann Schaefer, 2005. 48 pages, 33 illustrations. Perfect-bound. IBSN 1-895532-13-2. $7.00

The exhibition The Book of Small starred three artists who, using modest materials including paper, paint, and fabric, further blurred the divisions between art and craft, art and community, and art and architecture. Sonja Ahlers (Vancouver) assembled free and donated scraps—tickets, comic strips, clothing tags, doodles, doilies—into collages that chronicled the objects, ideas and people that momentarily capture our attention. Ginger Brooks Takahashi (Brooklyn) presented quilts and drawings featuring rabbits and humans involved in sexual scenarios; these doubled as metaphors for the difficulties involved in reproduction, both biological and cultural, in the queer community. Sarah Cain (Oakland) created art installations that used space—walls, windows, corners, floorboards—merging art and architecture. This publication features a generous ten pages of each artist’s work (including two-page spreads) and a short essay on each by Carey Ann Schaefer.


The Hidden Is Hard to Come By, Roy Green, 2005. Monograph.

David Gifford and James Lindsay concatenate origins of a hidden dialogue in art and science. Questions about Guantanamorphosis and environmental controls. Philosophical apparati and insects escaping. Encryptomatons and ancient black art sciences. Could realness evade reality as insects might from the gallery walls? What would water want us to see it as?


Shapeshifter Hotspot. Now., Todd A Davis, 2005. 8 pages, 24 illustrations. Monograph.

This group exhibition Shapeshifter Hotspot. Now. of artists from across Vancouver Island and the Gulf Islands puts forth an intent, individual in nature, as varied as the work itself, but still a group effort, internationalism mixed with a thorough smattering of local viewpoints sifted through the sieve of post-modernism beckoning to the uninitiated as well as the seasoned viewer.
– Todd A Davis


Flora and Fauna from the Growing Sea of Engines, Scott Evans, Emi Honda, and Jordan McKenzie, 2005. Monograph.

A pamphlet to accompany an installation with the same name by Scott Evans, Emi Honda, and Jordan McKenzie, which conglomerates otherworldly living environments, exaggerated and all-encompassing, to encourage contemplation of one's own geography and space.


Nature Ecstasy, Jamie O'Malley, 2005. Monograph.

Nature Ecstasy was a live music, digital dance premiere featuring David Ferguson and Jung-ah Chung with an original score played live by Eclipse Quartet from Los Angeles, featuring Sara Parkins, violin; Sarah Thornblade, violin; Joanna Hood, viola; and Maggie Parkins, cello. Suddenly Dance Theatre and Open Space presented Nature Ecstasy, an exhibition of multimedia artworks by Miles Lowry and David Ferguson.

Digital Dragon Meets Analogue Unicorn, Roy Green, 2004. Monograph.

High art and consumer culture is constantly appropriating the underground subculture in order to create the illusion of novelty and new and improved commodities. [. . .] As comix and cartoons steal motifs from high art, Wiebe gleefully ransacks the zeitgeist of cartoon culture: benevolently infecting imaginations with a potent dose of painted psychic stress relievers. Wiebe's paintings playfully oscillate between blurry passages of luminous abstraction and crisply rendered human-animal hybrids. Whether he portrays diaper-clad pervert men, donkeys, owls, bears, or imagery based on the Medieval Unicorn Tapestries, Wiebe's works engage, amuse and inveigle his ever-expanding audience.
– Roy Green


(self) Publish or Perish, edited by Jo Cook, 2004. 24 pages. Saddle-stitched.

This mini-book documents the (self) Publish or Perish exhibition held at Open Space from February 6 to March 13, 2004, and includes a long list of self-publishing contributors and their publications. (self) Publish or Perish hosted 180 international artists who published their own books, zines, comix, postcards, pamphlets, and manifestos, among other things.


Volitional Landscape, Ali Donnelly, 2004. Monograph.

This exhibition included works by three BC artists: Ralph Stanbridge (Victoria), Fae Logie (Vancouver), and Ken Jeanotte (Vancouver). This show was an exploration of landscapes: various human interactions with them and their endless transformations as they are continuously affected by social values, histories, myths, and elements of modernization and capitalism.


Event Horizon, Roy Green, 2004. 6 pages, 8 illustrations. Monograph.

The event horizon, which the exhibition is named after, is a location in space where the gravity field is so warped that light cannot escape. Jamie Drouin, Lance Olsen, and Jeroen Witvilet took this concept into their art by occupying a liminal zone of somatic perception. The artists’ paintings and videos defy colour, texture, light, and meaning.


