Public Art Guide

publicAlan Wood

oil and mixed media on canvas and wood

SFU Art Collection

In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. artAdhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal arrangements.

Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active guidepractice from the 1960s through to the present and his work is held in numerous private and public collections.

Highlights from The Simon Fraser University Art Collection at SFU Burnaby campus Alan Wood Alan Wood

TheForest SimonPagoda #3, Fraser 1990 University Art Collection is a publicoil and mixed collectionmedia on canvas and of wood over 5,500 works, many of which oil and mixed media on canvas and wood areSFU Art installedCollection within university buildings and public SFU Art Collection spaces. Managed by SFU Galleries, the collection was initiated in 1965 with the commission of two In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. tile mosaics by Gordon Smith. The collection has walk one Adhered to canvas and hung on the wall like a painting, the stacked Adhered to canvas and hung on the wall like a painting, the stacked subsequentlyplywood construction isgrown painted in vividto huesencompass and is typical ofa Wood’sdiversity plywood construction is painted in vivid hues and is typical of Wood’s ofwork. work, Form and with colour inparticular these reliefs arestrengths often interpretations in painting, of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled through the production of torn photography, prints and sculpture by British paper collage “studies.” The title in this case suggests a reimagining of centralpaper + westcollage campus“studies.” The title in this case suggests a reimagining of Columbiaorganic materials, artists, interlocking such boughs as or B.C. roots perhaps,Binning as more, Emily formal Carr, organic materials, interlocking boughs or roots perhaps, as more formal arrangements. arrangements. Robert Davidson, Lawren Harris, Roy Kiyooka, Works sited within the Academic Quadrangle, Ken Lum, Bill Reid, Jeff Wall and Jin-me Yoon; and Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active ConvocationBorn in Lancanshire, Mall England, and Wood West (1935–) moved Campus to Vancouver include in 1974. He’s had an active Canadianpractice from the 1960s and through American to the present and modern his work is held and in numerous contemporary private and practice from the 1960s through to the present and his work is held in numerous private public collections. and public collections. artists, including Marcel Barbeau, Jack Bush, Jules some of the earliest works in the SFU Art Olitski, Robert Morris, Robert Rauschenberg and Collection, as well as our most recent acquisition. Jean Paul Riopelle. The SFU Art Collection also has This walk is outside and takes approximately significant holdings of work by Jack Shadbolt and 25 minutes. holds copyright to his work. This guide presents a selection of works in the SFU collection located at the Burnaby campus. inside/outside?

1 Alan Wood

bridge beardslee Energy Alignment Sculpture: Pyramid in the Golden Section, 1976 oil and mixed media on canvas and wood

steel and paintSFU Art Collection SFU Art Collection Gift of Ian Davidson, 1977

... In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. 3 2 6 1 Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s 2 4 work. Form and colour in these reliefs are often interpretations of 7 5 natural phenomena, generally distilled through the production of torn Situated paperwithin collage a hedge-lined “studies.” enclosure, The title Energyin this Alignmentcase suggests Sculpture: a reimagining Pyramid ofin the Golden Section is a central work in the Academic Quadrangle. Produced for an organic materials, interlocking boughs or roots perhaps, as more formal exhibition at the Vancouver Art Gallery and installed at SFU in 1977, Beardslee’s arrangements. pyramid – an open, tubular steel frame painted a vivid shade of cerulean blue – is carefully positioned to align with the rotation of the earth’s axis and the North Star. Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active In both formpractice and from spirit, the 1960s Energy through Alignment to the present Sculpture: and his Pyramid work is held in the in numerous Golden Section private and public collections. is an apt compliment to the adjacent mounded earth pyramid designed by architect Arthur Erickson. Erickson’s pyramid, and Bridge Beardslee’s pyramid – built to the same proportions of the Cheops pyramid in Egypt – both speak to a heightened interest at the time in the monumental works of ancient peoples.

In its early years, Energy Alignment Sculpture: Pyramid in the Golden Section attracted unlikely controversy. A debate regarding the correct position required to activate the pyramid’s “power” played out in the pages of the student newspaper and students saw fit on several occasions to “realign” the pyramid – setting it on top of the mounded earth pyramid and the student union building for example, before it was cemented in its current location.

