Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

 Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

 Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photo: Rachel Topham Photography

 Installation image of Elizabeth MacKenzie’s  Equation , 2018 at Emily Carr University, January 6, 2018-February 8, 2018. Photo: Rachel Topham Photography

Installation image of Elizabeth MacKenzie’s Equation, 2018 at Emily Carr University, January 6, 2018-February 8, 2018. Photo: Rachel Topham Photography

 Installation view of the Komagata Maru Monument in Coal Harbour, 2016. Photo: Rachel Topham Photography.

Installation view of the Komagata Maru Monument in Coal Harbour, 2016. Photo: Rachel Topham Photography.

 Installation view of Okuda San Miguel’s mural at 325 W 4th Ave. Photo: Rachel Topham Photography.

Installation view of Okuda San Miguel’s mural at 325 W 4th Ave. Photo: Rachel Topham Photography.

 Installation view of Okuda San Miguel’s mural at 325 W 4th Ave (detail). Photo: Rachel Topham Photography.

Installation view of Okuda San Miguel’s mural at 325 W 4th Ave (detail). Photo: Rachel Topham Photography.

 Installation view of Martin Honert’s  Foto/Photo , 1993 MMK Museum für Moderne Kunst Frankfurt am Main Acquired with funding from the Margarethe and Gustav Kober Donation, 2005/101 © Martin Honert/SODRAC (2013) Photo: Rachel Topham, Vancouver Art Gallery

Installation view of Martin Honert’s Foto/Photo, 1993
MMK Museum für Moderne Kunst Frankfurt am Main
Acquired with funding from the Margarethe and Gustav Kober Donation, 2005/101
© Martin Honert/SODRAC (2013)
Photo: Rachel Topham, Vancouver Art Gallery

 Installation view of Martin Honert’s  Vogel/Starling , 1992 and  Linde/Linden , 1990. MMK Museum für Moderne Kunst Frankfurt am Main Acquired with funding from the Margarethe and Gustav Kober Donation, 2005/101 © Martin Honert/SODRAC (2013) Photo: Rachel Topham, Vancouver Art Gallery

Installation view of Martin Honert’s Vogel/Starling, 1992 and Linde/Linden, 1990.
MMK Museum für Moderne Kunst Frankfurt am Main
Acquired with funding from the Margarethe and Gustav Kober Donation, 2005/101
© Martin Honert/SODRAC (2013)
Photo: Rachel Topham, Vancouver Art Gallery

 Martin Honert Vancouver Art Gallery 2013 978-1-927656-051 Hardcover 9.25" X 11.5"  Prepress and pictured installation images by: Rachel Topham  55 pages Illustrations: 23 colour Editors: Kathleen S. Bartels, Jeff Wall Contributor: Jeff Wall   Martin Honert  was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

Martin Honert
Vancouver Art Gallery
2013
978-1-927656-051
Hardcover
9.25" X 11.5"

Prepress and pictured installation images by: Rachel Topham

55 pages
Illustrations: 23 colour
Editors: Kathleen S. Bartels, Jeff Wall
Contributor: Jeff Wall

Martin Honert was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

 Martin Honert Vancouver Art Gallery 2013 978-1-927656-051 Hardcover 9.25" X 11.5"  Prepress and pictured installation images by: Rachel Topham  55 pages Illustrations: 23 colour Editors: Kathleen S. Bartels, Jeff Wall Contributor: Jeff Wall   Martin Honert  was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

Martin Honert
Vancouver Art Gallery
2013
978-1-927656-051
Hardcover
9.25" X 11.5"

Prepress and pictured installation images by: Rachel Topham

55 pages
Illustrations: 23 colour
Editors: Kathleen S. Bartels, Jeff Wall
Contributor: Jeff Wall

Martin Honert was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

 Martin Honert Vancouver Art Gallery 2013 978-1-927656-051 Hardcover 9.25" X 11.5"  Prepress and pictured installation images by: Rachel Topham  55 pages Illustrations: 23 colour Editors: Kathleen S. Bartels, Jeff Wall Contributor: Jeff Wall   Martin Honert  was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

Martin Honert
Vancouver Art Gallery
2013
978-1-927656-051
Hardcover
9.25" X 11.5"

Prepress and pictured installation images by: Rachel Topham

55 pages
Illustrations: 23 colour
Editors: Kathleen S. Bartels, Jeff Wall
Contributor: Jeff Wall

Martin Honert was organized by the Vancouver Art Gallery, co-curated by Director Kathleen S. Bartels and artist Jeff Wall, and presented from June 29 to October 14, 2013.

