- Galerie Emmanuel Hervé, Paris

EMMANUEL HERVE
DEREK SULLIVAN
GALERIE EMMANUEL HERVE 6 rue Jouye-Rouve · 75020 Paris · France T. +33 9 51 10 96 58 - [email protected] - www.emmanuelherve.com SARL ALICE TRAVEL CIE au capital de 1500 € - RCS PARIS 508 932 803 · Siret : 508 932 803 00028 · TVA : FR88508932803
Introduction
Introduction
Derek Sullivan est né en 1976 à Richmond Hill, Canada — il vit et travaille à Toronto, Canada
Derek Sullivan was born in 1976 in Richmond Hill, Canada — he lives and works in Toronto, Canada
Derek Sullivan utilise dans son travail des éléments formels et textuels qui souvent modifient les relations entre les individus. Il dessine des histoires qui se chevauchent issues de l’esthétique moderniste,
de l’abstraction et de l’art conceptuel. Sullivan utilise le dessin et la sculpture, en plus de réaliser divers
projets éphémères et des livres. Il réinterprète les formes familières dans le but d’offrir de nouvelles
lectures.
Employing formal and textual elements that frequently contradict and alter relationships with one another, Derek Sullivan draws upon overlapping histories of modernist design, abstraction and conceptual
art to unsettle notions of meaning and authorship. Sullivan uses drawing and sculpture, in addition to
producing various ephemeral conceptual projects, to explore his interest in reinterpreting familiar forms
in order to open up new areas of inquiry.
Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole
Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole
Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole
Peg Rail #8 (Parrots, Photocopiers &), 2014
Rail en bois, photographie, cintre et impression jet d’encre sur toile
Wood rail, photography, hanger and inkjet print on canvas
90 x 90 x 12,5 cm
Photo: Aurélien Mole
Snow’s Nose, 2014
Photocopie et impression jet d’encre sur tissu et magnets
Photocopy on paper, inkjet on cotton silk, magnets
225 x 50 x 5 cm
Photo: Aurélien Mole
Cover to Cover
Kathleen Ritter - 2014
Cover to Cover
Kathleen Ritter - 2014
Entre dessin et sculpture, le travail de Derek Sullivan prend souvent la forme d’un double,
ou d’un leurre. Il tisse ensemble et avec dextérité les histoires de l’architecture moderniste,
du design, et de l’abstraction dans de nouvelles relations de sens, avec une attention toute
particulière pour les récurrences des motifs et des formes. Par un processus élaboré de copie,
et souvent avec les matériaux les plus basiques – bois, crayon, gouache, papier imprimé – Sullivan transforme ses propres référents originels de telle sorte à contester l’idée même de sens
et d’originalité.
Moving between drawing and sculpture, the work of Derek Sullivan often takes the form of
the double or decoy. He deftly weaves together the intersecting histories of modernist architecture, design, and abstraction into new relations of signification, paying particular attention
to recurring patterns and forms. Through an elaborate process of copying, and often with the
most basic materials—wood, pencil crayon, gouache, printed paper—Sullivan transforms his
original referents in such a way to contest the very idea of meaning and authorship.
Le livre – ses conventions, ses histoires, et ses possibilités – est au cœur de sa pratique. Sullivan s’empare de l’histoire du livre d’artiste en particulier, et revient sur les artistes qui ont
exploré le dispositif formel et conceptuel du codex avec pour intention de réinventer la forme
du livre.
Le point de départ de cette nouvelle exposition est l’ouvrage Cover to Cover (1975) de l’artiste canadien Michael Snow, l’une des œuvres les plus influentes de l’histoire du genre du
livre d’artiste. Ce livre est entièrement composé d’images reproduites en pleine page. Aucun
texte, si ce n’est le titre inscrit sur le dos de l’ouvrage. La séquence d’images est réalisée
par deux photographes pointant leur appareil vers l’artiste qui se retrouve pris dans leurs
feux photographiques croisés. Leurs prises de vues sont synchronisées et génèrent donc deux
séquences parallèles qui forment une paire d’images imprimées recto verso sur chacune des
pages du livre, de couverture à couverture. Le livre confronte forme et image de telle manière
à retirer au codex traditionnel sa linéarité, pour le rendre circulaire.
