53
Stan Denniston: Deadly Plaza/Recognition and Mnemonic7 November 1983
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Stan Denniston, Deadly Plaza/Recognition and Mnemonic, 1983. Installation view.
54
Roy Arden also employs disfiguration in his work Mission. He crops one photograph into several parts and presents them as several images. Mission is an image of the crucifixion performed by aboriginal people. It is a presentation of a charged and political image through iconoclastic disfigurement.55
Roy Arden2 May 1987
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, exhibition invitation,1987.
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Roy Arden2 May 1987
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, press release, 1987.
57
Roy Arden2 May 1987
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, Mission, 1986. Silver prints, frames, painted wall. Installation view.
Photo: Peter MacCallum
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Roy Arden12 June 1986
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, exhibition application, 1986.
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Roy Arden2 May 1987
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, list of works, 1987.
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Roy Arden2 May 1987
116 Spadina Avenue, 2nd Floor, Toronto
Credits:Roy Arden, event poster, 1987.
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Roy Arden14 May 1987
The Globe and Mail
Credits:John Bentley Mays, "Roy Arden at YYZ," The Globe and Mail, May 14, 1987.
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Roy ArdenSummer 1986
C Magazine
Credits:Arni Runar Haraldson, "History of Infinity," C Magazine, Summer 1986, page 41.
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Roy ArdenSummer 1986
C Magazine
Credits:Arni Runar Haraldson, "History of Infinity," C Magazine, Summer 1986, page 40.
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The works of Denniston and Arden bring us to yet another representational shift - one that employs both the representation of politics and the politics of representation. Mark Lewis' We are the World is a model here. Lewis cuts several photographs of Caucasian men along with renaissance sculptures in one panel and slices photographs of non-white women and children in another. The text "We are the world you are the third world" is placed under the images. Bathroom scent machines are attached to the back of the panels. Here, Lewis used the iconoclastic disfiguration tactic by cropping the images and is dealing with issues of colonization and racism.65
Mark Lewis: We Are The World27 April 1988
1087 Queen Street West, Toronto, Ontario
Credits:Mark Lewis, We Are The World, exhibition invitation, 1988.
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Mark Lewis: We Are The World27 April 1988
1087 Queen Street West, Toronto, Ontario
Credits:Mark Lewis, We Are The World/White Noise, 1988. Cibachrome prints, industrial odour machine. Installation view.
Photo: M. Lewis
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