Semsar Siahaan: G-8 Pizza and The Study of the Falling Man, John Luna, 2003. Monograph.

Semsar Siahaan has been analyzing the "man on the street" since arriving in Victoria after leaving his home country for political reasons. His refugee stay in Victoria has produced some of his finest drawings, and this drawing installation is no different. Drawn on cardboard found in the alleys of Victoria, these works portray "Everyman" in some of our most unappealing moments. Each work is simply drawn in conte with minimal colouring on recycled cardboard, which has its own political implications.



Nominal Spaces: Stories for Photographs, Clint Hutzulak and Todd A. Davis, 2003. 34 pages, 3 illustrations. Saddle-stitched. ISBN 1-895532-10-8. $5.00

Nominal Spaces: Stories for Photographs was published to coexist with a photographic exhibition presented at Open Space in 2003 called “…and uncertain light,” which featured the works of Brenda Francis Pelkey, Holly King and Tamsin Clark. Drawing inspiration from the narrative impulses implicit in the imagery of the three photographers, writer Clint Hutzulak created a trio of short fictions to accompany the photographs. 



Plot, Todd A. Davis, Robin Peck, Christina Ritchie, and Margrét H. Blöndal, 2003. 47 pages, illustrated. Perfect-bound. ISBN 0-920751-87-3. $7.00

Plot is a publication that accompanied James Carl’s 2003 large-scale installation and pieces—an exploration of materials and an analysis of consumer culture—that were presented at the Contemporary Art Gallery, Vancouver, BC, and Open Space. The publication includes an essay by Robin Peck, an “interview” of James Carl by curator Christina Ritchie, as pieced together by months of telephone and email conversations, and a poem by Margrét H. Blöndal. 



Quartet for the Year 4698 or 5760: improvisation for four projectors, Adrienne Lai, Jessie Lacayo, Tamara Bernstein, and Scott Watson, 2002. 35 pages, 25 black and white illustrations. Perfect-bound. ISBN 1-895532-11-6. $4.00

Quartet for the Year 4698 or 5760 was a gallery installation by Laiwan in collaboration with Lori Freedman. It combined film projection, sound, live performance, sculptural space and digital technology to produce variously mediated experiences. Four film loops projected on a central cylinder showed four views of bass clarinetist Freedman, creating a “quartet”—though this impression was disrupted by the fact that the film loops were of different lengths and shot in different locations. Additionally, Freedman performed live with the installation during scheduled performances. Essays by Adrienne Lai, Jessie Lacayo and Tamara Bernstein focus on technology and the body, technology and ideology, and Freedman’s improvisational technique. Includes an extensive chronology of Laiwan’s past work by Brice Canyon.

Dream Factory, curated by Milutin Gubash and Althea Thauberger. DVD, 2002. $3.00

A DVD recording of Dream Factory, a live performance that took place in a makeshift television studio at Open Space as part of the gallery’s collaboratory: CHARACTER series. The sixteen performers in this show were chosen from among those who responded to an open call for amateur and professional acts; their talents range from opera singing to juggling. Performers: 34U, Jacy Holland & Emily Lyall, Dianne Pancel, Graham Kelly, Michael Eckford, Ryan Mellors, David Burke, Mica Strong, Nicki Solis, Trinda Reed, Duotwang.


Collaboratory: Character, Jessie Lacayo, 2002. Monograph. $1.00

The collaboraty: CHARACTER series showed off the collaborative projects of a number of artists working in various media: video, live performance, collage, concert. This pamphlet includes a brief essay by Jessie Lacayo with artist statements and colour photographs of the work. 


Collaboratory: Connecting, Donna Eichel, 2002. Monograph.

Collaboratory: Connecting was the second exhibition in Open Space's Collaboratory series and brought together Cecile Clayton-Gouthro (visual artist, textile historian) and Andrea Young (performer, composer) to create a visual and vocal presentation that included three sculptural garments made entirely of vibrant-coloured shoulder pads, as well as a sea of shoulder pads covering the gallery floor. Young, using voice and gesture, "connected" with Clayton-Gouthro and her work through public performances of structured improvisation.


Installations: Argument #3, Ground, Onward #2 & Interstitial Space: Respire, Tom Bendtsen and Karen Kazmer, 2002. Monograph.

Although they are unlike in their practices, both Tom Bendtsen and Karen Kazmer are preoccupied by in-between states, and their work grounds its viewers in the present. This pamphlet documents their joint exhibition from April 5 to 27, 2002, at Open Space. 