 James Hart,  The Dance Screen (The Scream Too) , 2010–13, red cedar, yew wood, abalone, mica, acrylic, 332 x 479 x 35.7 cm. Gift of Michael Audain and Yoshiko Karasawa. Photo: Rachel Topham, Vancouver Art Gallery.

James Hart, The Dance Screen (The Scream Too), 2010–13, red cedar, yew wood, abalone, mica, acrylic, 332 x 479 x 35.7 cm. Gift of Michael Audain and Yoshiko Karasawa. Photo: Rachel Topham, Vancouver Art Gallery.

 Installation image of  Rodney Graham Canadian Humourist , exhibition at the Vancouver Art Gallery, May 26 to September 30, 2012. Photo: Rachel Topham,   Vancouver Art Gallery.

Installation image of Rodney Graham Canadian Humourist, exhibition at the Vancouver Art Gallery, May 26 to September 30, 2012. Photo: Rachel Topham, Vancouver Art Gallery.

 Advertising image for Sangre De Fruta; Photography: Rachel Topham Photography

Advertising image for Sangre De Fruta; Photography: Rachel Topham Photography

 Installation view of  Jacket Burn (110 at I-5) , 2018, chalk on gallery walls. Exhibition at Access Gallery, Vancouver. Photo: Rachel Topham Photography.

Installation view of Jacket Burn (110 at I-5), 2018, chalk on gallery walls. Exhibition at Access Gallery, Vancouver. Photo: Rachel Topham Photography.

 Installation of  Beginning with the Seventies: Collective Acts.  Exhibition at Morris and Helen Belkin Art Gallery, September 4, 2018-December 2, 2018.  Photo: Rachel Topham Photography

Installation of Beginning with the Seventies: Collective Acts. Exhibition at Morris and Helen Belkin Art Gallery, September 4, 2018-December 2, 2018. Photo: Rachel Topham Photography

 Installation view of Sonny Assu’s projection during  FAÇADE.  Projection mapping and outdoor architectural intervention on the Vancouver Art Gallery, September 4-7, 2015, 9pm to 3am. Photo: Rachel Topham, Vancouver Art Gallery.

Installation view of Sonny Assu’s projection during FAÇADE. Projection mapping and outdoor architectural intervention on the Vancouver Art Gallery, September 4-7, 2015, 9pm to 3am. Photo: Rachel Topham, Vancouver Art Gallery.

 Installation view of  Germaine Koh: Home Made Home , exhibition at the Art Gallery at Evergreen, 2018. Photo: Rachel Topham Photography.

Installation view of Germaine Koh: Home Made Home, exhibition at the Art Gallery at Evergreen, 2018. Photo: Rachel Topham Photography.

 Installation view of  Germaine Koh: Home Made Home , exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

Installation view of Germaine Koh: Home Made Home, exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

 Installation view of Angela Teng’s  A Coloured Image of the Sun . Exhibition at Equinox Gallery, November 24, 2018 - December 22, 2018. Photo: Rachel Topham Photography.

Installation view of Angela Teng’s A Coloured Image of the Sun. Exhibition at Equinox Gallery, November 24, 2018 - December 22, 2018. Photo: Rachel Topham Photography.

 Installation view of  Douglas Coupland: everywhere is anywhere is anything is everything . Exhibition at the Vancouver Art Gallery, May 31 to September 1, 2014. Photo: Rachel Topham, Vancouver Art Gallery.

Installation view of Douglas Coupland: everywhere is anywhere is anything is everything. Exhibition at the Vancouver Art Gallery, May 31 to September 1, 2014. Photo: Rachel Topham, Vancouver Art Gallery.

 Installation view of  Colour Burst,  exhibition at the Art Gallery at Evergreen, 2017, Photo: Rachel Topham Photography.

Installation view of Colour Burst, exhibition at the Art Gallery at Evergreen, 2017, Photo: Rachel Topham Photography.

 The Surgeon and the Photographer 2015 978-1-927656-22-8 Hardcover 7 x 10 in 432 pages Illustrations: 406 colour Author: Geoffrey Farmer All images and prepress by: Rachel Topham   The Surgeon and the Photographer  profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.  Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.  In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.

The Surgeon and the Photographer
2015
978-1-927656-22-8
Hardcover
7 x 10 in
432 pages
Illustrations: 406 colour
Author: Geoffrey Farmer
All images and prepress by: Rachel Topham

The Surgeon and the Photographer profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.

Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.

In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.


 The Surgeon and the Photographer 2015 978-1-927656-22-8 Hardcover 7 x 10 in 432 pages Illustrations: 406 colour Author: Geoffrey Farmer All images and prepress by: Rachel Topham   The Surgeon and the Photographer  profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.  Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.  In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.

The Surgeon and the Photographer
2015
978-1-927656-22-8
Hardcover
7 x 10 in
432 pages
Illustrations: 406 colour
Author: Geoffrey Farmer
All images and prepress by: Rachel Topham

The Surgeon and the Photographer profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.

Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.

In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.


 The Surgeon and the Photographer 2015 978-1-927656-22-8 Hardcover 7 x 10 in 432 pages Illustrations: 406 colour Author: Geoffrey Farmer All images and prepress by: Rachel Topham   The Surgeon and the Photographer  profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.  Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.  In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.

The Surgeon and the Photographer
2015
978-1-927656-22-8
Hardcover
7 x 10 in
432 pages
Illustrations: 406 colour
Author: Geoffrey Farmer
All images and prepress by: Rachel Topham

The Surgeon and the Photographer profiles all of the 365 figurative components of Geoffrey Farmer's seminal installation of the same name. The book reproduces all of the sculptures, comprised of fabric bodices onto which photographic reproductions of faces, artworks, animals, signs and various other appendages have been added.

Scaled according to the human hand—the same hands that handle the coffee table books from which these images were sourced—these puppet-like figures create an immense cast of surreal characters, a cross-cultural slice of humanity that has paused, as if to consider the next gesture in the grand theatre of history. Individual descriptive texts—compiled from an equally vast array of sources, including Farmer’s own writing—extend the artists’ methodology of collage and appropriation from the visual realm into the literary.

In book form, the cut-out images are brought full circle: from original object to published reproduction, then to re-arranged object, and finally to another photograph—continuing in an endless play of re-representations. The book’s title refers to Walter Benjamin’s famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” wherein Benjamin assesses the growing anxiety around the aura of the art object in the growing presence of mass reproduction technologies.


 Installation view of Kapwani Kiwanga’s  Flowers for Africa.  Exhibition at OR Gallery, September 9 - October 14, 2017, 2017. Photo: Rachel Topham Photography.

Installation view of Kapwani Kiwanga’s Flowers for Africa. Exhibition at OR Gallery, September 9 - October 14, 2017, 2017. Photo: Rachel Topham Photography.

 Garry Neill Kennedy,  Remembering Names  (detail), 2018. Photo: Rachel Topham Photography.

Garry Neill Kennedy, Remembering Names (detail), 2018. Photo: Rachel Topham Photography.

 Garry Neill Kennedy creating his piece,  Remembering Names , 2018. Photo: Rachel Topham Photography.

Garry Neill Kennedy creating his piece, Remembering Names, 2018. Photo: Rachel Topham Photography.

 Elspeth Pratt,  Second Date , 2011, site-specific installation at Vancouver Art Gallery  Offsite  June 29, 2011 to January 8, 2012 Photo: Rachel Topham, Vancouver Art Gallery.

Elspeth Pratt, Second Date, 2011, site-specific installation at Vancouver Art Gallery Offsite June 29, 2011 to January 8, 2012
Photo: Rachel Topham, Vancouver Art Gallery.

 All images: Installation view of  Gailan Ngan: Chronicles , exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

All images: Installation view of Gailan Ngan: Chronicles, exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

 Documentation of  this is not us: Ayumi Goto, Tarah Hogue and Peter Morin , performance as part of the exhibition,  Ayumi Goto and Peter Morin: how do you carry the land? , exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

Documentation of this is not us: Ayumi Goto, Tarah Hogue and Peter Morin, performance as part of the exhibition, Ayumi Goto and Peter Morin: how do you carry the land?, exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

 Documentation of  this is not us: Ayumi Goto, Tarah Hogue and Peter Morin , performance as part of the exhibition,  Ayumi Goto and Peter Morin: how do you carry the land? , exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

Documentation of this is not us: Ayumi Goto, Tarah Hogue and Peter Morin, performance as part of the exhibition, Ayumi Goto and Peter Morin: how do you carry the land?, exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

 Documentation of  this is not us: Ayumi Goto, Tarah Hogue and Peter Morin , performance as part of the exhibition,  Ayumi Goto and Peter Morin: how do you carry the land? , exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