Dans un hommage ludique, Sullivan a créé une série de jaquettes pour l’ouvrage fondamental
de Snow. Egalement intitulées Cover to Cover (2014), ses couvertures de Sullivan sont une
proposition pour déguiser, contenir, et finalement réinventer l’original. Elles sont à l’évidence
faites à la main, incorporent des images trouvées, du texte et des dessins, comme pour imaginer de nouvelles trajectoires pour le livre. La proposition de Sullivan pour de nouvelles
couvertures au Cover to Cover de Snow se joue des multiples sens du mot « couverture » en
anglais, couverture de livre mais aussi la notion de reprise en musique [cover music] lorsqu’une nouvelle interprétation est faite d’un vieux succès.
Les jaquettes leurres de Sullivan sont associées à Snow’s Nose (2014), une grande impression
xérographique du visage de Michael Snow – un gros plan du nez de l’artiste. Ce travail fait
référence à la nouvelle satirique de Nikolai Gogol, The Nose (1836), dans laquelle un bureaucrate russe perd son nez, avant de se rendre compte que ce dernier assume sa propre existence.
Snow’s Nose est aussi un jeu de mot. En anglais, nose et knows sont homonymes, deux mots
qui sonnent identiques à l’oreille mais dont les étymologies et le sens diffèrent. Nous voyons
ici le nez de l’artiste, mais il suggère aussi que Michael Snow sait quelque chose que nous
ignorons. Que sait Snow? Où est le nez de Snow? Finalement, Snow’s Nose s’accompagne
d’un livre d’artiste sculptural dans la forme d’un mouchoir.
Les œuvres réunies dans cette exposition se jouent de l’histoire du livre d’artiste tout autant
que de la question de l’influence et de la parenté artistique, dans un hommage espiègle et adorateur à l’héritage de Michael Snow.
At the heart of his practice is the book—its conventions, its histories, and its possibilities.
Sullivan takes up the history of the artist’s book in particular, and looks back to artists who
explored the formal and conceptual apparatus of the codex in an effort to reinvent the form of
the book today.
The starting point for Sullivan’s recent exhibition is Cover to Cover, the 1975 book by Canadian artist Michael Snow, one of the most seminal artists’ books produced in the history of
the genre. The book is entirely composed of images reproduced to the edge of the page. There
is no text, save the title printed on the spine. The sequence of images is made by two photographers aiming their cameras at the artist who is caught in their photographic crossfire. Their
exposures are synchronized and result in two parallel sequences that form a pair of images
printed recto-verso on each page of the book, from cover to cover. The book collapses form
and image in such a way that the traditional codex is no longer linear, but becomes circular.
In playful homage, Sullivan has created a series of dust jackets for Snow’s seminal book.
Similarly titled Cover to Cover (2014), Sullivan’s dustjackets are a proposition to disguise,
contain and ultimately reinvent the original. They are distinctly handmade, incorporating
found images and collage, text and drawing, as a way to imagine new trajectories for the book.
Sullivan’s proposition for different covers for Snow’s Cover to Cover plays on the multiple
meanings of the word «cover» as both a book cover, but also a cover version in music when
a new interpretation is made of an old hit.
Sullivan’s dust jacket decoys are paired with Snow’s Nose (2014), a large Xerographic print
of Michael Snow’s face—a close-up of the artist’s nose. The work is a reference to Nikolai
Gogol’s satirical short story, The Nose (1836), in which a Russian bureaucrat loses his nose
only to find that it has taken on a life of its own. Snow’s Nose is also a play on words. In English, “nose” and “knows” are homonyms, two words that sound exactly the same in speech,
but have different etymologies and meanings. Here we see the artist’s nose, but it also suggests
that Michael Snow has the knowledge of something that we don’t. What does Snow know?
Where is Snow’s nose? Finally Snow’s Nose is accompanied sculptural artist’s book in the
form of a handkerchief.
Together the works in the exhibition tease out the history of the artist book alongside the
question of artistic influence and lineage, in a mischievous and adoring homage to the legacy
of Michael Snow.