Beardslee studied industrial design at the University of Illinois and then moved to California and worked on the Polaris Missile Project at Lockheed, while at the same time developing an innovative casting process he used to produce architectural sculptures. Alan2 Wood 3 Alan Wood

1gordon smith jacques huet Mosaic Mural, 1964 Arc de Triomphe, 1967 Forest Pagoda #3, 1990 oilVenetian and mixed tile media on canvas and wood aluminum withoil and cement mixed base media on canvas and wood SFU Art Collection SFU Art Collection Commissioned,SFU Art Collection 1964 Gift of JacquelineSFU Art Brien, Collection 1999

In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled through the production of torn paper collage “studies.” The title in this case suggests a reimagining of paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal organic materials, interlocking boughs or roots perhaps, as more formal arrangements. arrangements. Within the Academic Quadrangle are two brightly coloured tile mosaics by Gordon Smith, a Vancouver painter who was a friend and sometimes collaborator Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practiceof SFU from architect the 1960s Arthur through Erickson. to the present Though and his workSmith is held is wellin numerous known private for hisand abstract practice from the 1960s through to the present and his work is held in numerous private expressionistpublic collections. paintings, in the 1960s he began to experiment with op art, flatness and public collections. and hard-edged line. The tile mosaics were installed when the campus was built in 1965 and were the first two works of art acquired by Simon Fraser University. The organic forms – bold vermilion orbs set against aqueous blue-green backgrounds – are meant to symbolize energy and growth. North of Convocation Mall outside the Academic Quadrangle is an aluminum sculpture by Jacques Huet. The rough, abstracted figure suggests the blockish Gordon Smith (1919–) was born in England and moved to Canada at the age of form of a horse and rider. Given the title of the work, it is a reference perhaps to 15. He studied at the Vancouver School of Art with notable local artists: Jack the tradition of equestrian sculptures monumentalizing important men, or more Shadbolt, B.C. Binning, Charles H. Scott and Grace Melvin. Best known as a specifically, the low relief carvings on the Arc de Triomphe in Paris. painter and a printmaker he also produced a number of murals for public sites including the Queen Elizabeth Theatre, the MacMillan Bloedel Building and Huet (1932–2009) was a self-taught Montreal sculptor who worked in wood, the Vancouver Law Library. He has participated in numerous exhibitions and aluminum, bronze and plexiglass. Over the course of his career he participated his work is held in public and private collections including the Art Gallery of in many exhibitions and produced public works for sites including Orford Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, the Arts Centre, Ministère des Travaux Publics du Québec, Henri-Bourassa subway Museum of Modern Art, the Smithsonian Institute, the Carnegie Institute, the station in Montreal, Centre hospitalier Côte-des-Neiges in Montreal, and Maison Vancouver Art Gallery and the Victoria and Albert Museum. des Arts de Laval. 4 5 Alan Wood Alan Wood elza mayhew buell mullen stainless steel, nickel, gem stones, paint 1 SFU Art Collection Guardian II, 1967 Theatres of the World, 1964–65 Forest Pagoda #3, 1990 Gift of International Nickel Company of Canada Ltd., 1965 oilbronze and mixed media on canvas and wood oil and mixed media on canvas and wood SFU Art Collection GiftSFU ofArt the Collection Rothmans of Pall Mall SFU Art Collection Canada Ltd., 1967

South of Convocation Mall outside the Academic Quadrangle is a small, bronze In the lobby of the Simon Fraser University Theatre are two murals by Chicago sculpture by Elza Mayhew. Born in Victoria, Mayhew travelled extensively and artist Buell Mullen. Mullen developed a method of working on stainless steel – her modernist sculptures often recall the ancient architectural and monumental roughing up the surface with a wire brush and then painting with a specially forms that she’d seen in Asia, Europe and Central America. The incised lines ground epoxy paint – and produced a number of stainless steel murals for private and recessed, geometric sections of Guardian II for example, reflect interests in and public buildings. The Theatres of the World murals were created during the hieroglyphics, the bas-relief carving of the ancient Assyrians, and most notably construction of the theatre in 1964, a gift to the University from the International in this case, Mayan stelae. Nickel Company (Inco). Notwithstanding forms on the outer edges evoking the open curtains of a stage, the murals are brightly-coloured, abstract works Mayhew (1916–) studied French and Latin at the University of British Columbia encrusted with quartz, gold nuggets and other minerals indigenous to the area. and returned to a career in art later in life, completing her MFA at the University of Oregon in 1963. She has shown her work internationally and was selected to Mullen (1901–1986) was born in Chicago and studied at the British Academy. Best- represent Canada at the 1964 Venice Biennale. Her work is held in the collections known as a muralist she also exhibited work at Salon, Gruppo Moderno and the of the University of Victoria, the Art Gallery of Greater Victoria, the National Chicago Art Institute. Gallery of Canada, Brock University and Confederation Centre. 6 7 Alan Wood Alan Wood

