Clint Burnham is a Vancouver writer and teacher. Burnham is the author of numerous books, including Airborne Photo (1999), and The Jamesonian Unconscious (1995). His latest book, Smoke Show, a novel, was published by Arsenal Pulp Press in 2005. Burnham has written on such artists as Ian Wallace, Tim Lee, and Theodore Wan, and he is a freelance art critic for the Vancouver Sun.
Whether through performance art, experimental video, photographs, recipes, interventions in gallery windows, or creative/critical writing, Randy Lee Cutler’s practice explores the aesthetics of appetite and embodiment. She has authored numerous essays published in C magazine, Pyramid Power, The Fillip Review, FUSE magazine, Vancouver Art & Economies, Uncanny: Experiments in Cyborg Culture, West Coast LINE, n.paradoxa, Blackflash Magazine, Canadian Art and Yishu Journal of Contemporary Chinese Art on topics as diverse as digestion, truth-telling, orientalism, feminism, photography and social change. Originally from Montreal, she lives in Vancouver where she maintains an experimental relationship with pedagogy, gardening and reading.
Tim Lee is a Vancouver based artist. Since receiving his MFA from the University of British Columbia in 2002 his work has been shown in numerous exhibitions in Vancouver as well as internationally, including at the Vancouver Art Gallery; Tracey Lawrence Gallery, Vancouver; Art Gallery of Ontario, Toronto; Cohan & Leslie, New York; Lisson Gallery, London; Mori Art Museum, Tokyo; and Museum of Modern Art, New York.
Director/Curator of Artspeak 2004–2010.
Sadira Rodrigues is an independent curator and arts administrator based in Vancouver. She has curated a number of exhibitions by local, national, and international artists. She was the Assistant Curator of the 2004 Shanghai Biennale, and also curated At Play at the Liu Haisu Museum. She has been a sessional Instructor at Emily Carr Institute since 2001 and has a Masters in Art History from the University of British Columbia. She has written for journals and catalogues, including Thirdspace and Yishu—Journal of Contemporary Chinese Art, and co-organized symposiums such as Locating Asia and InFest: International Artist Run Culture. Formerly the Manager of Arts Programs for 2010 Legacies Now, she is currently involved in a range of projects including public programming at the Vancouver Art Gallery, and diversity facilitator with the Equity Office at the Canada Council for the Arts.
Marina Roy is Vancouver-based artist and writer whose work explores the intersection between language and visual art. She received her BA in French Literature at Université Laval, a BFA from the Nova Scotia College of Art and Design, and her MFA from the University of British Columbia. She has shown nationally and internationally, including the Vancouver Art Gallery, Contemporary Art Gallery, the Or Gallery Berlin, Gallery Sumukha, Chennai & Bengaluru, India, and Chisenhale Gallery, London. Roy was recipient of the VIVA award in 2010. In 2001 she published sign after the x (Artspeak/Arsenal Pulp Press), a book that revolves around the letter X and its multiple meanings. She is currently working on the next book, titled Queuejumping. She is Associate Professor of Visual Art at the Department of Art History, Visual Art and Theory at the University of British Columbia.
Sharla Sava is a writer and university educator. She has lectured, curated exhibitions, and published a variety of articles about art after modernism, discussing the work of Robert Filliou, Antonia Hirsch, Ray Johnson, N.E. Thing Co., and Jeff Wall, among others. She completed her PhD at SFU in 2006 and is currently Assistant Professor at York University.
Reid Shier is Director of Presentation House Gallery in North Vancouver. He has curated numerous exhibitions locally, nationally and internationally. He is an artist and critical writer, and was one of the founding editors of Boo Magazine, which he co-edited from 1994 to 1998.
Shepherd Steiner is currently teaching in the Art History Department at Emory University. He is the editor of Cork Caucus: on art, possibility and democracy (Frankfurt: Revolver, 2006). Contributions to recent publications include “Loose Ends: Untitled, Unstretched, Rolled Round” in Morris Louis, Now (Atlanta: High Museum of Art, 2006); “In Other Hands: Jeff Wall’s Beispiel” (Oxford Art Journal, vol. 32, no. 2); “of painting and its abuses” in Jörg Immendorff (Los Angeles: Patrick Painter, 2006); and “v.s. a beginning of sorts” (Intertidal, Antwerp: MuKHA, 2006).