Cover to Cover (Handheld), 2014
Crayon de couleur et lettraset sur papier + étagère en bois
Colored pencil and lettraset on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
Photo: Aurélien Mole
Cover to Cover (Court and Spark), 2014
Aquarelle et crayon de couleur sur papier + étagère en bois
Watercolor and colored pencil on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (Sideglances), 2014
Encre sur un poster trouvé, acétate + étagère en bois
Ink stamp on found poster, acetate + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (Les Ziaux), 2014
Aquarelle et encre sur papier + étagère en bois
Watercolor and ink on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (colour balance), 2014
C
Aquarelle et crayon de couleur sur papier + étagère en boisS
Watercolor and colored pencil on paper + wood shelf
b
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
S
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
2
photo: Aurélien Mole
2
p
Cover to Cover (Snow’s Nose), 2014
Cover to Cover (The Nose), 2014
sSérigraphie, acrylique et collage sur papier + étagère en Impression EPSON, encre et crayon de couleur sur papier
bois
+ étagère en bois
Silkscreen, acrylic and collage on paper + wood shelf
EPSON print, ink and colored pencil on paper + wood
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
shelf
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
photo: Aurélien Mole
Cover to Cover (La Promenade), 2014
Crayon sur papier + étagère en bois
Pencil on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (Hand Held), 2014
Gouachesur papier + étagère en bois
Gouache on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (Gordon Lightfoot), 2014
Crayon de couleur, gouache et lettraset sur papier + étagère en bois
Colored pencil, gouache and lettraset on paper + wood
shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Cover to Cover (Dueling Banjos, 2014
Crayon sur papier + étagère en bois
Pencil on paper + wood shelf
23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)
23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)
photo: Aurélien Mole
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada
Four Notable Booksellers, 2013
Bois, contreplaqué imprimé, charnières métalliques, crayon de couleur sur papier / Impression EPSON sur
papier entourant des livres trouvés, acid free mylar, dessins sur carton, pince métallique
Wood, printed plywood, metal hinges, colored pencil on paper / gouache on paper / EPSON print on paper
wrapped around found books, acid free mylar, drawings in mat board, metal clips
Problems That Arise From Continually Confusing Left + Right, 2013
Plaque émaillées / Vitreous enamel signs
5 éléments, chaque 6,4 x 27,9 cm, dimension et configuration varible
5 units, each 6.4 x 27.9 cm, installation dimensions variable, configuration adaptable
Edition de 3 exemplaires / Edition of 3
#91, Michelangelo Pistoletto, 2013
Crayon de couleur sur papier / Colored pencil on paper
127 x 98 cm
#93, Literatur & Katzen & Katzenliteratur, 2013
Crayon de couleur sur papier / Colored pencil on paper
127 x 98 cm
Rules, 2012 -- Bois, métal, peinture acrylique et encre / Wood, iron, acrylic painting and ink --2 x 1,5 x 270 cm -- Edition de 2 exemplaires / Edition of 2 -- Photo: Aurélien Mole
Wright, rite, write, right 2012 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole
Wright, rite, write, right 2012 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole
Peg Rail #7 (Letters to a Young Poet), 2012
