Presentation House Gallery
The Polygon Gallery
333 Chesterfield Avenue
North Vancouver, BC V7M 3G9

Lynn Valley

Lynn Valley 11- FONT BOOK
Fiona Banner

Edited by Roger Bywater & Reid Shier
Designed by Fiona Banner & FM Studio



144 pages,
7 x 4.3 inches / 17.8 x 11 cm
Published by The Vanity Press, Bywater Bros. Editions and Presentation House Gallery. in September 2016
ISBN 978-0-920293-99-7

A short time ago British artist Fiona Banner designed her own font, utilizing an amalgamation of typefaces she had employed in a variety of text-based artworks, including full stop sculptures, typeset wall works, and artist books, (including, for example The Nam, an epic account of Vietnam war movies written from memory). Banner named her new font: Font, a cheeky, self-referential title of little surprise to those familiar with Banner’s poetic, disruptive interrogation of cultural, institutional and technological frameworks.

Concurrent with her creation, Banner became fascinated with the idiosyncratic double meaning of the word itself. In addition to a typeface, a font is also a receptacle for holy water used, chiefly, in baptismal ceremonies, with religious associations derived from an etymological root in old English and Latin, roughly translated into “a fountain, a spring, or a source”.

Banner subsequently began amassing images of baptismal and holy water fonts from churches around the world. Assembled in its entirety for the first time here Banner has presented the full spectrum of her collection in this aptly named Font Book. Resembling something of a supply catalog for the devoted this compendium presents every baptismal font configuration imaginable, along with accompanying church names and location specs.

The word font points as much to a conceptual social contract as it does to a physical object, and Font Book, in utilizing the noun’s connotation as both textual building block and ritualistic vessel for purification, succeeds in taking us beyond the ordinary into realms more indeterminate

Lynn Valley #10
Andrew Dadson

Edited by Reid Shier and Roger Bywater



Paperback, with an embossed cover
204 pages
19.5 x 13.5 cm / 7.75 x 5.25 in
Published by Bywater Bros. Editions and Presentation House Gallery in September 2015
ISBN 9780920293966

Cuneiform; Lynn Valley #10, by Andrew Dadson, is the latest installment in the Lynn Valley series of artist-designed publications. Noted for his photography, landscape interventions, and recent series of luscious, aggressively impastoed abstract paintings, Vancouver-based artist Andrew Dadson has gained a considerable following for a practice that marries conceptualism with expressionism in unique and provocative dialogues. Dadson’s Cuneiform (2013 – ongoing) is a compendium of photographs taken on the streets and back alleys of Vancouver and Los Angeles that depict the adhesive substrate of signs missing from the exterior walls of buildings.

One Hundred and Sixty Two People
Tim Lee

By Tim Lee



162 pages
7 x 5.5 inches / 17.8 x 14 cm
Published by Bywater Bros. Editions and Presentation House Gallery in 2015
ISBN 9780920293942

ONE HUNDRED AND SIXTY TWO PEOPLE is an artist book about history and circumstance.

Mining over a century of photographs, Lee’s book utilizes images of our modern era’s most iconic and eclectic public figures. Actors, authors, politicians, athletes, scientists, artists, musicians, designers, and religious leaders – from Mark Twain to John McEnroe, Jay-Z to Mother Teresa – are featured, a pair per page, in an unbroken chain of chance encounters, official meetings, and friendly snapshots.

In a carousel loop of 162 pairings, the book begins and ends with Andy Warhol, who is first seen standing with Muhammad Ali, then on the final page of the book with hockey legend Wayne Gretzky. Every new page contains an individual from the preceding page matched up with a new partner, forming a continuing sequence of prominent individuals meeting their seemingly random counterparts. Like Lee’s performative practice that imagines conversations between disparate cultural figures, the photographs proceed with both major and minor shifts in place and time, accumulating in an imaginative meditation on how distinct individuals might combine as part of a larger discourse.

Tim Lee is one of Canada’s most celebrated contemporary artists. His work has been shown in solo exhibitions at the DaaD Galerie, Berlin; Asia Society, New York; and the CCA Wattis Institute, San Francisco. He has been included in the 2012 Shanghai Biennale, the 2011 Istanbul Biennial, the 2008 Sydney Biennial and the 3rd Yokohama Triennale. He is represented by Lisson Gallery in London/New York/Milan, Johnen Galerie in Berlin and Galerie Rüdiger Schöttle in Munich.

