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BONNIE BAXTER’S

The Stateof Jane

Richard Gagnier, Guest Curator

CONTACTRichard Gagnier, Guest Curatoremail : rgagnier@mbamtl.org

www.bonniebaxter.com TOUR PROPOSAL

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CONTENTS

Artist’s Statement 3

Guest Curator’s Statement 4

Images of previous Jane’s Journey Installations 5,6

Views and text: Artist Book: Rose Disarray 7-9

Guest Curator’s Plan with Thumbnails 10-14

Jane is Dead 15,16

Thumbnail Catalogue: The complete Jane’s Journey series (37 images) 17-20

Artist: Biographical Notes 21

Guest Curator: Biographical Notes 21

Curriculum vitae of the Artist 22-25

Technical Specifications: Curator’s Selection 26

Technical Specifications: Complete Jane’s Journey Series 27

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The imagery of “Jane's Journey” presents a para-

autobiographical fairytale. It resonates with irony and

humor in its individualistic detail and yet remains

starkly archetypal in its anonymity. It's compositional

subtext of geometric supremacy saturated in the

colour schemes of a de Chirico or Diebenkorn, supply

these unnervingly depopulated travel-scapes, with

eerie significance. They transcend 'Jane' and reach

toward 'Jainism' searching for spiritual independence,

for a state of equanimity. Bonnie Baxter's 'Jane'

hovers dramatically and poignantly between the

requirements of the present and the desire for eternity.

Christine Unger

Artist’s Statement

I believe in bold colours and strong images made subtle through

layers of content. I see that life is not complicated, but it is dense,

and that it is easy to get caught in this density - a tiny insect in a

mass of layers, struggling to find the surface. I would rather see these

layers as opportunities, evidence of the simultaneity, synchronicity,

serendipity that abounds in life. And so, my work is about layers,

whether in print or in video imagery. To see the sense and beauty

in diversity—to find transcendence in the commonplace and to see

that the extraordinary is common. With my series “Jane’s Journey,”

I cover fresh ground by treading old paths. In the persona of “Jane”

I traveled across Europe and the United States to see how they, and

I, have changed, and how memory and time have their own way

of layering imagery.

Bonnie Baxter

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A word from the guest curator

The State of Jane constitutes a photographic project by Bonnie Baxter. It is built around a single individual, Jane, who through her insertion into a variety of sites and landscapes, makes a statement that is at once biographical, cinematic, and imaginary. Primarily, Jane is a visual composition. As such, her construction becomes an affirmation of the photographic subject and within it, is woven an ensuing critical stance on the female psyche. The project also draws other practices in its wake that have piqued interest in photography and video in recent years; notably auto-fiction and the way in which it differs from the self-portrait. The series wraps itself in the aspect of auto-fiction to better keep its strategies at a critical distance.

The real—and unreal—fall under scrutiny in this project; such is photography today that digital technology can appropriate, manipulate, and evoke pure fiction, despite being modeled on reality. And there may or may not be, reality, supported by “what has been” (the famous “ça a été” of Barthes), as, in this case, the sites featured seem to have been visited or re-visited. The entire focus revolves around a single person, viewed over and over again as in a family photo album and in as many venues. The choice of venues borders on the cliché: Paris, the Tuscan countryside, the American southwest, and Route 66 that leads to it. Thus photography plays this other role: a documentary one, carrying us along to witness what it ultimately produces, what it roots out, how it inevitably reconstructs the site to create an idealized artificiality. Set against the recurring presence of Jane, these larger than life shots tell a story over time, a story now void of drama; any that might have been, is gone, relegated to memory. What emerges is another way to restore the use of photography to oneself, to the self, helping affirm this presence, her presence, a presence merged into the site like some interior landscape.

Who then is this other person, this ‘other’ of the artist whose existence is confirmed, if only by her perambulations around the planet? We may see her as a subject, and given her attributes, a female subject with no intention of disguise. Perhaps persona is a better interpretation, a highly autonomous creature, an offshoot of the artist’s thoughts, but one with, and shaped by, her own disposition. She acts, she reflects, and she expresses, as is borne out in the

aesthetic position reinforced by the series. She seems to reveal a certain destiny, itself a re-affirmation of the subject, yet she determinedly resists being drawn into the narration. This resistance is no doubt due to the fact that each image seems suspended in time, further energizing the series. And that suspension gradually gives way to contemplation, notably of the landscape. There is also the sense of a retrospective gaze in that suspension of time (Jane is from a certain age), yet this gaze is never revealed to us. The blond coiffure—the wig—has lost the platinum blond flamboyance of one’s prime, and the clothing and poses suggest none of the illustrative imperatives dictated by the code of fashion. In fact, what we see is our subject facing an urge to spurn the photographic corps, who have long toyed with female seduction and its many facets, leading to its objectification through domination of the eye of the viewer. The eye here is that of the subject herself, surveying the scene and inviting us to survey it as well. It is hardly surprising that her back is to us at all times, that she is so often in the foreground, yet virtually excluded from the field of the photograph itself. The wig becomes our constant, our index.

And she has a name: Jane, an educational icon, synonymous with the “Dick and Jane” books that taught generations of North American schoolchildren to read. But which, in the process, brashly imposed cultural and social values: those of a white, comfortable middle class with pre-defined behaviors and expectations, the class that epitomized the American way of life after World War II, the class of would-be universal contentment. Our Jane is from this world, but she has escaped it. She has sought out her own life experiences. She has individualized herself. She has put time (inseparable from photography, which snatches it up and discards it somewhere) between the memory, the broken fragments of fiction, the moments of reflection, and the affirmation of a state of being, which the landscape returns to her, in contemplation.

Jane is about all of this, and by inference, she, is about Bonnie Baxter.

Richard Gagnier (2012)Translation: Cory McAdam

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Bonnie Baxter : Jane’s Journey, Galerie d’art du Centre culturel de l’Université de Sherbrooke, Université de Sherbrooke, Quebec, 2010

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Bonnie Baxter : Jane’s Journey, Galerie d’art du Centre culturel de l’Université de Sherbrooke, Université de Sherbrooke, Quebec, 2010

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Rose Désarroi, 2010

Artists’ Book: Bonnie Baxter (artwork), Denise Desautels (text), Jacques Fournier (concept and realisation)

University of Sherbrooke Gallery, 2010

Colophon

Rose Disarray

This work includes an unpublished text by Denise Desautels

as well as five digital prints by Bonnie Baxter

created on Moab paper by Photosynthèse.