Vantage Points: Sighting Along a Line, Caitlin Lewis, 2002. Monograph.

Vantage Points: Sighting Along a Line presents the work of three artists who address the changing relationships between human beings and their environments. The show deals with individual perception, time, and the decay and renewal of natural and human structures. Each artist addresses the symbiotic relationship between self and place, while exploring the juxtaposition between external architectural spaces and the environment of the gallery. 
– Caitlin Lewis


Content 1.0, James Carl, co-published by Art Metropole and Mercer Union, 2002. 78 pages, most illustrated. Includes a CD-ROM of fonts. Perfect-bound. ISBN 0-920956-68-8. $54.00

The drawings in this book were created in Adobe Illustrator and Aldus Freehand on Macintosh computers between 1997 and 2002. The drawings are available as a font on the CD accompanying this book. The CD is compatible with Mac and PC formats. Simply follow the installation directions on the disc and the drawings will be available in the font menu of most applications.
– James Carl, 2002 


Mapping the Body, Jessie Lacayo, 2001. 12 pages, 16 illustrations. Monograph. $2.00

Mapping the Body
brought together work by eight artists that in some way dealt with the human body. In this publication, Jessie Lacayo interviews artists Kelly Mark, Wendy Peart, Karen Ralph, Su Rynard, Barrie Jones, Har-Prakash Khalsa, Monique Mees, and Ed Pien on the thematic concerns in their work, which include technology and detachment from the body, gender, gesture, and what is monstrous or inhuman in representations of the body.


Materia Prima, Roy Green, 2001. 8 pages, 5 illustrations. Monograph. 

Like the alchemist who sought to transform raw materials into gold, the artists of Materia Prima attempt to turn organic matter into layers of experience, skill, and knowledge. Featuring the works of Jo Cook, Lissa Cook, Donna Eichel, Lance Olsen, and Don Sutherland, this group of artist works beyond the traditional painting strategies to create archaic landscapes and monochromic icons.


Animal, Vegetable, Mineral, Claudia Lorenz, 2001. Monograph.

Only in death in the world truly still; an observation that turns the popular painter's genre of still-life into something approaching an oxymoron (the French 'nature morte' is more literally true). Museums specialize in using still-life to argue the relationships between a thing and its place in the world. Mineral, Vegetable, Animal is a story told in the tradition of museums and, like all natural history collections found in museums, uses dead things to tell the story of life.
– Claudia Lorenz


Machining in the Digital Age: Bricoleur Urbane, Todd A Davis, 2001. Monograph.

With the work of Paméla Landry, Konrad Kordoski, and Val Valgardson, we can see the mockery and wit of Dadaism, the aesthetic of prewar Modernism, and the utilization of late twentieth-century technology combined to create an empathy, form, and space in these sculptural pieces. Machined, hand built, infused with the ironic, the humorous, and the fantastical, these works reflect several centuries of industrialization development; kinetic, interactive, and contributing images of society's history, its present and future considerations, these sculptures accomplish tasks simply, surmising their physical capabilities, but posing questions: challenges as to why this image, why that object, why that reference? 



To Remain at a Distance 1998, Carol Williams. Monograph. $1.00/set

To Remain at a Distance 2000, Grant Shilling. Monograph.

To Remain at a Distance 2001, Jessie Lacayo. Monograph.

These three monographs accompanied To Remain at a Distance 1998, 2000, and 2001, episodes in a series of large group shows of contemporary art from Vancouver Island and the Gulf Islands. (The monograph for the 1999 exhibition is no longer available.) Carol Williams discusses the artistic history of Victoria in relation to the present; Grant Shilling, an artist from Galiano Island, writes about isolation both cultural and physical; Jessie Lacayo’s shorter essay links geography and identity. 


Get Out, Todd A. Davis, 2000. 8 pages, 2 illustrations. Monograph.

In Get Out, performance artist John G. Boehme question the codification of masculine identity. Although the artist’s performance is solo act, Boehme creates a dialogue with the audience to question their very nature of their political, social, and personal identity. The monograph features a essay on the general history of performance art. 


before one's eyes, Pati Tozer, 1999. Monograph.

In questioning the relationship between seeing and the work of art, a space for reflection opens where the mind of the artist and the mind of the viewer can meet. "The works of photographer Margaret Lawther and sculptors Merrell Eve Gerber and Tessa Windt were not curated according to any thematic or stylistic similarities. This lack of interpretive direction offers viewers the opportunity to take an active, creative role in building relationships both with and between each piece. before one's eyes conjures a place inside each of us where we can understand one of the important roles that art plays in this society, that of magician."


