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Tours and discussions of Image Bank can be arranged from Tuesday to Friday for groups and classes, lasting 50 minutes and longer. For more information or to book a tour, please contact Belkin Public Programs by email at belkin.tours@ubc.ca.
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Image Bank explores the artistic collaboration of Michael Morris and Vincent Trasov with others, including their most spectacular works – extended performances with props, such as Colour Bar Research (1970-78) and Mr. Peanut’s mayoralty campaign (1974) – alongside their extensive mail-art exchanges with other networkers such as Robert Filliou, Ant Farm and Ray Johnson’s New York Correspondence School. The Peanut campaign, in which Vincent Trasov as Mr. Peanut ran for mayor of Vancouver, mobilized the artists associated with the newly founded artist-run centre, the Western Front (est. 1973) and the exhibition includes many collaborations with and amongst these artists (Martin Bartlett, Hank Bull, Kate Craig, General Idea, Gary Lee-Nova, Glenn Lewis, Eric Metcalfe, John Mitchell and others). The exhibition pulls films, photographs, drawings, collages and other ephemera from the Belkin’s Morris/Trasov Archive to track the collaborative history of Image Bank. Founded in 1970 and lasting to 1978, Image Bank was a project initiated by Michael Morris, Vincent Trasov and Gary Lee-Nova that originated when they were all associated with the legendary Vancouver artist-run centre Intermedia. The exhibition reflects on a period of optimism where artists envisioned a non-hierarchical alternative to the world of art galleries and museums, where images and ideas could be freely exchanged through the international postal system thereby creating an open-ended and decentralized method of networking that presages social media.
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This June 2019, a retrospective exhibition of the work of Image Bank opens at KW Institute in Berlin. Co-curated by the Belkin’s Scott Watson with Krist Gruijthuijsen and Maxine Kopsa, the exhibition pulls films, photographs, drawings, collages and other ephemera from the Gallery’s Morris/Trasov Archive to track the collaborative history of Image Bank. Founded in 1970 and lasting to 1978, Image Bank was a project initiated by Michael Morris, Vincent Trasov and Gary Lee-Nova that originated when they were all associated with the legendary Vancouver artist-run centre Intermedia. Image Bank produced a myriad of projects, including extended performances with props, such as Colour Bar Research, which involved 2,000 painted wooden bars that could be arranged into an ever-changing painting. Their most known performance is the Mr. Peanut for Mayor Campaign (1974) in which Vincent Trasov, as Mr. Peanut, ran for Mayor of Vancouver. This artistic collaboration and archive helped facilitate the exchange of ideas, images and information between artists through the use of the international postal system, thereby creating an open-ended and decentralized method of networking that presages social media.
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The following are resources related to the artists in Image Bank. This list is not exhaustive, but rather comprised of suggested readings compiled by researchers at the Belkin. These readings are intended to provide additional context for the exhibition and act as springboards for further research or questions stemming from the exhibition, artists and works involved. Following the introduction, resources are arranged by artist, listed alphabetically by last name. This compilation is an evolving and growing list, so check back in the future for more additions.
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With the opening of the Image Bank exhibition on June 18, 2021, the gallery is pleased to launch the Outdoor Screen, a 4x2 metre outdoor screen curated with media works from the Belkin’s permanent collection and archive alongside work commissioned specifically for this platform.
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On June 30, 2021, Scott Watson stepped down as Director and Curator of the Morris and Helen Belkin Art Gallery. During his 32-year tenure as Director and Curator – of the UBC Fine Arts Gallery (1989-1995) and then of the Belkin (1995-2021) – Watson brought a strong innovative curatorial direction and management of the gallery’s exhibitions, collections, programs and publications by consistently placing Canadian, Indigenous and international practices together to allow for a complex dialogue to emerge over time.
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