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  • Lorna Brown

    Lorna Brown is a Vancouver artist, curator and educator. Since 1984 her work has been shown in exhibitions at Dazibao, Montreal; Presentation House Gallery, North Vancouver; Contemporary Art Gallery, Vancouver; Gallery 44, Toronto; Canadian Museum of Contemporary Photography, Ottawa; Taipei Fine Arts Museum; and Artspeak, Vancouver, among others. Her recent independent curatorial projects include Set and Group Search: art in the library. Director/Curator of Artspeak 1999–2004.

  • Diana George

    Diana George is a Seattle fiction writer and a founding member of the Seattle Research Institute. Her writing has appeared in Nest Magazine, Arcade: A Journal of Architecture and Design, 3rd Bed, Post Road and Chicago Review. She is the editor, with Charles Mudede, of Politics Without the State, a collection of essays about joy and terror in the global corporate order.

  • Charles Mudede

    A native of Zimbabwe, Charles Tonderai Mudede teaches literature and creative writing for Seattle Arts and Lectures and Pacific Lutheran University. Former Hugo House writer-in-resident, he is also the books editor and a staff writer for the The Stranger and a founding member of the Seattle Research Institute. His work has appeared in The Village Voice, Nest, Radical Urban Theory, C Theory, and Arts Electronica.

  • Kevin Yates

    Kevin Yates recently completed his post-graduate work at University of Victoria. Yates has exhibited at Anna Leonowens Gallery, Halifax and in group exhibitions at the Art Gallery of Greater Victoria, the Tom Thomson Memorial Art Gallery, Owen Sound and the Nora Vaughan Gallery, Toronto. He is currently teaching at the Nova Scotia College of Art and Design in Halifax.

Exhibitions

  • Untitled (small dead woman)

    KEVIN YATES
    January 5–February 9, 2002

    Still and moving images of crime or accident victims are familiar, whether in photo-documentary projects, the news or films. Viewing these pictures generally signals the beginning of a narrative of detection or discovery towards (re)solving the untimely death and the temporary triumph of the rational over fear. These forms often contain clues to the mystery through the use of explanatory narration, or other visual clues within the image, such as the specific environment in which the body was found. The wooded area, the alley at dawn, the industrial waterfront are easily called to mind when thinking of crime scenes, and viewers rely upon the interpretive skill of the forensic hero who uses science to uncover the truth.

    Looking to apprehend the effects of films and photographs of ‘tragedy’ in sculptural form, Yates isolates the slain figure and models it in miniature in Untitled (small dead woman). Removing the setting, props, character and plot serves to eliminate any narrative possibility or specific mystery to solve, leaving only the tiny vulnerable object and our desire to examine it, which we must struggle to do, given its size. This tactic of decontextualization and rendering in three dimensions undermines the clinical detachment of film and photography and reconsiders the figure as ‘flesh’. The sculpture is almost too small to scrutinize and confounds the expectation of knowing-through-seeing and visual pleasure that surrounds the history of the art gallery.

Publications

small dead woman / Last Seen

Small front
Small spine
Small back

Title: small dead woman / Last Seen
Category: Exhibition Catalogue
Artist: Kevin Yates
Writers: Diana George, Charles Mudede, Lorna Brown
Editor: Artspeak
Publisher: Artspeak
Year published: 2002
Pages: 22pp
Cover: Paperback
Binding: Prong Steel Fastener Clip
Process: Offset
Features: 2 b&w images, 4 colour images
Dimensions: 21 x 12 x 1 cm
Weight: 70 g
ISBN: 0-921394-38-1
Price: $5 CDN

Untitled (small dead woman) is the title of an exhibition by Kevin Yates which took place at Artspeak in the spring of 2002. Looking to apprehend the effects of films and photographs of ‘tragedy’ in sculptural form, Yates isolates the slain figure and models it in miniature in Untitled (small dead woman). Removing the setting, props, character and plot serves to eliminate any narrative possibility or specific mystery to solve, leaving only the tiny vulnerable object and our desire to examine it, which we must struggle to do, given its size. This tactic of decontextualization and rendering in three dimensions undermines the clinical detachment of film and photography and reconsiders the figure as ‘flesh’. The sculpture is almost too small to scrutinize and confounds the expectation of knowing-through-seeing and visual pleasure that surrounds the history of the art gallery.

Last Seen, a collaborative text by Seattle writers Diana George and Charles Mudede, builds an analysis of ‘public wilderness’, locations of abandonment regulated into being, neither nature nor civilization, and that carry the signification of ‘crime scenes waiting to happen’. One such public wilderness surrounds the SeaTac airport, a former subdivision that was emptied out in anticipation of airport expansion, a ghost town with no romantic history. This and other empty, unincorporated locales were overtaken for sport, trysts, gleaning and dumping, excursions into ‘nature’ – liberties that were interrupted by the periodic discovery of skeletal remains of many of the women last seen on the sex trade strip of Highway 99. Using devices of seriality and recurrance, their text presents these locations as de-commissioned and blank, spaces lapsed between the capital plan and the date of completion, holding the pause between missing and found.

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