peter hide welded steel, stained, varnished damian moppett aluminum and paint 1 SFU Art Collection SFU Art Collection North Face, 1989–1990 Large Painting and Caryatid Maquette Gift of David M. Campbell, 1982 Gift of the artist, 2013 Forest Pagoda #3, 1990 in Studio at Night (Sculpture Version), 2012 oil and mixed media on canvas and wood oil and mixed media on canvas and wood

SFU Art Collection SFU Art Collection

Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and practice from the 1960s through to the present and his work is held in numerous private public collections. and public collections. North Face is a large welded steel sculpture installed in the courtyard of West Installed on the south side of the SFU Residences Dining Hall, is Damian Mall Centre by Peter Hide. Born in Surrey England, Hide (1944–) undertook Moppett’s Large Painting and Caryatid Maquette in Studio at Night (Sculpture studies at the Crodon College of Art and St Martin’s School of Art, where he Version). In this work the artist has transformed a painting of his studio into was a pupil of Anthony Caro, before relocating to Edmonton in 1977 to teach a three-dimensional space, taking abstracted shapes of canvases, lights and at the University of Alberta. Working in the modernist tradition of welding sculptures-in-progress and reproducing them as large-scale cutouts in painted scrap steel, his works are distinguished by their emphasis on weight, mass and aluminum, such that the final work presents the artist’s studio as a stage set. monumental vertical form. Originally commissioned by the Vancouver Art Gallery for their OFFSITE space, the work has been reconfigured for SFU. Hide’s work can be found in the collections of the Edmonton Art Gallery, Glenbow Institute, Mendel Art Gallery, MacDonald Stewart Art Centre, Guelph, Agnes Moppett is a Vancouver based artist who studied at Emily Carr College of Art and Etherington Art Gallery, Kitchener Art Gallery, and the Tate. Design (now University) and received his MFA from Concordia University. His work has been exhibited at Carleton University Art Gallery, Temple Gallery, Tyler School of Art, Contemporary Art Gallery, National Gallery of Canada, Witte de With, Vancouver Art Gallery, The Power Plant, Rennie Collection and the Morris and Helen Belkin Art Gallery, among others. Alan Wood Alan Wood

1 . Forest Pagoda #3, 1990 oil and mixed media on canvas and wood oil and mixed media on canvas and wood

SFU Art Collection SFU Art Collection 1 3 2 walkIn the lobby of Strand Hall is a large wooden two sculpture by Alan Wood. In the7 lobby6 of5 Strand4 Hall is a large wooden sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked Adhered10 9 to canvas8 and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s plywood construction is painted in vivid hues and is typical of Wood’s ... work. Form and colour in these reliefs are often interpretations of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled through the production of torn 7 paperinside collage the “studies.” academic The titlequadrangle in this case suggests a reimagining of paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal organic materials, interlocking boughs or roots perhaps, as more formal arrangements. arrangements. This short walk along the north concourse of 8 theBorn in AcademicLancanshire, England, Quadrangle Wood (1935–) moved to Vancouverhighlights in 1974. He’s a had number an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and practice from the 1960s through to the present and his work is held in numerous private ofpublic works collections. from the SFU Art Collection. and public collections. -

2 2 1 2 Alan Wood Alan Wood susan point cast aluminum and red cedar jim hart 1 On loan from the collection of George and Christiane Smyth Written in the Earth, 2000 Frog Constellation, 2000 Forest Pagoda #3, 1990 oil and mixed media on canvas and wood cedar oil and mixed media on canvas and wood Collection of Bill Reid Foundation SFU Art Collection SFU Art Collection