Rail en bois, objet en verre, corde en nylon, cuir, livre, chaise Rietveld Zig-Zag en pin, gouache et impression EPSON sur papier
Wood rail, glass object, nylon rope, colored leather, found book, pine Rietveld Zig-Zag chair, gouache and
EPSON print on paper
180 x 244 x 48 cm
photo: Aurélien Mole
Peg Rail #7 (Letters to a Young Poet), 2012 -- Détail / Detail -- photo: Aurélien Mole
Peg Rail #7 (Letters to a Young Poet), 2012 -- Détail / Detail -- photo: Aurélien Mole
Peg Rail #6 (You were right...) 2012 -- Rail en bois, chaines métallique, pack de 6 bierres modifié / Wood rail, various chains, modified beer 6-pack -- 120 x 366 x 16 cm -- Collection privée / Private collection, Paris, France
Peg Rail #5 (Albatros Omnibus) 2012 -- Rail en bois, chaise Rietveld Zig-Zag en pin, 52 livres d’artiste, cordes en nylon, ancre de 2 kg et tissu imprimé / Wood peg rail, replica Gerrit Rietveld Zig Zag Chair, 52 artist’s books, nylon
cord, 2kg boat anchor, printed fabric -- 106 x 244 x 47 cm --Edition de 2 exemplaires / Edition of 2
Peg Rail #4 (More Young Americans) 2012 -- Rail en bois, tissu imprimé, bande magnétique, ceinture de bagage en nylon, badge designé par l’artiste, livre relié et cuir / Wood peg rail, printed fabric,
twill tape, nylon luggage belt, hardcover book, artist designed button, leather -- 209 x 244 x 16 cm
Stripped Cover, 2012
Impression EPSON, gouache et lettraset sur papier
EPSON print, gouache and lettraset on paper
21 x 14 cm
photo: Aurélien Mole
Collection privée / Private collection, Sherbrook, Canada
Stripped Cover, 2012
Impression EPSON, gouache et lettraset sur papier
EPSON print, gouache and lettraset on paper
19,7 x 14 cm
photo: Aurélien Mole
Stripped Cover, 2012
Impression EPSON, gouache et lettraset sur papier
EPSON print, gouache and lettraset on paper
20 x 15 cm
photo: Aurélien Mole
Collection privée / Private collection, Paris, France
#82, The Missing Novella, 2012
Crayon de couleur sur papier / Colored pencil on paper
127 x 98 cm
#89, Letters to a Young Poet, 2012
Crayon de couleur sur papier / Colored pencil on paper
127 x 98 cm
Peg Rail #3 (An idea folded into time. An idea folded into space), 2011
Rail en bois, chaise Rietveld Zig-Zag en pin peinte en vert oxyde, corde sur un support en bois ,tissu découpé au
laser, tressage de corde et livre d’artiste unique
Wood rail, pine Rietveld Zig-Zag chair painted oxide green, laser cut fabric, cable on wooden form, rope
weaving, unique artists’ book
180 x 152,5 x 46 cm
Collection de Joe Shlesinger and Samara Walbohm’s collection, Toronto, Canada
Peg Rail #2 (walking and chewing the fat at the same time), 2011
Rail en bois, chaise Rietveld Zig-Zag en pin, 3 morceaux de corde, tissu découpé au laser et livre d’artiste unique
Wood rail, pine Rietveld Zig-Zag chair with aluminum paint, 3 pieces of rope, laser cut fabric, unique artists’ book
137,2 x 129,5 x 45 cm
Peg Rail #1 (A turn of 90 degrees is the most one can change direction without backtracking), 2011
Rail en bois, chaise Rietveld Zig-Zag en pin, crayon de couleur sur papier, objet en bois, réplique d’un
collier Anni Albers et livre d’artiste unique
Wood rail, pine Rietveld Zig-Zag chair, coloured pencil on paper, wood object, replica Anni Albers
necklace, unique artists’ book
150 x 152 x 45 cm
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada
Albatros Omnibus 2011 -- 52 livres d’artistes, étui toilé, tissu / 52 artist’s books, cloth bound case, cloth -- Dimension variable / Variable dimension -- Edition de 10 + 2 E.A. / Edition of 10 + 2 A.P.
