Michael Morris (1942-2022) was a painter, photographer, video and performance artist and curator. His work is often media based and collaborative, involved with developing networks and in the production and presentation of new art activity. In his roles as curator and, primarily, as an artist, Morris was a key figure of the West Coast art scene during the 1960s. Morris studied at the University of Victoria and then at the Vancouver School of Art (now Emily Carr University), followed by graduate studies at Slade School of Fine Art at the University College London, during the 1960s. There he became interested in the work of Fluxus and the European avant-garde, which had a profound influence on his work and on the Vancouver experimental art scene in general. In 1969 he founded Image Bank with Vincent Trasov, a system of postal correspondence between participating artists for the exchange of information and ideas. The intention of Image Bank was to create a collaborative, process-based project in the hopes of engendering a shared creative consciousness—in opposition to the alienation endemic to modern capitalist society—through the deconstruction and recombination of its ideological forms. Morris was acting curator of the Vancouver Art Gallery and the Centre for Communications and the Arts at Simon Fraser University and has had many guest curatorships at other institutions. In 1973, he co-founded the Western Front—one of Canada’s first artist-run centres—and served as co-director for seven years. In 1990 he and Trasov founded the Morris/Trasov Archive, housed at the Morris and Helen Belkin Art Gallery, to research contemporary art. He has established a strong international reputation and worked for many years in Berlin. Morris has participated in artist-in-residence programs both in Canada at the Banff Centre (1990) and at Open Studio (2003) and internationally at Berlin Kustlerprogramm (1981-1998). Morris has had numerous solo and collaborative exhibitions nationally and internationally, and is the recipient of numerous awards, including the 2015 Audain Prize for Lifetime Achievement in Visual Arts, the 2011 Governor General’s Award in Visual and Media Arts and an Honorary Doctorate in 2005 by Emily Carr University of Art + Design.
“I am a citizen of art. Art is my country.” On 18 November 2022, we lost artist Michael Morris – painter, curator, photographer, performance artist – who has been a constant and defining thread through the gallery’s history. Through 11 January 2023, we are showing a selection of Michael’s video works from the archive and collection that imagine the garden, the forest and the shore as sites of research as well as repose.
In 1970, Michael Morris co-founded Image Bank with Vincent Trasov and Gary Lee-Nova. Image Bank was conceived primarily as an art network through which artists could communicate and exchange ideas, images and information. One element of this collaboration is Colour Research, part of an ongoing pursuit of making and collecting an infinite, collaborative painting involving spectral colour bars that can be reconfigured by the unpredictable interplay between the artists and nature. For Dot Depth of Field, which is part of this larger project, Michael Morris, Warren Knechtel and Vincent Trasov collaboratively created slide and film documentation of an “animation” with coloured dots and coloured bars scattered at Spanish Banks in Vancouver. Like many of the works under the umbrella of Colour Research, Dot Depth of Field shows nature that has been manicured to suit the recreational needs of urban citizens. The artificially coloured dots and bars are humorously embedded in such “nature.”
Michael Morris (1942-2022) was a painter, photographer, video and performance artist and curator. His work is often media based and collaborative, involved with developing networks and in the production and presentation of new art activity. In his roles as curator and, primarily, as an artist, Morris was a key figure of the West Coast art scene during the 1960s. Morris studied at the University of Victoria and then at the Vancouver School of Art (now Emily Carr University), followed by graduate studies at Slade School of Fine Art at the University College London, during the 1960s. There he became interested in the work of Fluxus and the European avant-garde, which had a profound influence on his work and on the Vancouver experimental art scene in general. In 1969 he founded Image Bank with Vincent Trasov, a system of postal correspondence between participating artists for the exchange of information and ideas. The intention of Image Bank was to create a collaborative, process-based project in the hopes of engendering a shared creative consciousness—in opposition to the alienation endemic to modern capitalist society—through the deconstruction and recombination of its ideological forms. Morris was acting curator of the Vancouver Art Gallery and the Centre for Communications and the Arts at Simon Fraser University and has had many guest curatorships at other institutions. In 1973, he co-founded the Western Front—one of Canada’s first artist-run centres—and served as co-director for seven years. In 1990 he and Trasov founded the Morris/Trasov Archive, housed at the Morris and Helen Belkin Art Gallery, to research contemporary art. He has established a strong international reputation and worked for many years in Berlin. Morris has participated in artist-in-residence programs both in Canada at the Banff Centre (1990) and at Open Studio (2003) and internationally at Berlin Kustlerprogramm (1981-1998). Morris has had numerous solo and collaborative exhibitions nationally and internationally, and is the recipient of numerous awards, including the 2015 Audain Prize for Lifetime Achievement in Visual Arts, the 2011 Governor General’s Award in Visual and Media Arts and an Honorary Doctorate in 2005 by Emily Carr University of Art + Design.
We are deeply saddened by the passing of Michael Morris, who died on 18 November 2022 at his home in Brentwood Bay, BC. Painter, curator, photographer, video and performance artist, we will remember Michael for his passion, endless enthusiasm, curiosity and warmth.
[more]In his roles as a curator and primarily as an artist, Michael Morris has been a key figure of the west coast art scene since the 1960s and his contribution to the development of Vancouver as a contemporary art city has been immense. Morris was engaged with Concrete Poetry in the 1960s. The Concrete Poetry movement was perhaps the first global art movement, springing up in South and North America, Japan and Europe in the mid to late 1950s.
[more]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.
[more]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.
[more]This summer 2021, the Belkin's Outdoor Screen includes works related to the Image Bank exhibition in the gallery, with a special summer solstice screening of Jumana Manna's Wild Relatives (2018).
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