Installed in the atrium at the northeast corner of the Academic Quadrangle is Outside the Museum of Archaeology and Ethnography is Frog Constellation, a Written in the Earth, four aluminum and cedar works by Susan Point. The designs, large cedar carving by Jim Hart depicting a man and a woman on the back of featuring faces flanked by animals, represent the diversity of world cultures. a giant frog. As a creature that moves between worlds, the frog is a powerful Blue Herons (2008), a series of carved wooden panels installed in the Technology & symbol for the Haida and a family crest of the Eagle clan. The work was inspired Science Complex I, are also by Point. by a smaller shamanic object, carved by an unknown Haida artist in the 1870s, that the artist saw in a photograph. In 2007 Frog Constellation was acquired Point (1952–) is a Coast Salish artist from Musqueam Nation. She’s produced a by the Bill Reid Foundation and the Bill Reid Centre for Northwest Coast Art number of prominent works for public sites including Musqueam Welcome Studies at SFU. Figures (1996) and Flight (Spindle Whorl) (1995) at the Vancouver International Airport and People Amongst the People (2008) at Brockton Point in Stanley Park. Hart (1952–) was born in Massett and currently lives and works in Vancouver and Her work is held in many public and private collections and she has been the Haida Gwaii. He began carving in the late 1970s, apprenticing first with Robert recipient of numerous honours and awards including an honorary degree from Davidson and then with Bill Reid in the early 1980s. An established Haida artist, Simon Fraser University. Hart has produced a number of significant commissions and his work can be found in public collections around the world. 3 4 Alan Wood Alan Wood

1lynn vardeman john innes Northern Light, 1983 Six Paintings Forest Pagoda #3, 1990 oilpolyester and mixed resin media on canvas and wood oil on canvasoil and mixed media on canvas and wood SFU Art Collection SFU Art Collection SFUPurchase, Art Collection 1984 Gift of Post SFU#2 Native Art Collection Sons of British Columbia, 2004

In the reflecting pool outside the north concourse of the Academic Quadrangle John Innes (1863–1941) was born in London, Ontario but moved West, Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practiceis a pinkish from the form1960s through that at to thefirst present glance, and his appears work is held to in be numerous a rock, private but andis in fact a working practiceas a surveyor from the for1960s CP through Rail into thethe present 1870s andand his settling work is heldin Vancouver in numerous inprivate the polyesterpublic collections. resin sculpture by Vancouver artist Lynn Vardeman. Known primarily early 1880s.and public He worked collections. largely as a commercial illustrator, depicting Western as a filmmaker and photographer, Vardeman began to work with sculpture in landscapes and scenes derived from his personal experiences as a frontiersman the early 1980s. She was particularly interested in experimenting with resin and cattle wrangler. In 1924 Innes was commissioned by the Native Sons of British casting and the capacity of resin to transmit light and reflect colour. Columbia, a fraternal organization that worked to promote local histories, to produce a series of eight paintings depicting historical events in British Columbia. Born in Chicago, Vardeman studied art in San Francisco before moving to Vancouver in 1968 to do graduate work at the Vancouver School of Art (now These paintings were acquired by SFU in 2004 and hung in the north concourse Emily Carr University of Art and Design). Vardemann taught for many years in of the Academic Quadrangle. The works, which in many cases presented the department of visual arts at SFU. European explorers as sovereign authority figures, reflected ways of thinking about history and the settlement of British Columbia that were out of step with contemporary views of colonization. Students and faculty successfully lobbied university administration to remove Alexander Mackenzie Recording His Arrival at the Pacific, A.D. 1793 and James Douglas Building the Hudson’s Bay Post at Victoria, A.D. 1843, two of the more controversial paintings. The Innes paintings continue to hang in the north concourse as a reminder of these layered histories and the lessons these histories bear. 5 6 Alan Wood Alan Wood charles comfort oil on canvas d’arcy henderson fiberglass 1 SFU Art Collection SFU Art Collection British Columbia Pageant, 1951 [Negative #1] Adam/Eve, 1969 Forest Pagoda #3, 1990 Gift of Toronto Dominion Bank, 2003 Purchase, 1970 oil and mixed media on canvas and wood oil and mixed media on canvas and wood