Six Illustrations for (and/or from) a book that is (and/or will be) titled More Young Americans 2011 -- Gouache, crayon, impression EPSON sur papier / Gouache, pencil,
EPSON print on paper -- 6 x 30,4 x 22,7 cm, chaque / 6 panels, each 30,4 x 22,7 cm -- photo: Aurélien Mole
Illustration from The Albatross (K), 2010
Crayon de couleur et gouache sur papier / Colored pencil and gouache on paper
61 x 46 cm
Illustration from The Albatross (J), 2010
Crayon de couleur et gouache sur papier / Colored pencil and gouache on paper
61 x 46 cm
Illustration from The Albatross (B), 2010
Impression EPSON et gouache sur papier / EPSON print and gouache on paper
61 x 46 cm
Edition de 3 exemplaires uniques / Edition of 3 unique copies
photo: Aurélien Mole
Illustration from The Albatross (A), 2010
Impression EPSON et gouache sur papier / EPSON print and gouache on paper
61 x 46 cm
Edition de 3 exemplaires / Edition of 3
I never dreamt that I would get to be the creature that I always meant to be #2, 2008
Tissu découpé au laser (Geometri 459970 by Verner Panton 1960)
Lasercut fabric (Geometri 459970 by Verner Panton 1960)
Dimension et présentation variable / Variable dimension and presentation
Edition de 2 exemplaires / Edtion of 2
Collection privée, Toronto, Canada et Collection privée, Paris, France
Private collection, Toronto, Canada & Private collection, Paris, France
photo: Aurélien Mole
We May Be Standing on the Shoulder of Giants But Some of Us are Looking at the Stars 2007 -- Tissu découpé au laser / Laser-cut fabric -- 140 x 112 cm -- Présentation Variable / Variable presentation -- Edition de 3 exemplaires
uniques / Edition of 3 uniques copies
Derek SULLIVAN
Born 1976 in Richmond Hill, Canada — Lives and works in Toronto, Canada
Education
2002 1998 — MFA, University of Guelph, Guelf, Canada
— BFA, York University, York, Canada
Solo exhibitions
2014 2013 2012 2012 2012 2012 2011 2011 2011 2010 2009 2008 2008 2008 2008 2007 2007 2007 2005 2005 2005 2004 2004 2003 2002 2001 — Cover to cover, Galerie Emmanuel Hervé, Paris, France
— Four Notable Booksellers, Jessica Bradley, Toronto, Canada
— Wright, rite, write, right, Galerie Emmanuel Hervé, Paris, France
— Surplus Portfolio, Open Studio, Toronto, Canada
— Right, write, wright, rite, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium
— Leiber & Sullivan, National Gallery of Canada, Library & Archives, Ottawa, Canada
— Albatross Omnibus, The Power Plant, Toronto, Canada
— Walking and Chewing the Fat at the Same Time, Jessica Bradley Art + Projects, Toronto, Canada
— Young Americans, KIOSK, Ghent, Belgium
— It is more difficult to hit a moving target, University of Waterloo Art Gallery, Waterloo, Canada
— Waiting Game, Jessica Bradley Art + Projects, Toronto, Canada
— Le poème de l’angle droit, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium
— Bulletin Board, White Columns, New York, USA
— How, I wrote certains of my books, Librairie Florence Loewy, Paris, France
— We May Be Standing On The Shoulder Of Giants But Some Of Us Are Looking At The Stars, Southern Alberta Art Gallery, Lethbridge, Canada
— Jessica Bradley Art + Projects, Toronto, Canada
— Art Gallery of York University, Toronto, Canada
— Cold Open, Optica, Montréal, Canada
— Toronto Sculpture Garden, Toronto, Canada
— Jessica Bradley Art + Projects, Toronto, Canada
— Statements, Solo Exhibition, Toronto, Canada
— Satchel Gallery, Toronto, Canada
— Gallery Xeno, Vancouver, Canada
— Mercer Union, Toronto, Canada
— MacDonald Stewart Art Centre, Guelph, Canada
— Passengers & Tour Guides (with Kevin Rodgers), Artspeak, Vancouver, Canada
Selected group exhibitions
2014 2013 2013 2013 2013 — Contemporary Drawings from The National Gallery of Canada, Mendel Art Gallery, Saskatoon, Canada
— Barbarie, La Générale en Manufacture, Sèvres, France — curator Elisa Rigoulet
