Lorna Brown is a visual artist, writer, educator and editor, exhibiting her work internationally since 1984. Brown was the Director/Curator of Artspeak Gallery from 1999 to 2004 and is a founding member of Other Sights for Artists’ Projects, a collective of artists, architects and curators presenting projects that consider the varying conditions of public places and public life. She has taught at Emily Carr University of Art and Design and Simon Fraser University. Brown received an honorary degree from Emily Carr University of Art and Design (2015), the Vancouver Institute for the Visual Arts Award (1996) and the Canada Council Paris Studio Award (2000). Her work is in the collections of the Morris and Helen Belkin Art Gallery, the National Gallery of Canada, the BC Arts Council, the Surrey Art Gallery and the Canada Council Art Bank.
Director/Curator of Artspeak 1999–2004.
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.
Janice Kerbel studied at Emily Carr Institute of Art and Design and completed her graduate work at Goldsmith’s College, University of London. She is currently (1999) visiting lecturer at CalArts in Los Angeles.
December 9–January 27, 2001
Bank Job is the third and final exhibition in A Set of Suspicions.
The threat of terrorist attack has made London, and its business district in particular, among the most surveilled locations in the world. A blueprint for a perfect heist, Bank Job uses surveillance photos of a bank at 15 Lombard Street in the City area of London, specifications for the security systems used by the bank, minute by minute timelines, copious equipment lists, getaway maps and hideout locations all compiled during Kerbel’s exhaustive research. Playing on both the ‘pink collar’ and criminal associations of the term ‘bank job’, Kerbel’s work presents a plan to rob the bank, perhaps feasible, confounding the docility of feminine stereotypes and making use of the condition of invisibility. Bank Job has been exhibited at the ICA, London and at Arnolfini, Bristol along with Kerbel’s on-going projects that use counter-surveillance methods to suggest a complex, contradictory and transgressive subject on the move throughout the city.
In the office, Kerbel presents study for Home Fittings – 233 Carrall Street, part of a series of diagramatic architectural plans with Soundlines (indicating to walk so no creaks are heard) and Sightlines (indicating where to stand so that no shadows are cast).
Kerbel studied at Emily Carr Institute of Art and Design and completed her graduate work at Goldsmith’s College, University of London. She is currently visiting lecturer at CalArts in Los Angeles.
New release! 15 Lombard St., a bookwork by Janice Kerbel that documents her precisely researched master-plan of how to rob a bank, is now on sale at Artspeak. 15 Lombard St. is part of access/excess, a series of artists’ publications edited by Stefan Kalmár, published by Book Works, London, that attempt to locate the individual within a continually developing tangle of political, cultural, economic and technological systems.
A Set of Suspicions
Artspeak’s Carrall Street location is part of a neighbourhood that faces contradictory pressures and changes: the area is well traveled by tourists; gentrification is taking place through artist’s live/work developments; high density new housing on the north side of False Creek rubs shoulders with the abandoned storefronts and decay of East Hastings Street. The ubiquitous presence of location film crews in the area allow for a sense of overlapping fact and fiction—one may encounter a snowy Edwardian English scene played out on Gastown’s cobble streets only to turn a corner and interrupt a gritty crime narrative (actual or virtual) taking place behind the dumpsters in the alley. If you are familiar with this neighbourhood you will have noticed that the codes of gesture, utterance, dress and deportment are significantly broader and more diverse than other areas of the city. Homelessness and other socio-economic factors make for a confused boundary between private and public space. An acute awareness of threat and security is heightened by the notoriety of this neighbourhood in media representations. Public and private policing merge and cross the very visible yet mobile boundaries between the various terrains of short and long term inhabitants.
A Set of Suspicions presents a fall series of exhibitions and events by artists investigating ideas of threat, security and suveillance. The works use the gallery space to index specific off-locations: the proposed street cameras just beyond our doors; the hyper-watched financial district of London, England; a university biotech lab; and the mobile ‘watching machines’ that orbit the earth. A Set of Suspicions integrates visual art, writing, video, performance, electronics design and music composition to consider the proliferation of technology, privacy and public identities and cultural habits of interpretation.
Artspeak is a member of the Pacific Association of Artist Run Centres (PAARC). Artspeak gratefully acknowledges the support of the Canada Council, The Province of BC through the BC Arts Council, the City of Vancouver, the Vancouver Foundation, Canadian Heritage, our Board of Directors, volunteers and our members.
A Set of Suspicions has been generously supported by the Vancouver Foundation and The Canada Council through the Interdisciplinary Arts Program.
Jocelyn Robert thanks the Conseil des Arts et des Lettres du Quebec for their support.
TERI SNELGROVE, JOCELYN ROBERT, DANIEL JOLLIFFE, WARREN ARCAN, SHELLEY GUHLE, JOSH SCHAFER, SUSAN STEWART, JANICE KERBEL, LORNA BROWN, RANDY LEE CUTLER, DENIS GAUTIER, KATHLEEN RITTER, ALLYSON CLAY
April 6, 2001
Artspeak Gallery will host the launching event for the publication accompanying the exhibition titled A Set of Suspicions, as well as a video screening of one of the show’s artists, Teri Snelgrove, part of Suspects (Performance for the Police).
Title: A Set of Suspicions
Category: Exhibition Catalogue
Artist: Warren Arcan, Shelley Guhle, Daniel Jolliffe, Janice Kerbel, Jocelyn Robert, Josh Schafer, Teri Snelgrove, Susan Stewart
Writers: Lorna Brown, Randy Lee Cutler, Denis Gautier, Kathleen Ritter
Design: Steedman Design
Printer: Rainbow Press Ltd., Vancouver
Year published: 2001
Binding: Perfect Bound
Features: 3 b&w images, 46 colour images, plastic jacket cover
Dimensions: 11.5 x 20 x 1.2 cm
Weight: 153 g
Price: $10 CDN
A Set of Suspicions documents a series of three exhibitions over the Fall 2000 season by artists investigating ideas of threat, security and surveillance. The works used the gallery space to index specific off-locations: the proposed street cameras just beyond our doors; the hyper-watched financial district of London, England; a university biotech lab; and the mobile ‘watching machines’ that orbit the earth. A Set of Suspicions integrates visual art, writing, video, performance, electronics design and music composition to consider the proliferation of technology, privacy and public identities as well as cultural habits of interpretation.
Designed by Judith Steedman, A Set of Suspicions includes photographic documentation of the three exhibitions, writing by Lorna Brown, Randy Lee Cutler, Denis Gautier and Kathleen Ritter. An artist’s project, Improper Perspectives, by Allyson Clay was produced for A Set of Suspicions.