The design and fabrication of the book are by Jacques Fournier

in collaboration with Michael Eifert (wood) and Jacques Ladouceur (metal).

The original edition consists of eleven copies numbered from 1 to 11

and two copies for legal deposit, indicated by the abbreviations D.L. I and D.L. II,

all signed by the author and artists.

N°

Éditions Roselin, Montreal 2010

© Bonnie Baxter, Denise Desautels, Jacques Fournier

ISBN 2 – 921751 – 35 – 6

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Rose Désarroi, 2010

Artists’ Book: Bonnie Baxter (artwork), Denise Desautels (text), Jacques Fournier (concept & realization)

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Rose Désarroi

Denise Desautels

d’habitude les yeux portent, même lourds / qui sommes-nous, de dos, sans miracle / les arbres aujourd’hui n’existent presque plus / la pierre seule, masse vert vif / les bras et le cuivre qui gît par terre / corps de désir ou de désordre / visages aveugles au ras du sol, crevés / leur immensité pleurant, bruissant

d’une scène à l’autre, c’est pareil / l’univers en deux / qui sommes-nous / fatales, bataillon de blondes sous le turquoise / épiant ciel clos et carcasses / ce qu’il y a de feu, ce qu’il y a d’épées derrière les masques / dans l’autre langue soudain / l’autoportrait, sa résonance / pointée vers l’infini, who am I

le rêve d’emprunt ironise violemment / entre rose désarroi et végétation monumentale / who am I, perruque plaquée en plein voyage / terre bouffonne, je joue / jaune graffiti à la une, avec maintes femmes / nos nuques aux aguets sous l’éclaboussure / nos mains comme des mouches / hors cadre, ça murmure

ça dit grand, la regardeuse regardée / l’océan dans la peau / assise, humaine sans condition / mon œil droit devant mord / la moitié encre du tableau, son pan d’écume et d’histoire / juste au bas de l’autre, l’ocre, l’agitée / tachée d’objets tranchants qui volent / voyez de près le va-et-vient / je pars mais ne quitte pas

touchez / collez un seul mot, passage / côté empreinte et plage, mes ongles creusent une pensée / dépouille et pas recto verso / avec l’automne poignant comme preuve / de gauche à droite à gauche, là / soleil de profil, je ne cède pas / éclatante et ombre sur mes gardes / je ravage, caresse / parfois touche le fond

Rose Disarray

Denise Desautels (translation: Alisa Bélanger)

usually the eyes gaze, even heavy / who are we, from behind, without miracles / the trees today hardly exist anymore / only the stone, bright green mass / the arms and brass that lie on the ground / bodies in desire or disorder / blind faces against the soil, exhausted / their immensity crying, clamoring

from one scene to another, it’s the same / the universe in two/ who are we / battalion of fatal blonds under the turquoise/ on the look-out for closed sky and carcasses / what there is by way of fire, by way of swords behind the masks / in the other language suddenly / the self-portrait, its resonance, pointed toward the infinite qui suis-je

the borrowed dream is violently ironic / between rose dismay and monumental vegetation / qui suis-je, a wig ditched in the middle of a trip / land of jest, I’m playing / yellow graffiti as first-page news, with so many women / our necks lie in wait under the splatter / our hands like flies / beyond the frame, it murmurs

it says much, the watching woman watched / the ocean in the skin / sitting, human with no condition / my eye sinks right in straight ahead / the ink half of the picture, its patch of froth and history / just beneath the other, the ochre, the agitated woman / stained by sharp objects that fly / look well, you, at the comings-and-goings / I’m leaving but don’t depart

touch, I tell you / stick a single word, passage / print and beach side, my nails scratch a thought deeper / skin hide and recto verso step / with the poignant autumn as proof / from left to right to left, there / sun in profile, I don’t yield / radiant woman and shadow on guard / I ravage, stroke / sometimes touch rock bottom

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Dreamscape II Jane’s Journey97.8 x 129.5 cm

Intr

oduc

tion

Fall II, Jane’s Journey97.8 x 129.5 cm

Dark Forest II, Jane’s Journey97.8 x 129.5 cm

Dreamscape III Jane’s Journey97.8 x 129.5 cm

Greenhouse I, Jane’s Journey97.8 x 129.5 cm

Voyage I, Jane’s Journey97.8 x 129.5 cm

Presentation

Curator’s Version

(24 images)

Curator’s Proposed Hanging Sequence

I . M I N D S - E Y E

I I . S E L F - R E F L E C T I O N

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Film Noire en rose IV, Jane’s Journey97.8 x 129.5 cm

Paris I, Jane’s Journey97.8 x 129.5 cm

Paris II, Jane’s Journey97.8 x 129.5 cm

Greenhouse II, Jane’s Journey97.8 x 129.5 cm

I I I . C O N T E M P L A T I O N

Southwest I, Jane’s Journey97.8 x 129.5 cm

Italie Pêche II, Jane’s Journey76.2 x 101.6 cm

Route 66 II, Jane’s Journey76.2 x 101.6 cm

Route 66 I, Jane’s Journey76.2 x 101.6 cm

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Southwest II, Jane’s Journey97.8 x 129.5 cm

Southwest III, Jane’s Journey97.8 x 129.5 cm

Italie Pêche III, Jane’s Journey76.2 x 101.6 cm

Route 66 III, Jane’s Journey97.8 x 129.5 cm

Film Noire en rose I , Jane’s Journey97.8 x 129.5 cm

Film Noire en rose II, Jane’s Journey97.8 x 129.5 cm

I V. J A N E ’ S J O U R N E Y : L A N D S C A P E S

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Paris bain IJane’s Journey129.5 x 97.8 cm

Fog IJane’s Journey129.5 x 97.8 cm

FINAL

Fog IIJane’s Journey129.5 x 97.8 cm

V. J A N E ’ S I N F I N I T Y

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Voyage II, 2008

Jane’s Journey129.54 cm x 97.79 cm(51 in. x 38.5 in.)