Lynn Valley 8
Derek Sullivan

Lynn Valley 8
Derek Sullivan



24 pages, softcover (40 versions)
6.5 x 4.5 inches / 11.4 x 16.5 cm

Edited by Roger Bywater
Designed by Roger Bywater and Derek Sullivan
Published by Bywater Bros. Editions and Presentation House Gallery in 2013
ISBN 978-0-920293-88-1

With the proliferation of personal digital devices in contemporary society one has seen an explosion of imagery flooding the media landscape. In today’s interconnected virtual universe every aspect of human existence is documented to such an extent that the boundary between private and public have become all but indiscernible and subjects that would have seemed unworthy of a simple snapshot in the past (like one’s meal) are mainstream topics on popular photo sites like Instagram and Facebook.

Exploring this new reality, Toronto artist, Derek Sullivan has created a set of 40 different books featuring imagery pulled from the web. What makes this project interesting is not so much the imagery itself, which encompasses the full gambit of just about everything imaginable, but Sullivan’s selection process. Rather than arrange photographs around a particular theme or subject matter Sullivan instead chose to feature images that had an identical IMG-.JPG photo tag number. Anyone who has taken a digital picture will be familiar with this photo numbering system; it’s the default program used on all iPhone and Canon digital devices. Basically every image that flows through these devices is automatically assigned a number starting with IMG-0100.JPG.

Working in a format somewhat akin to the devices themselves Sullivan chose only images from the web bearing the IMG-0100.JPG identifier for his first book, IMG-0101.JPG images for his second book, IMG-0102.JPG for the third, and so on, working his way through the IMG-.JPG numbering chain until he reached IMG-0139.JPG, which his last book in the series.

This uncanny editorial approach transforms the imagery into something akin to pure poetic data. Removed from their normal habitat for dating services, promotional announcements, and the like, Sullivan’s subtle manipulation begins to reveal a larger reality that extends beyond the picture frame. A fascinating study of photography today, Sullivan’s Lynn Valley 8 provides a rare glimpse into the larger societal compulsions that fuel the creation and dissemination of digital imagery over the internet.

Lynn Valley 9
Jack Pierson, Tomorrow’s Man



84 pp, edition of 1000
24.1 x 16.5 cm
full colour cover and pages
Published by Bywater Bros and PHG in 2013
ISBN 978-0-920293-91-1

This Catalog is Out of Print, we have a limited number of copies available.

Utilizing an unconventional design layout in which imagery has been dropped in with a complete disregard for page breaks and centerfolds, this compendium quickly establishes itself as something other than a straightforward photo book.

Tomorrow’s Man, Lynn Valley 9, combines familiar imagery from Pierson’s vast repertoire—portraits, vintage ‘Physique’ magazines, celebrity promo shots, and oddball ephemera—alongside work from an eclectic range of contributors such as David Carrino, Florence Derive, Alex Jovanovich, Dan McCarthy, Ryan Sullivan, Evan Whale, and others. The unusual design and diverse imagery presents Pierson in way never seen before and shows off his skill as an inventive editor.

Includes a short story by Veralyn Behenna entitled The Lobster.

Edited and designed by Jack Pierson and Roger Bywater


Lynn Valley 7
Zhang Dali
A Second History

Zhang Dali



136 pages, edition of 1000
9.5 x 6.5 inches / 24.1 x 16.5 cm
Colour cover and inner pages
Edited by Reid Shier and Roger Bywater
Published by PHG and Bywater Bros Editions in 2012
ISBN 978-0-920293-86-7

In his book A Second History, Beijing-based artist, Zhang Dali, examines the widespread use of photographic manipulation carried out by the Chinese government during the regime of Mao Tse-tung (1949–76). Using a compare and contrast format this artist book presents a chronological sequence of original, unmodified images together with their doctored doppelgangers which were manipulated in party-run, photo labs in the 50s, 60s and 70s for the Chinese propaganda market.

Altered histories are all around us, embedded in our lives to such an extent that it’s become difficult to imagine what reality really is. In today’s era of 24 hour news coverage and its associated “spin” the idea of getting to the “truth” of something seem almost futile, however with projects like A Second History it is now possible to see a small glimpse of historical media manipulation laid bare.

Scanning the spreads one can see the modifications made by the Chinese censors: In some images key people have been erased, while in others people have been added. Backgrounds have been modified and written slogans on flags have been altered. In other parings the edits appear almost unnoticeable as seen in the spread entitled The Sun Comes to the Kucong People, which features images of women workers harvesting hay in a field. The undoctored image, struck from the original negative, shows a young child peeking out from behind a cluster of busy workers… a detail the censors felt a need to remove. The image of a hapless youngster among robust agrarian workers was obviously at odds with the official party line at the time so the child ended up on the cutting room floor.

Unlike his Chinese forbearers who used photography as a tool for indoctrination, Zhang’s use of the medium is more subjective… the core of his presentation is the manipulation itself, with all its associated political, social and artistic implications.