Kraftwerk, Nicholas Hooper, 1999. Monograph

This exhibition showed the work of three sculptors (Greg Forrest, Mathieu Gaudet, and Warren Murfitt) whose work initiates a course of inquiry into the role domestic art and craft play in human-made objects, particularly the hierarchies of objects d'art. Sculptural presentations range from environments to discrete objects by these artists from British Columbia, Ontario, and Quebec. 


The Sleepless Night, Diane Schoemperlen and Stuart Reid, 1999. 64 pages with CD. ISBN 1-896380-01-x. $6.00

This bilingual English/Spanish publication accompanied Derek Besant’s project on memory and forgetting. Twenty-six men and women were portrayed in the act of remembering or forgetting; their portraits were paired with representations of (lost) objects or (partial) maps. The CD includes photos and sound from the exhibition, while the book features a critical essay by Stuart Reid and a creative contribution by Diane Schoemperlen. 


Natural Selection, Todd A Davis, 1998. Monograph.

A group exhibition by three East Vancouver painters/printmakers. The title evoked the artists' experiences in an urban social setting and reflected the impact of the environment on artistic expression.



Two Constellations: On the Work of Shelley Ouellet and Lee Goreas, Jennifer McMakon, 1998. Monograph. $1.00

Shelley Ouellet constructed a giant model insect by suspending thousands of small plastic toy insects from the ceiling. Lee Goreas uses comics and toys to investigate philosophical questions, as in the punny Beeing, which depicts honey jar mascot Billy Bee engaged in conversation with a human skull. Essay by Jennifer McMakon with black-and-white photos of the art. 



Between Landscapes, Karen Solie, 1998. Monograph. $1.00

Karen Solie’s essay places Wayne Arsenault’s RE:Collect Slash/Smoulder and Nancy Duff’s The Lay of the Land in the tradition of landscape painting, which has always had as much to do with history and cultural identity as with scenery. Illustrated with black and white photos of the work.  



Mowry Baden: A Choreography of the Ordinary, Recent Works 1988–1998, Robert Hullot-Kentor, 1998. 36 pages, 28 black and white illustrations. Perfect-bound. ISBN 1-895532-09-4. $4.00

This publication presents a ten-year period of work from the Governor General Award–winning and internationally recognized sculptor Mowry Baden. The artist has built harneness, furniture, rooms, and pathways, all with the goal of impinging upon the viewer's movements and awakening a physical self-awareness that was previously unconscious. This catalogue features an essay by Robet Hullot-Kentor centring on illusion in Baden’s work, along with short contributions by curators Brenda Petays and Lauren Schaffer. 


Suburban Artwork: As the World Turns, Val Valgardson, 1998. 9 pages. $1.00

Diagram of a self-pruning hedge with illustrated instructions for its assembly. Valgardson draws from the suburban landscape to create metaphors for human behaviour and how we live in the environments we create. 


[ un ] natural histories: The Art of Gwen Curry and Lyndal Osborne, Robin Laurence, 1997. 31 pages, 12 illustrations. Perfect-bound. $5.00

[ un ] natural histories is a provocative pairing, a complex dialogue between the practices of Lyndal Osborne and Gwen Curry. Each artist’s practice is poised on the nature-culture cusp and both employ strategies of repetition. However, while one artist expresses a joyful affirmation of life into which is folded a sombre recognition of death, the other strikes a funeral chord of environmental warning into which are woven notes of pure delight in the close observation of the natural world. 



Sculpture and Installations, Niki Lederer, 1997. 12 illustrations. Monograph. $1.00

This fold-out pamphlet contains twenty-two colour photos of Niki Lederer’s works, along with a brief artist statement. Lederer presented the installation Garden Site at Open Space in 1997. The installation consisted of a wall-sized photo-mural and a chaise lounge upholstered in synthetic grass; the dramatic scale of the work threatened to engulf the viewer.


A Critical Beauty, Patrick Mahon, Susan Schuppli, 1996. 12 pages, 17 illustrations. Saddle-stitched. ISBN 1-895532-07-8.

A Critical Beauty brought together the works of several artists (Frances Grafton, Lucy Hogg, Patrick Mahon and Gu Xiong) whose practices were united in their interest in developing an informed aesthetic that retained "the beautiful" as legitimate within the syntax of contemporary discourse.