Total: 24 images

V I . E P I L O G U E

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The exhibition is completed with a small wall case presenting the documents of Jane’s death.

There is a growing case file on the mysterious death of Jane. Follow developments on Bonnie Baxter’s website.

www.bonniebaxter.com

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Jane’s body found at the bottom of Val-David construction site

(by Christine Unger)

The tragic and untimely death of Jane, a self-proclaimed iconic figure in the North American art scene, seems like something out of a paperback novel. The circumstances of her death are still being investigated but a statement from the police confirmed evidence of foul play. It was only a few years ago that suspicions of Jane’s death arose when her wig was found floating in a shallow pool next to her trademark red boat on the California coast near her mother's home, but without other evidence the police could see no reason to investigate further at the time. Rumours of Jane’s presence in China then lulled concerned friends into believing that Jane was simply on one more of her famous “Journey’s.”

A recent photograph of Jane in China is now believed to be what print artists like to call an “interpretation” of Jane’s earlier work and police are questioning the gallery in hope of tracing it back to its source. There is evidence to support that Jane’s China-doppelgänger may be involved in her murder. Police are asking that anyone with information about Jane come forward. A reward is being posted by her partner Dick.

Police are also following up sightings of Jane’s enormous Wolf-hound Spot (seen in the photograph below) around the area where her body was discovered. Large footprints, matching those of Spot were detected circling around the body. The body was discovered only miles from Jane’s home studio where she worked during most of her career as an artist. While she was her own most frequent subject matter her neighbors were shocked to hear that her death may have been the result of foul-play. All insisted that despite her glamorous appearance in her art she was the soul of generosity, the best neighbor you could hope for, quiet, loyal and dedicated to the preservation of her village environment.

There is evidence that her small apartment in Montreal may have been used briefly by the doppelgänger. Her landlady noted that Jane had always been a very quiet resident and that she had been offended by recent occurrences of loud music and late parties below. They had always had a strict agreement about not smoking as well and the landlady distinctly recalls the odour of cigars two weeks earlier. “I couldn’t believe it when I called to Jane in the street and she didn’t even turn her head or nod hello. I’m so sorry I didn’t say anything to anyone at the time, but no one listens anymore and she may just have been preoccupied, she’s had a lot on her mind. I didn’t want to be indiscrete,” said Jane’s landlady.

Could this be a case of stolen identity, a stalker, cover-up for an accident, a crime of passion or, as is so often the case in these troubled times, a crime of faceless violence, an outburst of anger against the society which Jane had made it her lifetime endeavor to expose. Was her irony and humor lost on one of the masses of unhappy people who believed she represented the privileged few?

We may never know the truth...****

August 2011

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Paris

Paris Iedition 1/3, 2008 Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Paris IIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in / 97.8 x 129.5 cm

Paris Bain

Paris Bain Iedition 1/2, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Paris Bain IIedition 1/2, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Paris Chambre

Paris Chambre Iedition 1/2, 2008digital print, face-mounted38.5 in x 51 in 97.8 x 129.5 cm

Paris Chambre IIedition 1/2, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Italie Pêche

Italie Pêche Iedition 1/3, 2008Digital Print, white frame40 in x 30 in101.6 x 76.2 cm

Italie Pêche IIedition 1/3, 2008Digital Print, white frame30 in x 40 in76.2 x 101.6 cm

Italie Pêche IIIedition 1/3, 2008Digital Print, white frame30 in x 40 in76.2 x 101.6 cm

The complete series of Jane’s Journey images (37 images)

EUROPE

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Dark Forest

Dark Forest I2008, edition 1/2Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Dark Forest IIedition 1/2, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Fall

Fall Iedition 1/3, 2008Digital Print, face-mounted51 in x 38.5 in129.5 x 97.8 cm

Fall IIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Greenhouse

Greenhouse - Iedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Greenhouse - IIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in 97.8 x 129.5 cm

Dreamscape

Dreamscape Iedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in 97.8 x 129.5 cm

Dreamscape IIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Dreamscape IIIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

VAL-DAVID

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Monarch beach

Monarch Beach I Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Monarch Beach IIedition 1/3Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Monarch Beach IIIedition 1/3Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Monarch Beach IV Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Route 66

Route 66 - Iedition 1/3, 2008Digital Print, white frame30 in x 40 in76.2 x 101.6 cm

Route 66 - IIedition 1/3, 2008Digital Print, white frame30 in x 40 in76.2 x 101.6 cm

Route 66 - IIIedition 1/3, 2008Digital Print, white frame30 in x 40 in76.2 x 101.6 cm

Southwest

Southwest - Iedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Southwest - IIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Southwest - IIIedition 1/3, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

SOUTHWEST, USA ROUTE 66 CALIFORNIA

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Voyage

Voyage - Iedition 3/3, artist proof, 2008Digital Print, face-mounted38.5 in x 51 in97.8 x 129.5 cm

Voyage - IIedition 1/3, 2008Digital Print, face-mounted51 in x 38.5 in129.5 x 97.8 cm

Fog

Fog - Iedition 1/3, 2008Digital Print, white frame51 in x 38.5 in129.5 x 97.8 cm

Fog - IIedition 3/3, 2008Digital Print, white frame51 in x 38.5 in129.5 x 97.8 cm

Fog - IIIedition 1/3, 2008Digital Print, white frame51 in x 38.5 in129.5 x 97.8 cm

Film Noir en Rose

Film Noir en Rose Iedition 1/3, 2008Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Film Noir en Rose IIedition 1/3, 2008Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

Film Noir en Rose IIIedition 1/3, 2008Digital Print, white frame38.5 in x 51 in 97.8 x 129.5 cm

Film Noir en Rose IVedition 1/3, 2008Digital Print, white frame38.5 in x 51 in97.8 x 129.5 cm

CALIFORNIA

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Richard GAGNIER: biographical note

Richard Gagnier has been the Head of Conservation at the Montreal Museum of Fine Arts since fall 2007. He spent the previous 23 years at the National Gallery of Canada in Ottawa where he worked as Assistant-conservator and Conservator of Contemporary Art. After initial studies in Chemistry and Art History at the University of Montreal, he completed his education with the course requirements for the Master in Art Conservation at Queen’s University in Kingston, Ontario.