Lynn Valley 5
Meet Dick Oultan

Edited by Helga Pakasaar and Roger Bywater

Price Not Announced


98 pages, softcover, edition of 1000
6″ x 7 “, 15.2 x 17.8 cm, colour throughout

Published by Presentation House Gallery & Bywater Bros Editions in 2008
ISBN 0-920293-82-9



Richard (Dick) Oulton (1918-2000) was a commercial photographer who worked out of Vancouver from the late 50s to the mid 80s. He operated under a variety of names–Dick Oulton Studio, Dick Oulton Photography and Ricardo Photographic Services–advertising services for weddings, portraits, passports, photographic restoration and commercial photography. A bachelor who had an eye for attractive ladies and a flair for fashion, Oulton continued to photograph until his death.

With no heirs, the bulk of Richard Oulton’s image collection was rescued by friends and subsequently came to the attention of Presentation House Gallery. A sample of his work was included in the 1994 exhibition, “The Just Past of Photography” in Vancouver, but the bulk of his archive, which contains thousands of unprinted negatives, has yet to be seen.

Oulton’s commercial assignments took him out on location to document businesses and events including restaurants, store displays, parades, nightclubs, boxing matches, promotions, countless weddings, and beauty contests – however his forte was portraiture and glamour shots, usually of attractive young women.

This selection of Dick Oulton’s photographs, which reveals the commercial and vernacular imperatives of his production, showcases the idiosyncratic power of his images. Restricted to particular genres and conventional formats, his pictures indicate a stylized sensibility and personal vision.

Printed in conjunction with the exhibition Juliette and Friends, November 21, 2008 – January 11, 2009

Catalogue design: Roger Bywater

Printer: DL & Associates, Canada

Lynn Valley 3
Jonathan Monk
The Reason Why I’m Here is The Reason Why I’m Here

Presentation House Gallery and Bywater Bros Editions



50 pp, edition of 1300
9.4 ” x 6.8″, 24 x 17.5 cm
colour cover and inner pages

Distributed in Europe by Walther Koenig.
Published by Presentation House Gallery and Bywater Bros. Editions in 2007
ISBN 978-0-920293-74-4

Lynn Valley 3 The reason why I am here is the reason why I am here by Jonathan Monk (b. Leicester, England 1969), explores legacies of conceptual art practice in installations, photography, film, sculpture and performance, often marrying his interests in canonical artworks from the 1960s and 70s with wry references to personal autobiography.

The reason why I am here is the reason why I am here is a 48-page bookwork featuring crude amateur photographs of pop singer Morrissey performing at a recent concert in Berlin. Taken by an audience member, the photographs are mirrored on each verso page of the publication. The result acts as a fan’s tribute to legacies drawn from 80s popular music and 60s visual art, while creating a series of photographic “Rorschachs” whose formal inventiveness grows from the simplicity of their source.

Lynn Valley 4
Annette Kelm



Edition of 1000
6.5 x 12 inches
24 pp
Published by Presentation House Gallery and Bywater Bros. Editions in 2008
ISBN 0-920293-75-1

The 4th installment of the Lynn Valley artist book series features an untitled work by the Berlin artist Annette Kelm. Using a detailed studio-shot format reminiscent of advertising photography the book displays six versions of a hat that the artist bought while traveling through New York. Manufactured in China for the US market these hats are a strange cultural hybrid. Their design – a combination of a western baseball cap and a eastern straw hat – grafts two separate idioms together to create a consumer item which is more an “interpretation” of a western cultural icon rather than a knock-off of it. Each version is fastidiously documented from every angle (there are six in all with yellow, purple, red, beige, blue and black seams respectively).

Critic Kirsty Bell describes Kelm’s unique photographic approach: “Her precise, carefully composed, well-lit images, often shot with a large-format camera, luxuriate in surface and clarity of detail while fitting neatly into standard photographic genres: still life, portraiture, landscape. The things they present definitely exist; there is no doubt about that. But something about their ‘rightness’ seems not quite right. As selfevident as her images appear, they are undercut with a strangeness that questions not only the purpose of the objects, but also the nature of their representation.”

Lynn Valley 1
Richard Prince

Edited by Richard Prince with Reid Shier and Roger Bywater

Price Not Announced


7.75 x 10.5 inches
48pp (46 colour plates)
Edition of 2,000
Published by Presentation House Gallery and Bywater Bros. in 2006
ISBN 9780920293720



The first edition of our Lynn Valley series of artist-designed publications is by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery–then a quite radical concept. Weighing in at 48 pages, this volume contains representative samples of all of Prince’s most famous work: biker girls, nurses, sculptures, paintings, tattoo pornography, jokes, and other assorted incendiary images.