Obsession Centrefold | Vikky Alexander
1983-2015
17 x 22 inches (21 x 24.5 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
Throughout my career, I have been constructing a body of critically engaging multi-media work examining the relation between nature and the fabricated ‘natural.’ Drawing upon the varying aesthetic devices of media, architecture, interior design, and graphic design, my critique centers on the way culture uses simulation to create fictionalized versions of the perfect world. My analysis of the artificial impulse in cultural production configures a repertoire of appropriated images and materials that recall modernism’s promise that technology would lead to power over nature and transcendence beyond the mundane. In my work, visual representations of the simulated natural posit an ironic stance calling attention to notions of absence that simulation typically masks.
–Vikky Alexander
ABOUT VIKKY ALEXANDER
Born 1959 in Victoria, British Columbia
Vikky Alexander is one of Vancouver’s most acclaimed artists. Working as a photographer, sculptor, collagist and installation artist, Alexander is a leading practitioner in the field of photo-conceptualism. She has been a professor in the Visual Arts Department at the University of Victoria since 1992.
Selected solo exhibitions: Tomorrow Gallery, New York (2017); “The Temptation of St. Anthony,” Cooper Cole Gallery, Toronto (2016); “Houses of Glass,” The Engine Room Gallery, Massey University, Wellington, New Zealand (2010); National Gallery of Canada, Vaux-le-Vicomte Panorama, Ottawa (2000); Art Gallery of Windsor, Windsor, Ontario (1998); “Vikky Alexander and Ellen Brooks,” Wooster Gardens, New York, and Ansel Adams Center, San Francisco (1992); “Vikky Alexander and James Welling,” Kunsthalle Bern, Switzerland (1990).
Selected group exhibitions: “Macho Man, Tell It to My Heart” (with Julie Ault), Museum for Gegenwartskunst, Basel, Switzerland, Culturegest, Lisbon, Portugal, and Artists Space, New York (2013–14); “The Tree: From the Sublime to the Social,” Vancouver Art Gallery (2008); “From New Image to New Wave: Legacy of NSCAD in the Seventies,” Art Gallery of Nova Scotia, Halifax, Nova Scotia (2005); “Documents Northwest: From the Floating World to the Street,” Seattle Art Museum (1996); “Commodity Image,” International Center for Photography, New York (1993); “Un-Natural Traces,” Barbican Art Gallery, London (1991).
Selected public collections: Hammer Museum, Los Angeles; International Center for Photography, New York; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver; National Gallery of Canada, Ottawa; Vancouver Art Gallery; Winnipeg Art Gallery.
1983-2015
17 x 22 inches (21 x 24.5 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
Throughout my career, I have been constructing a body of critically engaging multi-media work examining the relation between nature and the fabricated ‘natural.’ Drawing upon the varying aesthetic devices of media, architecture, interior design, and graphic design, my critique centers on the way culture uses simulation to create fictionalized versions of the perfect world. My analysis of the artificial impulse in cultural production configures a repertoire of appropriated images and materials that recall modernism’s promise that technology would lead to power over nature and transcendence beyond the mundane. In my work, visual representations of the simulated natural posit an ironic stance calling attention to notions of absence that simulation typically masks.
–Vikky Alexander
ABOUT VIKKY ALEXANDER
Born 1959 in Victoria, British Columbia
Vikky Alexander is one of Vancouver’s most acclaimed artists. Working as a photographer, sculptor, collagist and installation artist, Alexander is a leading practitioner in the field of photo-conceptualism. She has been a professor in the Visual Arts Department at the University of Victoria since 1992.
Selected solo exhibitions: Tomorrow Gallery, New York (2017); “The Temptation of St. Anthony,” Cooper Cole Gallery, Toronto (2016); “Houses of Glass,” The Engine Room Gallery, Massey University, Wellington, New Zealand (2010); National Gallery of Canada, Vaux-le-Vicomte Panorama, Ottawa (2000); Art Gallery of Windsor, Windsor, Ontario (1998); “Vikky Alexander and Ellen Brooks,” Wooster Gardens, New York, and Ansel Adams Center, San Francisco (1992); “Vikky Alexander and James Welling,” Kunsthalle Bern, Switzerland (1990).
Selected group exhibitions: “Macho Man, Tell It to My Heart” (with Julie Ault), Museum for Gegenwartskunst, Basel, Switzerland, Culturegest, Lisbon, Portugal, and Artists Space, New York (2013–14); “The Tree: From the Sublime to the Social,” Vancouver Art Gallery (2008); “From New Image to New Wave: Legacy of NSCAD in the Seventies,” Art Gallery of Nova Scotia, Halifax, Nova Scotia (2005); “Documents Northwest: From the Floating World to the Street,” Seattle Art Museum (1996); “Commodity Image,” International Center for Photography, New York (1993); “Un-Natural Traces,” Barbican Art Gallery, London (1991).
Selected public collections: Hammer Museum, Los Angeles; International Center for Photography, New York; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver; National Gallery of Canada, Ottawa; Vancouver Art Gallery; Winnipeg Art Gallery.
1983-2015
17 x 22 inches (21 x 24.5 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
Throughout my career, I have been constructing a body of critically engaging multi-media work examining the relation between nature and the fabricated ‘natural.’ Drawing upon the varying aesthetic devices of media, architecture, interior design, and graphic design, my critique centers on the way culture uses simulation to create fictionalized versions of the perfect world. My analysis of the artificial impulse in cultural production configures a repertoire of appropriated images and materials that recall modernism’s promise that technology would lead to power over nature and transcendence beyond the mundane. In my work, visual representations of the simulated natural posit an ironic stance calling attention to notions of absence that simulation typically masks.
–Vikky Alexander
ABOUT VIKKY ALEXANDER
Born 1959 in Victoria, British Columbia
Vikky Alexander is one of Vancouver’s most acclaimed artists. Working as a photographer, sculptor, collagist and installation artist, Alexander is a leading practitioner in the field of photo-conceptualism. She has been a professor in the Visual Arts Department at the University of Victoria since 1992.
Selected solo exhibitions: Tomorrow Gallery, New York (2017); “The Temptation of St. Anthony,” Cooper Cole Gallery, Toronto (2016); “Houses of Glass,” The Engine Room Gallery, Massey University, Wellington, New Zealand (2010); National Gallery of Canada, Vaux-le-Vicomte Panorama, Ottawa (2000); Art Gallery of Windsor, Windsor, Ontario (1998); “Vikky Alexander and Ellen Brooks,” Wooster Gardens, New York, and Ansel Adams Center, San Francisco (1992); “Vikky Alexander and James Welling,” Kunsthalle Bern, Switzerland (1990).
Selected group exhibitions: “Macho Man, Tell It to My Heart” (with Julie Ault), Museum for Gegenwartskunst, Basel, Switzerland, Culturegest, Lisbon, Portugal, and Artists Space, New York (2013–14); “The Tree: From the Sublime to the Social,” Vancouver Art Gallery (2008); “From New Image to New Wave: Legacy of NSCAD in the Seventies,” Art Gallery of Nova Scotia, Halifax, Nova Scotia (2005); “Documents Northwest: From the Floating World to the Street,” Seattle Art Museum (1996); “Commodity Image,” International Center for Photography, New York (1993); “Un-Natural Traces,” Barbican Art Gallery, London (1991).
Selected public collections: Hammer Museum, Los Angeles; International Center for Photography, New York; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver; National Gallery of Canada, Ottawa; Vancouver Art Gallery; Winnipeg Art Gallery.