Parallel to his profession as Conservator he pursues a career as an independent curator of contemporary art, working within the Quebec artist-run center network, in particular with Axe Néo-7in Gatineau (Hull). He has been the guest curator of numerous exhibitions, including group exhibitions where the works of Jérôme Fortin, Marc Audette, Annie Thibault, Marie-Jeanne Musiol, Michael A. Robinson and Miguel Berlanga were featured as well as solo exhibitions of Shelagh Keeley, François Lacasse, Liliana Berezowsky and Lisette Lemieux. In collaboration with Jacques Doyon he conceived and organised an international group exhibition of Installation art at The Diefenbunker, Museum of War (Carp, ON) entitled Singular Fission in 2000. During the nineties, he instigated three conceptual projects as fundraising exhibitions for Axe Néo-7: Paying Homage to a gift of Eva Hesse to Sol Lewitt (1991), De causis et tractatibus (1994), Brancusi: in question (1997). He has published many texts, pamphlets and critical articles for contemporary art magazines and exhibition catalogues.

Recently, he was invited as guest curator for two exhibitions of the work of Frédéric Back: A Life’s Drawings for The Academy of Motion Picture Arts and Sciences, in Los Angeles, summer 2008, and L’Alsace de Frédéric Back, in Strasbourg at la maison de l’Alsace, in spring 2009. These two projects were focused on Back’s drawing practice, particularly with the construction of his own imaginary image sources based on drawings made from direct observation of recurrent themes in nature. This method lead him to develop the elaborate motifs which subsequently informed his animated film practise, as much as their subject matter or the way in which he illustrated them.

Bonnie BAXTER: biographical note

Bonnie Baxter was born in Texarkana, Texas and has had a studio and residence in Val-David, Quebec since 1969. She is a multi-disciplinary artist who has maintained an extensive exhibition record both nationally and internationally for 4 decades. Her work ranges from public-art installations to large-scale pieces in print media, video projection and sculpture.

She studied at Cranbrook Academy of Art in Michigan and received an MFA degree from Vermont College, Norwich University and has lectured extensively and given workshops in Canada, Mexico, USA, Turkey and China. She has taught in Concordia University’s Print Media Program since 1984.

In 1985 she founded the custom print studio the Atelier du Scarabée which collaborates and produces etchings, relief prints and screen-prints for a select group of artists in the mountain village of Val-David, Quebec. Under the commissions of Galerie Meaght Lelong (Paris), Philippe Briet Gallery (New York City), Moos Gallery (Toronto), and Esperanza Gallery (Montreal), the Atelier du Scarabée was responsible for the production of all Jean-Paul Riopelle’s etchings from 1985 to 1995.

In 2005 The Musée d’art contemporain des Laurentides presented Rewind, a 10 year survey of Baxter’s work; the exhibition then traveled across Canada and the USA. In 2009 she presented large format digital prints from her series Jane’s Journey at the Centre d’exposition de Val-David. The prints then traveled on to Division Gallery in Montreal and then the University of Sherbrooke Gallery in 2010 and the Angell Gallery in Toronto and the McMichael Canadian Art Collection in Kleinburg, Ontario in 2011.

Baxter has been awarded grants from The Counseil des arts et des lettres du Québec, Canada Council for the arts and the Concordia University Part-Time Faculty Association. Her work has received awards from international print biennials in Bhopal, India and Taiwan, R.O.C. and in 2005 in the context of the Grands Prix de la culture des Laurentides she was awarded the Prix à la création artistique from Conseil des arts et des lettres du Québec.

Baxter was one of a small group of artists invited to represent Canada at the 6th Novosibirsk International Print Biennial in Russia, 2008. In 2009 she was invited to attend a residency at the The Guanlan Print Base in China. She is one of only 10 artists across Canada invited to participate in the New World exhibition and international symposium on nontraditional works that redefine new approaches to media and materials in printmaking. Organized by the Municipal Museum of Györ, the New World exhibition will be held in Hungary in 2013.

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Born in Texarkana (Texas) USAStudio in Val-David (Quebec) since 1969.Has taught in the Print Media Program at Concordia University, Montreal (Quebec) since 1984. She has lectured extensively and given workshops in Canada, Mexico, the USA and Turkey.

RepresentationGALERIE DIVISION, Montreal (Quebec)

EducationMonticello College (Illinois) USA, Cranbrook Art Academy (Michigan) USA,Vermont College of Fine Art (Vermont) USA / MFA

Solo Exhibitions2011 Jane, Angell Gallery, Toronto, (Ontario) 2010 Jane’s Journey, Galerie d’art du Centre culturel Université de Sherbrooke, Sherbrooke (Quebec) L’Amérique de Jane, Division Galerie, Montreal, ( Quebec)2009 Jane au Jardin des délices, Bonnie Baxter Michel Beaudry, Centre d’exposition de Val-David, Val-David ( Quebec).2008 - 09 Rewind, Art Museum of the University of Memphis, Memphis, Tennessee, (USA) Paris / Texas, Hommage à Bonnie Baxter, Centre d’exposition de Val-David, Val- David (Quebec) Rewind, The Bob Rauschenberg Gallery, Fort-Myers, Florida (USA)2007 Rewind, Hartcourt House Arts Centre, Edmonton, (Alberta) 2006 Baphomet, FOFA Gallery Vitrines, Concordia University, Montreal, (Quebec) Rewind, Sir Wilfred Grenfell College Art Gallery, Memorial University of Newfoundland (Newfoundland)2005 Coquelicots, Galerie Simon Blais, Montreal ( Quebec) Rewind, Musée d’art contemporain des Laurentides, Saint-Jérôme (Quebec)2004 Chi-Chi Doggie - voyeur à contrecoeur, Galerie Centre de diffusion Presse Papier, Trois-Rivières (Quebec) Virtuel Chi-Chi, Galerie Le Sabord, Trois-Rivières ( Quebec)2003 Tentations, Centre d’exposition Maison du Village Val-David ( Quebec)1998 État d’âme, Installation vidéo, Musée de Lachine, Lachine ( Quebec)1995 Gueule de Bois, Là Galerie Centre Art Actuel, Trois-Rivières ( Quebec)1994 Le Bal des Animaux, Édifice Belgo, Montreal ( Quebec)1993 Icônes - Reliefs en Lumière, Installation, Centre d’exposition du Vieux-Palais, Saint-Jérôme (Quebec) Illusions - Chimères, Galerie Rodrique Lemay, Ottawa (Ontario)1992 Shazam, Galerie Barbara Silverberg, Montreal (Quebec)