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BritishBorn in Lancanshire,Columbia Pageant England, isWood a 21-metre (1935–) moved long to muralVancouver depicting in 1974. He’s events had an and active narratives Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and within the founding and settlement of the province. Originally commissioned practice from the 1960s through to the present and his work is held in numerous private public collections. and public collections. by the TD Bank for their branch at the corner of Granville and Pender, the mural Below British Columbia Pageant is [Negative #1] Adam/Eve, a minimal black shows a meeting between Spanish explorers and Nootka Chief Maquinna, the sculpture of a large circular form, split and divided in the middle, by D’arcy arrival of Captain Vancouver, and artist Emily Carr, against a backdrop of images Henderson. Henderson began his career as a photographer whose interest in of exploration, logging, and a modern city skyline. illuminating textured surfaces – fiberglass and flaked glass for example – led Comfort (1900–1994) was a Canadian artist who was active in the 1930s and 1940s. him to produce three-dimensional forms. Taking leave of photographic ends, He developed a reputation as a painter of murals, producing panoramic paintings sculptural works such as [Negative #1] Adam/Eve were designed to be defined and carved friezes for the Arts & Letters Club in Toronto, The Toronto Stock and shaped by light. Exchange, and Central Station in Montreal. Henderson (1940–2002) was born in Princeton, BC and studied at the Vancouver When British Columbia Pageant was installed at SFU in 2004 it met with controversy School of Art. He was an active member of the Vancouver arts community in for its depiction of a history that begins with the arrival of Europeans and its the 1960s and 1970s, teaching at Emily Carr College of Art, Capilano College promotion of industry. Some referred to British Columbia Pageant as “monumental and the University of British Columbia, and participating in exhibitions at the kitsch” while others suggested the mural promoted a “retrograde history.” Art Gallery of Ontario, Winnipeg Art Gallery, Burnaby Art Gallery, Surrey Art Student-led efforts to formulate a response to the Comfort mural are evident in Gallery and the Art Gallery of Greater Victoria. His work is held in the collections “anti-colonial” artworks installed opposite the painting. of Vancouver Art Gallery and University of British Columbia. 7 8 Alan Wood Alan Wood

bill1 reid nate woodbury Bear Mother, 1991 Teen BC, 2005 DogfishForest Pagoda Woman, #3, 1991 1990 oil and mixed media on canvas and wood mixed mediaoil and mixed media on canvas and wood plaster on marble pedestal (wood, metal, fur, paint, newspaper, tape) SFU Art Collection SFU Art CollectionSFU Art Collection Gift of Allan and Faigie Waisman, 2002 Gift of SFU Anti-Colonialism Society, 2005

Dogfish Woman and Bear Mother are well-known beings within Haida culture As conveyed in the adjacent wall text, this grouping of works installed in the and figure prominently in oral history and material culture. Dogfish Woman north concourse of the Academic Quadrangle stemmed from the efforts of – a mythic figure, distinguished in traditional Haida design by a hooked beak that SFU student groups who protested the public installation of other works in signifies her transformative powers, and a labret in her lower lip – was a favourite the hallway: namely the John Innes paintings and the Charles Comfort mural. subject of Reid’s and his treatment here is both elegant and imaginative – with Between September 2004 and February 2005 students organized a number of the stylized nose of the shark reconfigured as a crown. Reid’s portrayal of Bear panel discussions, lectures and performances and hosted a contest for Anti- Mother, a Haida woman who becomes the mother of cub children, is depicted Colonial Art, the winners of which were displayed in the Museum of Archaeology with a smooth, human face and stylized fur. and Ethnology.