— Brigadoon, La Tolerie, Clermont-Ferrand, France — curator Céline Poulain
— More Young Americans, L’Enclos des Bernardins, Paris, France — curator Susanne van Hagen with the help of Marc-Olivier Wahler & Miguel Macedo Basto de Carvalho
— PATHFINDER Everything goes, not anything, Moins Un, Paris, France — curator Arlène Berceliot Courtin
2013 — Ed Ruscha Books & Co., Gagosian Gallery, New York, USA
2013 — Magiciens, Galerie Emmanuel Hervé, Paris, France
2012 — Sobey Art Award 10th Anniversary, MOCCA, Toronto, Canada
2012 — Builders, Biennale du Canada, National Gallery of Canada, Ottawa, Canada
2012 — Lou Ford, G Gallery, Toronto, Canada — curator Roger Bywater
2012 — Celluloid Brushes an anthology of the filmic perception of the artist from 1627 till today, Witte de With Center for Contemporary Art, Rotterdam, Netherlands — curator Etablissement d’en Face
2012 — Celluloid Brushes an anthology of the filmic perception of the artist from 1627 till today, Galerie Isabella Bortolozzi, Berlin, Germany — curator Etablissement d’en Face
2012 — Cut And Paste, Equinox Project Space, Vancouver, Canada
2011 — During the night the exhibition continue : La servante, Galerie Emmanuel Hervé, Paris, France
2011 — Books on Books, Swiss Institute, New York, USA
2011 — Power to the People: Contemporary Conceptualism and the Object in Art, ACCA, Melbourne, Australia
2011 — The Object of Observation (Changes by Being Observed), Johnen Galerie, Berlin, Germany
2011 — The 2011 Sobey Art Award: Ontario Long-List, Oakville Galleries, Oakville, Canada
2011 — Out of Print, Mercer Union, Toronto, Canada
2010 — The Illustrated Dictionary of Received Ideas, Drawing Session Nine (with Gareth Long), Kate Werble Gallery, New York, USA
2009— Art Read, Glenn Horowitz, East Hampton, New York, USA
2009 — La collection, enrichissements 2008 - 2009, CDLA, Saint-Yriex-la-Perche, France
2009 — Architecture of Survival, Komplot, Brussels, Belgium
2009— Sobey Art Award Ontario Shortlist, Cambridge Galleries, Cambridge, Canada
2008 — Art Metropole: The Top 100, Museum of Contemporary Canadian Art, Toronto, Canada
2008 — The Black Market Type & Print Shop, articule, Montréal, Canada
2008 — Citizen, Denizen, Resident, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium
2008 — Untitled (Work on Paper), David Kramer, David Armostrong Six, Jennifer Murphy, Raymond Pettibon and Derek Sullivan, Moti Hassan Gallery, New York, USA
2008 — P2P, Casino Luxembourg Forum d’art Contemporain, Luxembourg, Luxembourg — curated by Le Bureau
2007 — Gasoline Rainbows, Contemporary Art Gallery, Vancouver, Canada
2007 — On being an exhibition, Artists Space, New York, USA
2007 — Limited, Jessica Bradley Art + Projects, Toronto, Canada
2006 — We Can Do This Now, The Power Plant, Toronto, Canada
2006 — Art Metropole: The Top 100, National Gallery of Canada, Ottawa, Canada
2006 — Habitat, Jessica Bradley Art + Projects, Toronto, Canada
2006 — Art on Paper 2006, Weatherspoon Art Museum, Greensboro, USA
2006 — Du coté de Jessica Bradley Art + Projects, Galerie René Blouin, Montréal, Canada
2006 — Storefront, National Gallery of Canada, Ottawa, Canada
2005 — The Gift, Julia Friedman Gallery, New York, USA
2005 — Other Worlds, Jessica Bradley Art + Projects, Toronto, Canada
2005 — Dedicated to you, but you weren’t listening, The Power Plant, Toronto, Canada
2004 — Sculpture. The News at 5, Toronto International Art Fair, Toronto, Canada — curated by Rick Rhodes
2004 — Downtown Art Space, Adelaide, Australia
2004 — Come Up to My Room, Gladstone Hotel, Toronto, Canada
2003 — Chamomile Testerosa, 1066 Project Space, Toronto, Canada
2003 — James Carl/Jennifer Murphy & Chris Rogers/Derek Sullivan, Mercer Union @ art forum Berlin, Berlin, Germany