Documentation of this is not us: Ayumi Goto, Tarah Hogue and Peter Morin, performance as part of the exhibition, Ayumi Goto and Peter Morin: how do you carry the land?, exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

 Documentation of  this is not us: Ayumi Goto, Tarah Hogue and Peter Morin , performance as part of the exhibition,  Ayumi Goto and Peter Morin: how do you carry the land? , exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

Documentation of this is not us: Ayumi Goto, Tarah Hogue and Peter Morin, performance as part of the exhibition, Ayumi Goto and Peter Morin: how do you carry the land?, exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

 Documentation of  this is not us: Ayumi Goto, Tarah Hogue and Peter Morin , performance as part of the exhibition,  Ayumi Goto and Peter Morin: how do you carry the land? , exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

Documentation of this is not us: Ayumi Goto, Tarah Hogue and Peter Morin, performance as part of the exhibition, Ayumi Goto and Peter Morin: how do you carry the land?, exhibition at the Vancouver Art Gallery, July 14 to October 28, 2018. Photo: Rachel Topham, Vancouver Art Gallery.

 John Paul Velten’s  Life Transformations.  Vancouver City Centre skytrain, Granville and East Georgia, Vancouver, 2018. Photo: Rachel Topham Photography.

John Paul Velten’s Life Transformations. Vancouver City Centre skytrain, Granville and East Georgia, Vancouver, 2018. Photo: Rachel Topham Photography.

 Installation image of  Modernism in Iran: 1958 – 1978 , Griffin Art Projects, January 26 - May 5, 2018. Photo: Rachel Topham Photography.

Installation image of Modernism in Iran: 1958 – 1978, Griffin Art Projects, January 26 - May 5, 2018. Photo: Rachel Topham Photography.

 Marianne Nicolson’s  Baxwana'tsi: The Container for Souls,  2006. Collection of the Vancouver Art Gallery, Purchased with funds donated by the Audain Foundation. Photo: Rachel Topham, Vancouver Art Gallery

Marianne Nicolson’s Baxwana'tsi: The Container for Souls, 2006. Collection of the Vancouver Art Gallery, Purchased with funds donated by the Audain Foundation. Photo: Rachel Topham, Vancouver Art Gallery

 Installation image of  Guo Pei: Couture Beyond,  exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

Installation image of Guo Pei: Couture Beyond, exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

 Installation image of  Guo Pei: Couture Beyond,  exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

Installation image of Guo Pei: Couture Beyond, exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

 Installation image of  Guo Pei: Couture Beyond,  exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

Installation image of Guo Pei: Couture Beyond, exhibition at the Vancouver Art Gallery October 13, 2018 - January 20, 2019. Rachel Topham, Vancouver Art Gallery.

 Installation view of  Ben Reeves: Floating among Phantoms , exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

Installation view of Ben Reeves: Floating among Phantoms, exhibition at the Art Gallery at Evergreen, 2018, Photo: Rachel Topham Photography.

 Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Barbara Kruger  Untitled (SmashUp) , 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

Barbara Kruger Untitled (SmashUp), 2016 site-specific installation at the Vancouver Art Gallery. Photo: Rachel Topham, Vancouver Art Gallery

 Installation image of Myfanwy Macleod’s figurine at Station Square, 2018. Photo: Rachel Topham Photography.

Installation image of Myfanwy Macleod’s figurine at Station Square, 2018. Photo: Rachel Topham Photography.

 Installation image of Marian Penner Bancroft’s  spiritland, Octopus Books Fourth Avenue.  Photo: Rachel Topham, Vancouver Art Gallery.

Installation image of Marian Penner Bancroft’s spiritland, Octopus Books Fourth Avenue. Photo: Rachel Topham, Vancouver Art Gallery.

  Chakras Open and I Drown Under the Waterfall of Life , 2017, by Takashi Murakami. Photo: Rachel Topham, Vancouver Art Gallery.

Chakras Open and I Drown Under the Waterfall of Life, 2017, by Takashi Murakami. Photo: Rachel Topham, Vancouver Art Gallery.

 Documentation of Jin-me Yoon’s  Longview,  a set of postcards, 2017. Photo: Rachel Topham Photography.

Documentation of Jin-me Yoon’s Longview, a set of postcards, 2017. Photo: Rachel Topham Photography.