Drawing +, Robin Laurence, 1994. 12 pages, 14 illustrations. Saddle-stitched. ISBN 1-895532-06-X. $4.00

Drawing + was curated by Gwen Curry, Brigitte Potter-Mäl and Pamela Speight and featured work by Derek Besant, Blair Brennan, Briar Craig, Cathy Daley, Sophie Jodoin, David Liss, Gary Pearson, Douglas Scott, and Barrie Szekely. The nine artists whose works were chosen for exhibition expand drawing practice into a wide range of ideas, materials, and processes, including sculpture/installation, assemblage, painting, xerography, performance, text, and printmaking. 


We Need a New History: Autobiography, Autobiology, Steve Noyes, Jack Butler, and Sheila Butler, 1994. 8 pages, 14 black and white illustrations. ISBN 1-895532-05-1. $2.00

We Need a New History was a collaborative installation by Sheila Butler and Jack Butler comprised of photographs, notes, drawings, an audiotape, and an essay. In a performance documented here, the artists work with paint directly on each other’s skin, recopying medical diagrams while representations of the male and female body in Western art stand behind them. In their work, the artists propose a construction of sexual difference where the sexes are mutually transparent. Essay by Steve Noyes.


Redressing the Crone, Nancy Shaw, 1993. 8 pages, 9 illustrations. ISBN 1-895532-04-3. $3.00

Redressing the Crone was Cynthia Jennifer Smith’s empathetic photographic essay of women who opt for plastic surgery in order to avoid aging. The portraits in this series were dramatic and disquieting pictures that attempted to document the paradoxical promises of plastic surgery. 

The October Project, Gail Tuttle, 1992. 46 pages, 39 illustrations. Saddle-stitched. ISBN 1-895532-03-5. $3.00

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Twenty years before The October Project, Open Space was incorporated as a society. This publication remembers the centre’s past with a group interview featuring Bill Bartlett, Suzanne Bessette, Sue Donaldson, Michael MacLennan, Gene Miller, and Jeanne Shoemaker. The October Project was a collaboration of many artists for an exhibition, performances, and a concert. An essay by Gail Tuttle makes the point that no exhibition can be reflective of twenty years of activity; as founder Gene Miller said, “variety makes this place healthy.” The October Project was instead a testament to Open Space’s contribution to its arts communities through the many outstanding artists the centre has worked with. A chronology delineates the past twenty years. 

Standard Sheathing, Barrie Szekely and Philip Willey, 1992. 8 pages, 8 illustrations. Saddle-stitched. ISBN 1-895532-02-7. $2.00

Standard Sheathing was a 1992 exhibition of Barrie Szeleky’s drawings, paintings, and photographs depicting plant and animal life in suburban settings. Colour and black and white photographs and an essay by Philip Willey.


Wrapture, Joyce Nelson, 1991. 8 pages, 8 illustrations. Saddle-stitched. ISBN 1-895532-00-0

"Over the years, I have come to understand that a very good artist is also, by necessity, a very good Trickster: a provacative goad and guide to our own deep transformations and growth. The Artist/Trickster is the holy fool who has herself been utterly transformed by the crisis of creative illness and who now spurts the rest of us on to our own initiations, however harrowing."


Butcher's Apron, Butcher's Hook, George Harris, 1991. 8 pages, 9 illustrations. ISBN 1-895532-01-9

"Olsen releases the creative energy that results in these kinetic images blasting out of their borders, not allowing himself to be compromised by their more formal qualities [. . .] The agitated brush strokes and the way in which charcoal has been physically pulled across the paper by the artist's hand leaves viewers feeling like they've slowed down at the scene of an accident."

PostPOPforNowPeople, Jim Cummins, Kempton Dexter, and Elizabeth Fischer. Cassette tape, 1989. $3.00

Pop music by three artists that, like Pop art, “level[s] wit at a world of maniacally cheerful consumerism.” Liner notes by curator Todd Davis.

Track list:

untitled by Jim Cummins
song of improving one’s lot by Kempton Dexter
long weekend by Kempton Dexter
Fraser River by Kempton Dexter
stomp your feet by Kempton Dexter
lesbian life by Kempton Dexter
class of ’89 by Kempton Dexter

states of grace by Elizabeth Fischer
well oh well by Elizabeth Fischer
pair of dice by Elizabeth Fischer
real estates by Elizabeth Fischer


Open Space: A Yearbook Sept. 1986–Sept. 1987, Geoffrey Gerwing, Gail Harris, Philip Willey, and W. S. Blair, 1987. 48 pages. Saddle-stitched. ISBN 0-921989-03-2. Download FREE PDF.


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