2003 — Psychotopes, YYZ Artistsí Outlet, Toronto, Canada
2003 — Bauhauswerk, weewerk, Toronto, Canada
2003 — Lucid Clutter, YYZ Artists’ Outlet, Toronto, Canada
2002 — Selling Out & Buying In, Biz Art, Shanghai, China
2002 — RISK, Belkin Satellite, Vancouver, Canada
2002— Wreck Room, Art System, Toronto, Canada
2002— Wreck Room, Helen Pitt Gallery, Vancouver, Canada
2001 — It’s Not What You’re Like, It’s What You Like, Art System, Toronto, Canada
2001— Trophy, YYZ Artistsí Outlet, Toronto, Canada
2000 — Inaugural Ball, West Wing Art Space, Toronto, Canada
2000 — Hat Towers 2, Red Head Gallery Showcase, Toronto, Canada — curated by Jenifer Papararo
2000— 20th Century Sideshow, Blueprint Gallery, Toronto, Canada
1999 — Suburban Landscape, Red Head Gallery, Toronto, Canada
Awards
2012 2011 2009 2008 2007 2006 2005 2003 — Sobey Art Award Ontario Short List
— Sobey Art Award Ontario Long List
— Sobey Art Award Ontario Long List
— Canada Council, Travel Grants to Professional artists
— Toronto Arts Council Level Two
— Ontario Arts Council Exhibition Assistance
— Ontario Arts Council Exhibition Assistance Ontario Arts Council Emerging Artist Grant
— Toronto Arts Council Level One
Collections
Art Gallery of York University, Toronto, Canada
Bibliothèque Kandinsky, Centre Pompidou, Paris, France
Bibliothèque Nationale de France, Paris, France
BMO Bank of Montreal Collection, Montreal, Canada
CDLA, Saint-Yrieix-la-Perche, France
Getty Museum Archives and Library, Los Angeles, USA
MacDonald-Stewart Art Centre, Guelph, Canada
Library & Archives of the National Gallery of Canada, Ottawa, Canada
McCarthy-Tétrault, Toronto, Canada
National Gallery of Canada, Ottawa, Canada
Perimeter Institute, Waterloo, Canada
RBC Collection, Toronto, Canada
TD Bank Group Collection, Toronto, Canada
Selected bibliography in alphabetical order
Adler, Dan. We Can Do This Now. (review) Artforum, March 2007
Adler, Dan. Derek Sullivan, Canadian Art, Spring 2008
Balzer, David. Eye Candy: Dedicated to You, But You Weren’t Listening, Eye Weekly. March 24, 2005
Balzer, David. Eye Candy: Derek Sullivan, Eye Weekly. September 29, 2005
Bowen, Elaine. Lucid Clutter, YYZine, YYZ Artist’s Outlet, January 2003.
Burnham, Clint. Poster Boy, brochure, Toronto Sculpture Garden, 2005.
Burke, Gregory; Bronson, AA; Ritter, Kathleen. Derek Sullivan: Albatros Omnibus, toronto: The Power Plant Contemporary Art Gallery, September, 2011
Clarke, Bill. Albatross Omnibus. Canadian Art. Winter, 2011
Dault, Gary Michael. Gallery Going, The Globe and Mail. August 7, 1999
Dault, Gary. Gallery Going, The Globe and Mail. August 14, 2003.
Dault, Gary. A poster child for street life, The Globe and Mail, November 12, 2005.
Davis, Brian Joseph. Fun for Goths 2: Robert Smithson Eye Weekly, February 1, 2007.
De Vito, Natalie. Selling Out & Buying In. catalogue essay, 2002.
Demkiw, Janis. Each the Same to Start. brochure, 2003.
Enright, Robert. Echoes of Familiarity. C Magazine. Winter, 2009.
Godard, Peter. A Dose of Conceptual Art. Toronto Star, April 14, 2005.
Hirschman, Thomas. Messy Success, Lucid Clutter review, NOW magazine. January 15, 2003.
Hirschman, Thomas. High-quality quartet. NOW magazine. January 1, 2004.
Hutton, Jen. Canadians In Europe. Magenta, 2011.
Jordan, Betty Ann. Dedicated to you, But You Weren’t Listening, Toronto Life, April 2005.
Labossière, Robert. Dedicated to you, But You Weren’t Listening, Para Para 20, 2005.
Lauson, Clifford. The Artifice of Risk. Risk: Playing the Game, brochure, 2002.
McLaughlin, Bryne. Biennale de Montréal: The Gamblers. Canadian Art, Summer, 2011.
Mavrikakis, Nicolas. Nouveau Territoires. Voir, March 1, 2006.
Meredith, Pamela. Derek Sullivan: We May be Standing on the Shoulder of Giants but Some of Us are Looking at the Stars. Lethbridge: Southern Alberta Art Gallery, 2009.