BONNIE BAXTERbonnie.baxter@cgocable.cawww.bonniebaxter.com

Deux Mille et Une Nuit, Galerie Estampe Plus (Quebec) Wood Imprints, Durham Art Gallery, Durham (Ontario) Recent Prints, Open Studio, Toronto (Ontario)

Video - Performance - New Media (selection)2009 GRAV/JEUNES, Centre d’exposition de Val-David, Val-David (Quebec)2008 Limits /Limites, screening and presentation of selected videos, 20th and 21st – Century French and Francophone Studies International Colloquium, Georgetown University, (Washington D.C.) USA2006 Tramontano, MUFF (The Montreal Underground Film Festival), Montreal (Quebec) Tramontano, FOFA Gallery Vitrines, Concordia University, Montreal, (Quebec)2003 J’suis pas raciste…mais, La Raza, Centre culturel Maison du Village, Val-David (Quebec)2002 Shout at Eternity, Piscine Saint-Michel, Montreal ( Quebec)2001 Threshold, featured event with Mercan Dede Ensemble, Festival international de Jazz de Montreal ( Quebec)2000 Threshold: Sensing the Dragon, Saint-Norbert Arts Centre (Manitoba) État d’Âme, Maison de la culture Frontenac, Montreal (Quebec)1999 Mad Hatter’s Tea Party, (in conjunction with the World Tea Party) Saint-François- Xavier (Manitoba) RightBrain/LeftBrain/Configurations, Vermont College, Montpellier (Vermont) USA1998 Burnings, Leonard & Bina Ellen Gallery, Montreal ( Quebec)1997 Eros - Death - Ecstasy, site Internet, http://baxter.inrs-urb.uquebec.ca/ Chaconne, perfomance vidéo, Vermont College, Montpelier (Vermont) USA1996 Burnings, Installation vidéo, Vermont College, Montpelier (Vermont) USA

Group Exhibitions (selection)2012 Matériaux, formes et couleurs. Des œuvres d’art de la Collection de l’Université de Sherbrooke, Galerie d’art du Centre culturel Université de Sherbrooke, Sherbrooke (Quebec)2011 3rd Guanlan International Print Biennial, Guanlan International Print Base, (China) Papier 11- a contemporary Expo/Foire, presented by AGAC (Association des galeries d’art contemporain), Place des Festivals, Montreal (Quebec) Winter Interlude, Angell Gallery, Toronto, (Ontario) Marilyn in Canada, McMichael Canadian Art Collection, Kleinburg (Ontario)2010 Summer Show, Angell Gallery, Toronto, (Ontario) H2EAU, Musée d’art contemporain des Laurentides, Saint-Jérôme (Quebec) Ces artistes qui impriment, Gilles Daigneault commissaire invité, ä la Grande Bibliothèque, Montreal, (Quebec) Canadian Contemporary Printmaking, exposition itinérant à la galerie de

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l’Université de Guangzhou, l’Université de Shenzhen, et 2 salles d’exposition de Guanlan, (China) 2009 XIVème Biennal Internationale de la gravure et des nouvelles images de Sarcelles, invité, Sarcelle cedex, (France) 6th International Novosibirsk Graphic Art Biennal 2009, Invited / curated Canadian Section, Novosibirsk State Art Museum, (Russia) Num_errance, 6e édition de la Biennal internationale d’estampe contemporaine de Trois-Rivières, Trois-Rivières (Quebec) Jane au Jardin des délices, Bonnie Baxter Michel Beaudry, Centre d’exposition de Val-David, Val-David (Quebec) 2008 La photographie hantée par la photographie spirite, Musée régional de Rimouski, Rimouski, (Quebec) Une histoire GRAVÉE, Musée d’art contemporain des Laurentides, Saint-Jèrôme, (Quebec) Graphzines et autres publications d’artistes, Bibliothèque et archives nationales du Québec à la Grande Bibliothèque, Montreal,(Quebec) Canadian Wood Block / Relief Prints, La Galerie d’art Stewart Hall, Pointe Claire, (Quebec) Bruit et Silence, l’Atelier circulaire, Montreal (Quebec)2007 Papier 07- a contemporary art event, presented by AGAC (Association des galeries d’art contemporain), Expo/Foire Expo Journées de la culture, representing ARPRIM (Regroupement pour la promotion de l’art imprimé as honorary member, Westmount Square, Montreal (Quebec) Biennal internationale d’estampe contemporaine de Trois-Rivières, Trois-Rivières, (Quebec) Histoire de passions, Espace Création Loto-Québec, Montreal (Quebec) Graphzines et Autres publications d’Artistes, Bibliothèque et Archives Nationales du Quebec, Centre de conservation, Montreal, (Quebec) Salon Écarlate, Marian Graves Mugar Art Gallery, Colby Sawyer College, New London, (New Hampshire) USA2006 12th International Biennial Print and Drawing Exhibition, R.O.C.,National Museum of Fine Arts, National Kaohsiung Normal University, Kuandu Museum of Fine Arts, Taiwan, R.O.C. Bharat Bhavan International Biennial of Print-Art, Roopankar Museum of Fine Arts, Bhopal, India Artists Books, University Art Gallery, University of the South, Sewanee, (Tennessee) USA Voir Grand, concours et exposition, Maison de la Culture Villeray-St-Michel-Parc- Extension, Montreal, (Quebec) Impression Norte / Sur, Nord /Sud, Xylographie, Centre d’exposition Raymond- Lasnier, Trois-Rivières, (Quebec)2005-06 Les Amériques Baroques, la Fondation Derouin symposium international d’art in situ 2005-06, Val David (Quebec)