 Jin-me Yoon’s  Longview , 2017. Photo: Rachel Topham Photography.

Jin-me Yoon’s Longview, 2017. Photo: Rachel Topham Photography.

 Jin-me Yoon’s  Longview , 2017. Photo: Rachel Topham Photography.

Jin-me Yoon’s Longview, 2017. Photo: Rachel Topham Photography.

 Jin-me Yoon’s  Longview , 2017. Photo: Rachel Topham Photography.

Jin-me Yoon’s Longview, 2017. Photo: Rachel Topham Photography.

 Jin-me Yoon’s  Longview , 2017. Photo: Rachel Topham Photography.

Jin-me Yoon’s Longview, 2017. Photo: Rachel Topham Photography.

 Brian Jungen,  The Men of My Family,  2010. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund. Photo: Rachel Topham, Vancouver Art Gallery.

Brian Jungen, The Men of My Family, 2010. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund. Photo: Rachel Topham, Vancouver Art Gallery.

  From left, 69 Arhats Beneath the Bodhi Tree, 2013; Embodiment of ‘Um’, 2014; and Embodiment of ‘A’​, 2014,  all by Takashi Murakami. Photo: Rachel Topham, Vancouver Art Gallery.

From left, 69 Arhats Beneath the Bodhi Tree, 2013; Embodiment of ‘Um’, 2014; and Embodiment of ‘A’​, 2014, all by Takashi Murakami. Photo: Rachel Topham, Vancouver Art Gallery.

 Installation view of Ai Weiwei, Bang, 2010–14, in  Unscrolled: Reframing Tradition in Chinese Contemporary Art,  exhibition at the Vancouver Art Gallery, November 15, 2014 to April 6, 2015. Photo: Rachel Topham, Vancouver Art Gallery.

Installation view of Ai Weiwei, Bang, 2010–14, in Unscrolled: Reframing Tradition in Chinese Contemporary Art, exhibition at the Vancouver Art Gallery, November 15, 2014 to April 6, 2015. Photo: Rachel Topham, Vancouver Art Gallery.

 Tsang Kin-Wah  EITHER / OR , 2017, site-specific installation at Vancouver Art Gallery Photo: Rachel Topham, Vancouver Art Gallery 

Tsang Kin-Wah EITHER / OR, 2017, site-specific installation at Vancouver Art Gallery
Photo: Rachel Topham, Vancouver Art Gallery 

 Tsang Kin-Wah,  EITHER / OR , 2017 (detail), site-specific installation at Vancouver Art Gallery Offsite Photo: Rachel Topham, Vancouver Art Gallery 

Tsang Kin-Wah, EITHER / OR, 2017 (detail), site-specific installation at Vancouver Art Gallery Offsite
Photo: Rachel Topham, Vancouver Art Gallery 

 Installation view of Reece Terris’s  Western Front Front: Another False Front (Installation View-NW),  2010. Photo: Rachel Topham Photography.

Installation view of Reece Terris’s Western Front Front: Another False Front (Installation View-NW), 2010. Photo: Rachel Topham Photography.

 Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photography: Rachel Topham Photography

Advertising image for Sangre De Fruta's shower collection; Art Direction and Florals: Carl Ostberg, Photography: Rachel Topham Photography

 Installation views of  A-Maze-ing Laughter , 2009. Photo: Rachel Topham Photography.

Installation views of A-Maze-ing Laughter, 2009. Photo: Rachel Topham Photography.

 Installation views of  A-Maze-ing Laughter , 2009. Photo: Rachel Topham Photography.

Installation views of A-Maze-ing Laughter, 2009. Photo: Rachel Topham Photography.

 Heather and Ivan Morison,  Plaza , 2010, site-specific installation at Vancouver Art Gallery  Offsite.  October 2, 2010 to May 30, 2011 Photo: Rachel Topham, Vancouver Art Gallery.

Heather and Ivan Morison, Plaza, 2010, site-specific installation at Vancouver Art Gallery Offsite. October 2, 2010 to May 30, 2011
Photo: Rachel Topham, Vancouver Art Gallery.

 Installation view of Janice Wu’s  Chinese Herbs I,  part of the City of Vancouver’s Chinatown Artwrap project, 2018. Photo: Rachel Topham Photography.

Installation view of Janice Wu’s Chinese Herbs I, part of the City of Vancouver’s Chinatown Artwrap project, 2018. Photo: Rachel Topham Photography.

 Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation,  Intuition Commons , and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation, Intuition Commons, and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

 Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation,  Intuition Commons , and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation, Intuition Commons, and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

 Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation,  Intuition Commons , and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation, Intuition Commons, and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

 Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation,  Intuition Commons , and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation, Intuition Commons, and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

 Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation,  Intuition Commons , and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

Documentation for Morris and Helen Belkin Art Gallery: Laiwan, Elizabeth MacKenzie, and Cindy Mochizuki respond to Christine D'Onofrio's installation, Intuition Commons, and to materials in the Belkin's Archives, November 3, 2018. Photo: Rachel Topham Photography.

 Installation view of  eternal return,  curated by Sunshine Frère at Richmond Art Gallery, Richmond, Canada, 2017. Photo: Rachel Topham Photography.

Installation view of eternal return, curated by Sunshine Frère at Richmond Art Gallery, Richmond, Canada, 2017. Photo: Rachel Topham Photography.

 Angela Teng, 2018. Photo: Rachel Topham Photography.

Angela Teng, 2018. Photo: Rachel Topham Photography.

 Angela Teng, 2018. Photo: Rachel Topham Photography.

Angela Teng, 2018. Photo: Rachel Topham Photography.

 Unscrolled: Reframing Tradition in Chinese Contemporary Art Vancouver Art Gallery 2014 978-1-927656-15-0 Hardcover 10” x 8” 160 pages Illustrations: 120 colour Editors: Diana Freundl, Carol Yinghua Lu Pre-press and images by Rachel Topham, Vancouver Art Gallery.  Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli    Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.  Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.   Unscrolled  was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.

Unscrolled: Reframing Tradition in Chinese Contemporary Art
Vancouver Art Gallery
2014
978-1-927656-15-0
Hardcover
10” x 8”
160 pages
Illustrations: 120 colour
Editors: Diana Freundl, Carol Yinghua Lu
Pre-press and images by Rachel Topham, Vancouver Art Gallery.

Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian
Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli

Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.

Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.

Unscrolled was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.

 Unscrolled: Reframing Tradition in Chinese Contemporary Art Vancouver Art Gallery 2014 978-1-927656-15-0 Hardcover 10” x 8” 160 pages Illustrations: 120 colour Editors: Diana Freundl, Carol Yinghua Lu Pre-press and images by Rachel Topham, Vancouver Art Gallery.  Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli    Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.  Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.   Unscrolled  was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.

Unscrolled: Reframing Tradition in Chinese Contemporary Art
Vancouver Art Gallery
2014
978-1-927656-15-0
Hardcover
10” x 8”
160 pages
Illustrations: 120 colour
Editors: Diana Freundl, Carol Yinghua Lu
Pre-press and images by Rachel Topham, Vancouver Art Gallery.

Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian
Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli

Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.

Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.

Unscrolled was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.

 Unscrolled: Reframing Tradition in Chinese Contemporary Art Vancouver Art Gallery 2014 978-1-927656-15-0 Hardcover 10” x 8” 160 pages Illustrations: 120 colour Editors: Diana Freundl, Carol Yinghua Lu Pre-press and images by Rachel Topham, Vancouver Art Gallery.  Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli    Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.  Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.   Unscrolled  was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.

Unscrolled: Reframing Tradition in Chinese Contemporary Art
Vancouver Art Gallery
2014
978-1-927656-15-0
Hardcover
10” x 8”
160 pages
Illustrations: 120 colour
Editors: Diana Freundl, Carol Yinghua Lu
Pre-press and images by Rachel Topham, Vancouver Art Gallery.

Writers: Thomas J. Berghuis, Diana Freundl, Carol Yinghua Lu, Zheng Shengtian
Artists: Ai Weiwei, Chen Shaoxiong, Ji Yunfei, Liu Jianhua, Jennifer Wen Ma, MadeIn Company, Qiu Shihua, Sun Xun, Xu Bing and Zhang Enli

Tradition in Chinese contemporary art is transformed by individual experiences, contemporary challenges and present-day concerns. This fully illustrated publication explores the work of three generations of Chinese artists who have been trained in both Western art history and Chinese tradition, and who engage with their cultural past as a continuation into the contemporary.

Featuring new photography and essays by leading scholars, this publication moves from literal depictions of traditional culture to more subtle representations that are equally influenced by Chinese heritage.

Unscrolled was published in conjunction with an exhibition organized by the Vancouver Art Gallery, co-curated by Diana Freundl and Carol Yinghua Lu, and presented from November 15, 2014 to April 6, 2015.