66

Mark Lewis: We Are The World
27 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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Mark Lewis: We Are The World
27 April 1988
1087 Queen Street West, Toronto, Ontario

Credits:
Mark Lewis, We Are The World, press release, 1988.

68

Mark Lewis: We Are The World
27 April 1988
1087 Queen Street West, Toronto, Ontario

Credits:
Mark Lewis, We Are The World, 1988. Installation view.

69

Artists also drew attention to the importance of images and our response to them by not using iconoclastic tactics at all. According Bruce Grenville's review, Elizabeth MacKenzie's Now This negotiates representation and desire. MacKenzie draws on the walls of the gallery an unclear narrative of a relationship between a man and a woman. Desire is a lack. Perhaps here the longing is for the missing object as the image is not attached to an object, but to the room. Desire is the will to posses an object, which MacKenzie also plays with as her drawings on the wall cannot be taken from the room as objects and are going to be painted over and erased.

70

Elizabeth MacKenzie: Now This
18 June 1984
116 Spadina Avenue, 2nd Floor, Toronto

Credits:
Elizabeth MacKenzie, Now This, exhibition invitation, 1984.

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Elizabeth MacKenzie: Now This
18 June 1984
116 Spadina Avenue, 2nd Floor, Toronto

Credits:
Elizabeth MacKenzie, Now This, press release, 1984.

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Elizabeth MacKenzie: Now This
18 June 1984
116 Spadina Avenue, 2nd Floor, Toronto

Credits:
Elizabeth MacKenzie, Now This, 1984. Installation view.

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Elizabeth MacKenzie: Now This
28 June 1984
The Globe and Mail

Credits:
"Elizabeth MacKenzie at YYZ," The Globe and Mail, June 28, 1984.
Author Unknown

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Elizabeth MacKenzie: Now This
Fall 1984
C Magazine

Credits:
Bruce Grenville, "The Mapping of Desire Elizabeth MacKenzie, Now This," C Magazine, No. 3, Fall, 1984, page 1.

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Elizabeth MacKenzie: Now This
Fall 1984
C Magazine
TEXT ATTACHMENT


Credits:
Bruce Grenville, "The Mapping of Desire Elizabeth MacKenzie, Now This," C Magazine, No. 3, Fall, 1984, page 2.

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Elizabeth MacKenzie: Now This
September 1984
Vanguard
TEXT ATTACHMENT


Credits:
Hanna Deirdre, "Elizabeth MacKenzie, YYZ," Vanguard, September, 1984.

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Sandra Meigs' The Room of 1000 Paintings comments on the role of images in subject creation. It consists of a room with paintings that could be inside a middle class residence to reveal a middle class aesthetic as Deirdre Hanna mentions in her review of the show. By doing this, Meigs sets up an institutional critique of the gallery at the same time. Like Now This, The Room of 1000 Paintings does not employ any iconoclastic tactics. Rather it is a critique of the beholder of the work presented-firstly of the middle class and then the gallery/artist-run-centre viewer. In this sense, images stand in for people. One could say that images take on the role of living organisms if the viewer sees them as what they represent.

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Sandra Meigs: The Room of 1000 Paintings
2 September 1986
116 Spadina Avenue, 2nd Floor, Toronto

Credits:
Sandra Meigs, The Room of 1000 Paintings, exhibition invitation (front), 1986.

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Sandra Meigs: The Room of 1000 Paintings
2 September 1986
116 Spadina Avenue, 2nd Floor, Toronto

Credits:
Sandra Meigs, The Room of 1000 Paintings, exhibition invitation (back), 1986.