2004 La Collecte, travelling exhibition, Sao Paolo, Brésil, Akademia Serbie à Belgrade XIe Biennal internationale de la gravure et des nouvelles images de Sarcelles- Val de France, France Voilà Québec, Musée de Las Artes de l’Université de Guadalajara, Mexico Biennal international d’estampe contemporaine de Trois-Rivières, Trois-Rivières (Quebec) Les Femmeuses, Pratt & Whitney Canada, Longueuil (Quebec)2001 Voir Grand, concours et exposition, l’Atelier circulaire, Montreal ( Quebec)2000 D’où venons-nous? Que sommes-nous? Où allons-nous? Maison de la culture Frontenac, Montreal (Quebec) L’autre heure…, livre d’artiste avec artistes de l’Atelier de l’Île, Musée des beaux- arts de Montreal ( Quebec)1999 Mythologie des lieux, International Symposium and Exhibition, Centre d’exposition du Vieux Palais, Saint-Jérôme (Quebec) Loto- Quebec 20 ans, Loto-Québec, Montreal (Quebec) Substances de l’Encre, livre d’artiste avec artistes de l’Atelier de l’Île, Bibliothèque nationale du Québec, Montreal (Quebec)1998 In Situ Canadian Prints Now, Sightlines Printmaking and Image Culture, University of Alberta, Edmonton (Alberta)1997 Unefictiondel’Atelier,encauseBrancusi, Axe Néo-7 Art Contemporain, Hull (Quebec) ARTiculture, Maison de la culture du Plateau Mont-Royal, Montreal (Quebec)1994 International Print Triennial - Cracow 94, Poland Le Lieu de l’Être, Musée du Quebec ( Quebec)1993 La Biennal du dessin, de l’estampe et du papier matière du Quebec, Alma (Quebec)1994 Saga 65th National Print Exhibition, New York City, USA Écritures Sur Bois, exposition itinérante, Musée Laurier, Arthabaska, Musée de la Côte Nord (Quebec) What a Relief!, Tribeca 148 Gallery, New York City, USA Paradise Endangered, Baltimore City Hall Courtyard Galleries (Maryland) USA Singulier / Pluriel, Maison de la culture Frontenac, Montreal (Quebec)1992 Saga 92, FIAC Édition grand Palais, Paris, France. Contes, légendes et poèmes du Quebec, Musée d’art Saint-Laurent (Quebec)1991 Intergrafia1991, Exposition internationale de la gravure, Katowice, Poland Plein la vue l’estampe, Musée du Bas-Saint-Laurent, Rimouski (Quebec) Xth International Art Biennal Valparaiso, Chile. Totem de Piedras, Galerie Simon Blais, Montreal (Quebec) ; Museo Nacional de l’Estampa, Mexico; Museo de Arte Contemporaneo, Morelia, Mexico ; Galeria Praxis, Mexico Print Types, Owatonna Art Center, Owatonna, New Mexico. Medicine Hat Print Show, National Compétition, Medicine Hat Museum (Alberta) Teas 91, International Salon d’Art, Tokyo, Japan Quebec Prints/Estampes Québécoises, Itinerary Exhibition, Washington, USA

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Œuvres canadiennes contemporaines, Mairie de Coaraze, France 6e Biennale de l’estampe, Centre Municipal d’Arts Plastiques, Sarcelles, France La Biennale du dessin, de l’estampe et du papier du Québec, Galerie Lavalin, Montreal (Quebec) Saga 90, FIAC Édition, Grand Palais, Paris, France1989 La Biennale du dessin, de l’estampe et du papier matière du Quebec, Alma (Quebec) Mutations, Merit Award, Maison Hamel-Bruneau, Sainte-Foy (Quebec)

Public ArtIntégration des Arts à l’Architecture et à l’Environnement (projet de 1%),Ministère de la Culture et des Communications du Québec1998 École primaire Saint-Eustache1997 École de la Clairière, Boisbriand1995 Camp Musical des Laurentides, Saint-Adolphe d’Howard1994 École primaire de Blainville Nord, Sainte-Thérèse

Grants/Prizes2010 Bourse de voyage, Conseil des arts et des lettres du Québec2009 Travel Grant, Canada Council for the Arts2006 Prix, 7th Bharat Bhavan International Biennial of Print-Art, Bhopal, India selected prize, print category,12th International Biennial Print and Drawing Exhibition, R.O.C., Taiwan, R.O.C. 2005 Prix à la création artistique en région, Conseil des arts et des lettres du Québec, lors des Grands Prix de la culture des Laurentides2004, 1992, 1991, 1989, 1987, 1979 Bourse de recherche et création, Conseil des arts et des lettres du Québec2004 Travel Grant, Canada Council for the Arts2010, 2009, 2008, 06, 05, 04, 03, 02, 01, 2000, 1998, 1993 Professional Development Grant, Concordia University Part-Time Faculty Association1999 Soutien à la Concertation Culture - Éducation entre le Centre d’exposition du Vieux-Palais, la fondation Derouin et l’Université Concordia

Artist Books 2010 Rose Désarroi, Bonnie Baxter, Denise Desautels et Jacques Fournier, Editions Roselin.2005 Apparitions, avec Bonnie Baxter, Denise Desautels et Jacques Fournier1999 L’Autre Heure , Atelier de L’Île,1998 Substances de l’encre, celebration du 20ieme anniversaire de L’Atelier de L’ile

1997 L’éveil du Printemps, photo-laser prints Totem de Piedras, Atelier de l’Île, Éditeur, 9 artists1985 L’île, Guy Robert, Éditeur, Iconia, 11 artists et poetes

Bibliography (selection)Goddard, Peter, Red, white and blond: Marilyn Monroe at the McMichael, Toronto Star, Feb 16, 2011.