Reid (1920–1998) was born in Victoria and trained as a jeweller at Ryerson Teen BC by Nate Woodbury was selected as one of the winning works. The rough- Polytechnical Institute and the London School of Design. After seeing bracelets hewn mask is adorned with salvaged wood, bullets and a rail tie and painted with carved by his great uncle, Charles Edenshaw, Reid became a dedicated student a minimal formline design. The back of the mask however has been collaged with of Haida art and is often cited as the single most important figure in the late photographs of faces and intercut with bars, effectively preventing the mask twentieth-century renaissance of Haida culture. from being worn. 9 10 Alan Wood Alan Wood

1edgar heap of a.s. matta birds Civilization is a Crime InsurgentForest Pagoda Message #3, 1990 for Scene, 2005 Canada,oil and mixed 2006 media on canvas and wood oil and mixed media on canvas and wood lithograph on paper SFU Art Collection SFU Art Collection digital print on paper SFU Art Collection SFU Art Collection Gift of SFU Anti-Colonialism Society, Purchase, 2008 2005 In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled through the production of torn paper collage “studies.” The title in this case suggests a reimagining of paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal organic materials, interlocking boughs or roots perhaps, as more formal arrangements. arrangements.

Edgar Heap of Birds (1954–) is an internationally recognized Cheyenne artist A.S. Matta’s comic-inspired work was selected as a winning entry in an Anti- who gained attention for a number of political, site-specific public signage Colonial Art Contest, organized by students in response to the installation projects in the 1980s and 1990s. Native Hosts (1991–2007), a series of signs of the Charles Comfort mural and the John Innes paintings. The drawings installed at the University of British Columbia campus for example, is also and photographs portrayed in the black and white lithograph juxtapose by Heap of Birds. Heap of Birds participated in the Cedar Table series of panel monumental statuary, colonial soldiers and royal monarchs, with images discussions, organized by SFU students in response to the installation of the of machines and modern cities. Matta’s imagery directly mirrors the subject Charles Comfort mural. matter of the Comfort mural and the Innes paintings, but the handwritten narrative and graphic style – resembling a page torn from an anarchist zine Insurgent Message for Canada was part of a series of works produced for Grunt perhaps – assert a critical revisioning of these histories, and oppose the Gallery, a Vancouver artist-run centre, and Nuit Blanche, Toronto. The work grandness of the historical painting tradition, with a countertradition of was installed on billboards and bus stops throughout Vancouver and Toronto. creative political writing, commentary and satire. Alan Wood Alan Wood

1 Forest Pagoda #3, 1990

oil and mixed media on canvas and wood oil and mixed media on canvas and wood

SFU Art Collection SFU Art Collection

walkIn the lobby of Strand Hall is a large woodenthree sculpture by Alan Wood. In the lobby of Strand Hall is a large wooden1 sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled2 through the production of torn paper collage “studies.”7 The title in this case suggests a reimagining of paper collage “studies.” The title in this case suggests a reimagining of east campus organic materials, interlocking boughs or roots perhaps, as more formal organic materials, interlocking boughs or roots perhaps, as more formal 8 - Thisarrangements. walk winds through a number of buildings arrangements. andBorn in Lancanshire,courtyards England, Wood on (1935–) the moved east to Vancouver side ofin 1974. campus He’s had an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and practice4 from the 1960s through to the present and his work is held in numerous private public collections. including the Djavad Mowafaghian Court and and public collections. - 5 courtyards located outside of the Academic 4 Quadrangle. This walk takes approximately 25 minutes. 2 2 3 1 2 Alan Wood Alan Wood sorel etrog alan wood oil and mixed media on canvas and wood 1 SFU Art Collection Crusader II, 1976 Forest Pagoda #3, 1990 Gift of Steven Bronfman, 2003 RitualForest Head,Pagoda 1976 #3, 1990 Steptease,oil and mixed media 1976 on canvas and wood oil and mixed media on canvas and wood

SFU Art Collection SFU Art Collection bronze SFU Art Collection Gift of the artist, 2012 / 2006 / 2009 In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn natural phenomena, generally distilled through the production of torn paper collage “studies.” The title in this case suggests a reimagining of paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal organic materials, interlocking boughs or roots perhaps, as more formal arrangements. arrangements.

Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and practice from the 1960s through to the present and his work is held in numerous private public collections. and public collections. The three bronze statues installed in Saywell Courtyard are by Sorel Etrog, a Romanian-Canadian artist known for his large, abstract sculptures. Commencing his studies in Israel in the early 1950s and subsequently moving to New York, Etrog’s visual language was forged through interests in Surrealism and close study of anthropological collections held in New In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. York museums. Etrog moved to Toronto in 1963 where he established himself Adhered to canvas and hung on the wall like a painting, the stacked plywood as a prominent figure within Canadian modern art. His forms register as construction is painted in vivid hues and is typical of Wood’s work. Form levers, hinges and blades, but also resonate as limbs and lobes – articulating and colour in these reliefs are often interpretations of natural phenomena, correlations between body and machine, but also mind and matter, memory generally distilled through the production of torn paper collage “studies.” and language. The title in this case suggests a reimagining of organic materials, interlocking roots or boughs perhaps, as more formal arrangements. Etrog (1933–2014) represented Canada at the 1966 Venice Biennale and his work has been included in shows at Carnegie International, Museum of Modern Art, Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s Guggenheim and Centre Pompidou. Another public work by Etrog entitled King had an active practice from the 1960s through to the present and his work is and Queen is permanently installed at Harbour Green Park in Coal Harbour. held in numerous private and public collections. Alan3 Wood 4 Alan Wood michael dennis cedar, wood and stone alan chung hung steel 1 SFU Art Collection On longterm loan Man, 1998 The Faces vs Edges Series, 1981 Forest Pagoda #3, 1990 Gift of the artist, 2011 oil and mixed media on canvas and wood oil and mixed media on canvas and wood

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Michael Dennis’s Man is a large sculpture of a hammer situated outside the Known in Vancouver for his outdoor sculptures Monument to George Vancouver Technology & Science Complex I. The artist often produced large forms (1980) in Vanier Park and Red Spring (1981) at Robson Square, Alan Chung Hung from wood left behind by loggers that in some cases are carved to suggest created this piece for a 1982 exhibition at the Charles H. Scott Gallery called anthropomorphic forms. Reclining Woman (1992) for example, is another work Infinity vs. Limit A Non-mathematical Dialogue of Self-Identity. Installed in an by Dennis situated outside the southeast corner of the Academic Quadrangle, exterior courtyard off the south concourse of the AQ The Faces vs Edges Series that’s been lightly shaped to suggest a human form. Some have speculated documents what happens to the cube as the square edges are successively that Reclining Woman is a mate to another work by Dennis located in a Mount rounded off and the six faces are reduced to two, the twelve edges to one. Pleasant park. In 2013, the park took the vernacular title of that sculpture as its Chung Hung (1946–1994) was born in Canton, China and studied civil engineering name, and is now affectionately known as Dude Chilling Park. at Chu Hai University in Hong Kong. He moved to Vancouver in 1969 and studied Dennis (1941–) was born in Los Angeles and was a professor of neurophysiology at the Vancouver School of Art. at the University of California at Berkeley before turning to art in the 1980s. Dennis has lived on Denman Island for many years and his sculptures are made with wood sourced on Vancouver Island. 5 Alan Wood

bronze 1Bust of Mahatma Gandhi, 1969 SFU Art Collection Forest Pagoda #3, 1990 Gift of the East Indian Community of British Columbia, 1970 oil and mixed media on canvas and wood

SFU Art Collection

In the lobby of Strand Hall is a large wooden sculpture by Alan Wood. Adhered to canvas and hung on the wall like a painting, the stacked plywood construction is painted in vivid hues and is typical of Wood’s work. Form and colour in these reliefs are often interpretations of natural phenomena, generally distilled through the production of torn paper collage “studies.” The title in this case suggests a reimagining of organic materials, interlocking boughs or roots perhaps, as more formal arrangements.

Born in Lancanshire, England, Wood (1935–) moved to Vancouver in 1974. He’s had an active practice from the 1960s through to the present and his work is held in numerous private and public collections.

Outside of the south concourse of the Academic Quadrangle, in Simon Fraser Peace Square, is a bust of Mahatma Gandhi that was donated to SFU in 1970. Each year on his birthday, October 2, the Gandhi Jayanti celebration brings together members of the local Indo-Canadian community and others who wish to honour Gandhi’s memory. Since 1991, the university has also presented the Thakore Visiting Scholar Award to outstanding individuals who have made the well-being of society their life’s work. Academic Quadrangle 3004 778.782.4266 8888 University Drive [email protected] Burnaby, BC Canada V5A 1S6 sfugalleries.ca