Miller, Earl. Law and Ordering: On Evaluating Recent Canadian Neoconceptualism, C Magazine, Fall 2006.
Milroy, Sarah. News at Five. The Globe and Mail, 1 October 2004.
Milroy, Sarah. At the galleries. The Globe and Mail, 25 March 2005.
Milroy, Sarah. Exploring collaboration. The Globe and Mail, 5 April 2005.
Milroy, Sarah. Drawn Together. The Globe and Mail, 22 July 2005.
Milroy, Sarah. A meeting of art, power, and the city. The Globe and Mail, 10 January 2007.
Osborne, Catherine. Suburban Landscape (review), Lola issue 5, Winter 1999-2000.
Osborne, Catherine. Deconstructing Ikea, National Post, 14 February 2004.
Papararo, Jenifer. Modelumental, brochure, Redhead Galllery, 2000.
Papararo, Jenifer. Gasoline Rainbows. Vancouver: Contemporary Art Gallery, 2007.
Ritter, Kathleen. Derek Sullivan More Young Americans, ESSE #76, Fall 2012.
Rousseau, Chantal. Trophy, YYZine, YYZ Artist’s Outlet, 2001.
Scott, Kitty; Shaughnessy, Jonathan; Gale, Peggy; and AA Bronson. Art Metropole: The Top 100. Ottawa:
The National Gallery of Canada, 2006.
Strickland, James. Various Canadian Artists, db Magazine, January 28, 2004.
Twerdy, Saelan. Garden of Forking Paths: A Conversation with Derek Sullivan, C Magazine, Spring 2012.
Whyte, Murray. The Sobey Art Prize: Ontario Nominees. The Toronto Star. 11 July 2011.
Artist’s publications
Wouldn’t it be nice?
Mirror Olympic Book
National Gallery Catalogue
Statements
Greetings from LA (edition of 8)
Cremaster 4 (edition of 8)
Statements (new version)
Robert Smithson (isbn 0-921972-46-6)
Some treatments for doorways and windows… (published by Boabooks)
Persistent Huts (published by Printed Matter Inc.)
The Booklover
Every Letter in “The Sunset Strip”
Two-Day Hangover
Landscape Manual #1
Landscape Manual #2
Landscape Manual #3
-esque –ish –like –ness
Robert Smithson (second edition)
How I wrote certain of my books (a conversation with Allen Ruppersberg)
Le poeme de l’angle droit (edition of 100)
Lynn Valley #8
Albatross Omnibus (52 titles, each produced in an edition of 28 copies)
Pages (the 1st 93 prime numbers)
Midsummerwords
Book Cavern
tomato vine scent
buch- hand- lung
Meandering Paths
The Borges Numbers
Buttress Support
wells & follies & features &
seasonal allergies
wingspan spinning black circles
feeling words
inventory coincidence
Bearded Idols
more Young Americans
Endless Library
Evil Flowers (with additional qualitites)
statements
sometimes green is grey
shrill titter sharp little wings
Trees of Canada
the desire & pursuit of the whole
Field Book
booklover, fragments, details
No Image, No Message
Dead Ends
A script for a vernissage…
Orchid Show
Examples + a Glass House +
Blue in Black & White
Parrots & Phototcopiers
Citizen! Denizen! Resident!
Orchid Show (Inverted), or…
Looking for the third
Incomplete & Open…
Ghent Cock Dance
Abstract and not-so-abstract flower arrangement…
Burying Small Fires
Parrots, Photocopiers &
I want to be new again…
dodging Ulysses
extra eyes
You were right…
essay piece
Index of 36 book covers…
Reading two books at the same time…
garden structures
Yng Amrcns (line works)
Snow’s Nose
a portal
Choices Choices Choices Choices Choices Choices Choices Choices Choices
A view of the garden from the studio window
Derek Sullivan is represented by Galerie Emmanuel Hervé
EMMANUEL HERVE
www.emmanuelherve.com
GALERIE EMMANUEL HERVE 6 rue Jouye-Rouve · 75020 Paris · France T. +33 9 51 10 96 58 - [email protected] - www.emmanuelherve.com