Petit, Matthieu, AutofictionNumérique, Voir, Sherbrooke, Quebec, 18 novembre, 2010. p.12

Dubé, Cynthia, Le Voyage de Jane ou l’œuvre numérique de Bonnie Baxter, Le Journal de Sherbrooke, Sherbrooke, Quebec, 4 novembre 2010. p.30

Vanasse, Zachary-Cy, « Jane’s Journey » speaks to the human condition, The Sherbrooke Record, Sherbrooke, Quebec, November 5, 2010. p.3

Bergeron, Steve, Le Voyage de Bonnie and Jane, La Tribune, Sherbrooke, Quebec, 11 novembre 2010. p.29

Lison, Christelle, Quand l’art nuérique s’invite à la galerie d’art du centre culturel de l’université de Sherbrooke, Le Collectif, Sherbrooke, Quebec, 15 novembre 2010. p.11

Lison, Christelle, Transatlantic Passages : Un livre entre le Quebec et l’europe francophone, en parallèle avec le vernissage de l’exposition de Bonnie Baxter, Le Collectif, Sherbrooke, Quebec, 15 novembre 2010. p.19

Charron, Marie-Éve, Stratégies diverses, Le Devoir, Montreal, Quebec, 25 Avril 2010. p.15

Lamarche, Bernard, Face à l’image de Jane, catalogue, Jane’s Journey, Quebec. 2010. P. 9-15

Neumann, Hélène Brunet, Bonnie Baxter Le Voyage Mémoriel, Vie des Arts No 218, Montreal, Quebec, April 2010. p. 64-65

Skene, Cameron, Road Signs, Blouin, Danielle, Où est Jane?, Pageot, Édith-Anne, Les metaphors du voyage dt de la maison à l’œuvre dans Jane’s Journey, catalogue, L’Amérique de Jane, Quebec, 2010. p. 9-28. ISBN 978-0-9865711-0-7

Black, Heather, Art scene on Greene, Bonnie Baxter at Division Gallery, Westmount Independent, Westmount, Quebec, March 16-17 2010. p. 12

Sarrazin, Pierre, UneautremagnifiqueétapepourJane, Ski-se-Dit, Laurentides, Quebec, Avril 13,

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2010. p. 12

Daigneault, Gilles, Les Branchés, catalogue, Ces Artistes Qui Impriment / Un regard sur l’estampe au Québec depuis 1980, Montreal, Quebec, 2010. p. 29, 94. ISBN 978-2-551-23934-4a

Weinmann, Monique Brunet, Les estampes de Riopelle, son univers inventorié, catalogue, Jean Paul Riopelle, La Ville de Gatineau, Quebec, June 17, 2010. p. 5,10,11,12,22,23,24

Window Overseas, Chinese Printmaking, China,Volume 34, 2010. p.47. ISBN 978-7-5362-4258-6

Baxter, Bonnie, Deux artistes de Val-David en Chine, Ski-se-Dit, Laurentides, Quebec, Décembre 2009, p.6

Lamarche, Bernard, Les preuves de l’existence de l’âme, Proofs of the Soul’s Exhistence, catalogue, La Photographie Hantée par la Photographie Spirite, Quebec. 2009. P. 19, 86-87. ISBN 978-923525-18-1

Regimbald, Manon, Jane au Jardin des délices, catalogue Jane au Jardin des délices, Quebec, 2009. p. 11-21.ISBN 978-2-980740-4-8

Matte, Gilles, Les jardins de la solitude, Traces Magazine, Laurentides, Quebec, August 2009. p.10

Aird-Bélanger, Jocelyne, Bonnie Baxter : faire mentir l’adage, Traces Magazine, Laurentides, Quebec, 16 janvier, 2009. p.10

Blanchet, Myléne, LesFemmesD’Influence,D’hieràaujourd’hui. Parcours Art & Art De Vivre, Montreal, Quebec, Numéro 64, Août, Septembre, Octobre 2008. p. 18

Sowder, Amy, Baxter braved a new world. The News-Press, Fort-Myers, Florida August 22, 2008

Sasano, Mari, Printmaker’s Journey Through Time and Technology, Edmonton Journal, Edmonton, Alberta, February 16, 2007.

Unger, Christine, Synchronism in Bonnie Baxter’s Prints. Contemporary Impressions: The Journal of the American Print Alliance, USA, Volume 14, #1, Spring 2006. p. 10-14.

Bonnie Baxter brings exhibit to Grenfell Art Gallery, The Western Star, Corner Brook Newfoundland, February 9, 2006. p. 24

Murray, Karl-Gilbert Bonnie Baxter : Un retour sur soi, un monologue interne, ETC, Nº74, Montreal, Quebec, juin, juillet, août 2006. p. 61-63

Bois, Michel, Visions Fantasmatiques, Vie des Arts, vol. 202, 2005, Montreal, Quebec, p. 58

David, Fréderique, Bonnie Baxter : une exposition exubérante, Acces : un journal indépendant, Quebec, 2005. p. 10, 11

Beaudet,Pascale et Martel, Christine, et Unger, Christine, et Purdy, Richard, Rewind : Bonnie Baxter, Éditions d’art le Sabord, Quebec, 2005. ISBN 2-922685-41-1

Houde, François Un voyeurisme de bon aloi : Chi-Chi Doggie : Voyeur à contrecoeur de Bonnie Baxter, Le Nouvelliste, Trois Rivières, Quebec, Samedi 11 septembre 2004.

Bonnie Baxter

b o n n i e . b a x t e r @ c g o c a b l e . c a

w w w . b o n n i e b a x t e r . c o m

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LIST OF WORKS for larger scale images go to www.bonniebaxter.com and upload the Jane’s Journey exhibition proposal.

No. TITLE DIMENSIONS MEDIUM DATE

1 Dreamscape II 97.8 x 129.5 cm Digital Print 2008

2 Dreamscape III 97.8 x 129.5 cm Digital Print 2008

3 Fall II 97.8 x 129.5 cm Digital Print 2008

4 Dark Forest II 97.8 x 129.5 cm Digital Print 2008

5 Greenhouse I 97.8 x 129.5 cm Digital Print 2008

6 Voyage I 97.8 x 129.5 cm Digital Print 2008

7 Film Noire en rose IV 97.8 x 129.5 cm Digital Print 2008

8 Paris I 97.8 x 129.5 cm Digital Print 2008

9 Paris II 97.8 x 129.5 cm Digital Prin 2008

10 Greenhouse II 97.8 x 129.5 cm Digital Print 2008

11 Route 66 III 97.8 x 129.5 cm Digital Print 2008

12 Film Noire en rose I 97.8 x 129.5 cm Digital Print 2008

13 Film Noire en rose II 97.8 x 129.5 cm Digital Print 2008

14 Southwest I 97.8 x 129.5 cm Digital Print 2008

15 Italie Pêche II 76.2 x 101.6 cm Digital Print 2008

16 Route 66 II 76.2 x 101.6 cm Digital Print 2008

17 Route 66 I 76.2 x 101.6 cm Digital Print 2008

18 Southwest II 97.8 x 129.5 cm Digital Print 2008

19 Southwest III 97.8 x 129.5 cm Digital Prin 2008

20 Italie Pêche III 76.2 x 101.6 cm Digital Print 2008

21 Paris bain I 129.5 x 97.8 cm Digital Print 2008

22 Fog I 129.5 x 97.8 cm Digital Print 2008

23 Fog II 129.5 x 97.8 cm Digital Print 2008

24 Fog III 129.5 x 97.8 cm Digital Print 2008

opt. Monarch Beach 97.8 x 129.5 cm Digital Print 2008

Preliminary Technical Information for curated show:

The curator estimates that the linear footage requirment for the hanging of his selection of Jane’s Journey Images will be 130 linear feet. It should be noted that part IV (voyages…) and part III (Contemplation) can be hung in double height on the same wall, reducing space necessary to 122 linear feet.

Crating for curated show (anticipated):

Crating for the exhibition as selected by Guest Curator, Richard Gagnier is anticipated to consist of 4 crates. Each crate would contain three coroplast boxes which, in turn, would each house 2 images. This would provide space for all 24 images as well as one additional space which might be filled by the image, Monarch Beach iii.. One or two ad-ditional, smaller crates will contain the artist book, Jane’s Journey Catalogues and Jane is Dead dossier.

No. TITLE DIMENSIONS MEDIUM DATE

25 Rose Désarroi 38.1 x 14.6 x 6.4 cm Digital prinst on paper, wood, metal

2010

27 Jane Catalogues(Boxed Set of 4)

3.2 x 11.4 x 30.5 cm Digital prints on paper, diasec, vitrine

2008 - 2011

28 Jane is Dead Dossier Digital prints on paper, wig, vitrine

2011 -

TECHNICAL SPECIFICATIONS for an exhibition as selected by Guest Curator, Richard Gagnier

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LIST OF WORKS for larger scale images go to www.bonniebaxter.com and upload the Jane’s Journey exhibition proposal.

No. TITLE DIMENSIONS MEDIUM DATE

1 Paris I 97.8 x 129.5s cm Digital Print 2008

2 Paris II 97.8 x 129.5 cm Digital Print 2008

3 Paris bain I 97.8 x 129.5 cm Digital Print 2008

4 Paris bain II 97.8 x 129.5 cm Digital Print 2008

5 Paris chambre I 97.8 x 129.5 cm Digital Print 2008

6 Paris chambre II 97.8 x 129.5 cm Digital Print 2008

7 Italie Pêche I 101.6 x 76.2 cm Digital Print 2008

8 Italie Pêche II 76.2 x 101.6 cm Digital Print 2008

9 Italie Pêche III 76.2 x 101.6 cm Digital Prin 2008

10 Voyage I 97.8 x 129.5 cm Digital Print 2008

11 Voyage II 97.8 x 129.5 cm Digital Print 2008

12 Dreamscape I 97.8 x 129.5 cm Digital Print 2008

13 Dreamscape II 97.8 x 129.5 cm Digital Print 2008

14 Dreamscape III 97.8 x 129.5 cm Digital Print 2008

15 Dark Forest I 97.8 x 129.5 cm Digital Print 2008

16 Dark Forest II 97.8 x 129.5 cm Digital Print 2008

17 Fall I 129.5 x 97.8 cm Digital Print 2008

18 Fall II 97.8 x 129.5 cm Digital Print 2008

19 Greenhouse 97.8 x 129.5 cm Digital Prin 2008

20 Greenhouse 97.8 x 129.5 cm Digital Print 2008

21 Route 66 I 97.8 x 129.5 cm Digital Print 2008

22 Route 66 II 97.8 x 129.5 cm Digital Print 2008

23 Route 66 III 97.8 x 129.5 cm Digital Print 2008

24 Southwest I 97.8 x 129.5 cm Digital Print 2008

25 Southwest II 97.8 x 129.5 cm Digital Print 2008

26 Southwest III 97.8 x 129.5 cm Digital Print 2008

Preliminary Technical Information for the complete Jane’s Journey series: The linear footage requirment for hanging the complete Jane’s Journey series is estimated to be 180 linear feet. The estimate takes into account the double hanging of certain sections of the work.

Crating for the complete Jane’s Journey series (anticipated): Crating for the complete Jane series is anticipated to consist of 6 crates (2 supplementary crates). Five crates would contain three coroplast boxes which, in turn, would each house 2 images. A sixth crate would house 4 images (2 coroplast boxes). Additional material would be housed in 1 or 2 more small crates.

No. TITLE DIMENSIONS MEDIUM DATE

27 Film Noire en rose I 97.8 x 129.5 cm Digital Print 2008

28 Film Noire en rose II 97.8 x 129.5 cm Digital Print 2008

29 Film Noire en rose III 97.8 x 129.5 cm Digital Print 2008

30 Film Noire en rose IV 97.8 x 129.5 cm Digital Print 2008

31 Monarch Beach I 97.8 x 129.5 cm Digital Print 2008

32 Monarch Beach II 97.8 x 129.5 cm Digital Print 2008

33 Monarch Beach III 97.8 x 129.5 cm Digital Print 2008

34 Monarch Beach IV 97.8 x 129.5 cm Digital Print 2008

35 Fog I 129.5 x 97.8 cm Digital Print 2008

36 Fog II 129.5 x 97.8 cm Digital Print 2008

37 Fog III 129.5 x 97.8 cm Digital Print 2008

38 Rose Désarroi 38.1 x 14.6 x 6.4 cm Digital prinst on paper, wood, metal

2010

39 Jane Catalogues(Boxed Set of 4)

3.2 x 11.4 x 30.5 cm Digital prints on paper, diasec, vitrine

2008 - 2011

40 Jane is Dead Dossier Digital prints on paper, wig, vitrine

2011 -

TECHNICAL SPECIFICATIONS for an exhibition of the Complete Jane’s Journey Series