Michael Turner is an award-winning author of fiction, criticism, and song. As the Ellen and Warren Tallman Simon Fraser University Writer-in Residence, he curated “to show, to give, to make it be there”: Expanded Literary Practices in Vancouver, 1954-1969 at the SFU Gallery (Burnaby). His most recent work, 8×10, was nominated for the 2010 Ethel Wilson BC Book Prize for Fiction.
CLINT BURNHAM, RANDY LEE CUTLER, TIM LEE, MELANIE O'BRIAN, SADIRA RODRIGUES, MARINA ROY, SHARLA SAVA, REID SHIER, SHEPHERD STEINER, MICHAEL TURNER
March 28, 2007
Wednesday, March 28, 7-9pm
At the Brickhouse, 730 Main Street
Please join Artspeak and Arsenal Pulp Press in celebrating the release of Vancouver Art & Economies, edited by Melanie O’Brian, with essays by Clint Burnham, Randy Lee Cutler, Tim Lee, Sadira Rodrigues, Marina Roy, Sharla Sava, Reid Shier, Shepherd Steiner and Michael Turner.
Vancouver Art & Economies was financially supported by the Canada Council for the Arts, the BC Arts Council, the City of Vancouver, Arts Now: Legacies Now 2010, the Spirit of BC Arts Fund and the Hamber Foundation.
SHARLA SAVA, CLINT BURNHAM, MARINA ROY, TIM LEE, SADIRA RODRIGUES, RANDY LEE CUTLER, REID SHIER, SHEPHERD STEINER, MICHAEL TURNER
October 6–November 3, 2005
Vancouver Art and Economies is a forum for critical dialogue on Vancouver’s contemporary art practices in the face of globalization and a remarkable recent history. Academics, artists, curators and writers will speak at Emily Carr Institute over the course of five evenings in the fall of 2005. The speakers will consider Vancouver art and its institutions over the last two decades in particular, remarking on the economies at work. whether global, institutional or market. Addressing a perceived professionalization of the institution of art, the talks will collectively consider Vancouver’s position within local, national and international art economies. The forum talks will be published in an anthology in 2006.
Thursday, October 6
Sharla Sava: The Political Culture of the Counter-Tradition in Vancouver Art
Clint Burnham: Imperial Art: the Vancouver School in the age of Empire
Thursday, October 13
Marina Roy: The Art Star, the Academic, the Author, and the Activist: Art-writing in Vancouver 1990-2005
Tim Lee: Specific Objects and Social Subjects: Industrial Facture and the Production of Polemics in Vancouver
Thursday, October 20
Sadira Rodrigues: Dealing (with) Cultural Diversity: Art and the Economies of Race
Randy Lee Cutler: Vancouver Singular Plural: Art in an Age of Post-Medium Production
Thursday, October 27
Reid Shier: Do Artists Need Artist Run Centres?
Shepherd Steiner: Beyond the “Ifs” of an “Ifing” Hermeneutic Economy: Examples from an Unsystematizable System
Thursday, November 3
Michael Turner: Who’s Business Is It? Vancouver’s Commercial Galleries and the Production of Art
Vancouver Art & Economies
Title: Vancouver Art & Economies
Writers: Clint Burnham, Randy Lee Cutler, Tim Lee, Melanie O’Brian, Sadira Rodrigues, Shepherd Steiner, Michael Turner, Sharla Sava, Reid Shier, Marina Roy
Editor: Melanie O’Brian
Design: Robin Mitchell
Publisher: Artspeak, Arsenal Pulp Press
Year published: 2007
Binding: Perfect Bound
Features: 13 b&w images, 44 colour images
Dimensions: (Height x Width x Depth) 23 x 15.5 x 2 cm
Weight: 496 g
Price: $30 CDN
Since the mid-1980’s, the once marginal city of Vancouver has developed within a globalized economy and become an internationally recognized centre for contemporary visual art. Vancouver’s status is due not only to a thriving worldwide cultural community that has turned to examine the so-called periphery, but to the city’s growth, its artists, expanding institutions, and a strong history of introspection and critical assessment. As a result, Vancouver art is visible and often understood as distinct and definable.This anthology intends to complicate the notion of definability. It offers nine essays to address the organized systems that have affected contemporary art in Vancouver over the last two decades.
The essays in Vancouver Art & Economies collectively remark, both compatibly and contradictorily, on the economies at work in Vancouver art – its historical, critical, and political engagement; its sites of cultural production; and its theoretical and practical intersection with technology or policy. Considering a selection of conditions, focuses, and resources within the community, Vancouver Art & Economies marks shifting ideologies and perspectives on art, politics, society, and capital in Vancouver.