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

PHG Books

Eye To Eye

a co-production with The Capilano Review



118 pages
45 b/w and color reproductions
Published by Capilano Review and Presentation House Gallery in October 2016
ISBN 725274860555

Eye to Eye (TCR 3.29), a co-production with The Capilano Review, features close to fifty writers responding to exactly thirty-five photographs curated from the collection of Andrew Gruft and Claudia Beck. Presented as part of PHG’s recent exhibition Eye to Eye, the photographs, books, and media art by historical and contemporary artists range from iconic vintage prints and photography books to recent photographic and moving picture works. With contributors invited to “play the part of the dramaturge, the essayist, the poet, the historian, the critic, or the jester,” what we offer here is a (very) special issue decidedly stranger and differently illuminating from your standard exhibition catalogue.
With photographs by Henri Cartier-Bresson, Richard Learoyd, Daido Moriyama, Helen Levitt, Richard Maynard, Miroslav Tichý, Aaron Siskind, Robert Capa, Omar Victor Diop, Garry Winogrand, Xavier Miserachs, Otto Steinert, Hiroshi Watanabe, Lynne Cohen, August Sander, Robert Frank, Mike Grill, Scott McFarland, Eikoh Hosoe and Yukio Mishima, Michael Morris, Eugène Atget, Agustí Centelles, Katy Grannan, Stephen Waddell, Raymonde April, Peter Hujar, Bruce Davidson, Al McWilliams, Christos Dikeakos, Kevin Madill, and Anne Collier.

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

Yes Yes We’re Magicians!




104 pages
Published by Figure One and Presentation House Gallery in October 2016
ISBN 978-1-927958-86-5


Yes Yes We’re Magicians is a compilation of anonymous, vintage black-and-white photographs mostly found on eBay from the personal collection of the Canadian artist, collector and writer Jonah Samson. Titled after a line from Samuel Beckett’s play, Waiting for Godot, the dominant mood of the book recalls Beckett’s take on human existence as tragicomic.  Samson, too, reflects on the absurdity of life through slapstick and dark humor, and a warmhearted affection for the mysteries of human gestures.  Involved in all aspects of making the book, Samson has created a carefully orchestrated narrative flow between various kinds of vernacular photographs. Whether a blurry snapshot or a formal portrait, the images draw out the uncanny and magical qualities of photographs. Free of any description, the compelling pictures are allowed to speak for themselves. They are often imperfect, with figures disappearing into misty and watery surfaces, and the details of time and place becoming obscured. Establishing the mood at the beginning with a mysterious color photograph of an erupting volcano, the book interweaves forgotten moments from the past where incidents of the celebratory, melancholic, surreal and bizarre are put into dialogue.  As an artist who often reworks found photographs, Jonah Samson brings a distinctive sensibility to this book and treats the form as an artwork in itself.

2016 Alcuin Society Book Design Awards – Second Prize, Jonah Samson and Jessica Sullivan in the Pictorial Book Design Catagory.

Early Photographs of British Columbia from the Langmann Collection


NANITCH offers the first look into the Uno Langmann Family Collection of BC Photographs, an important archive of over 18,000, rarely seen photographs recently donated to UBC Library by Vancouver’s Uno and Dianne Langmann and Uno Langmann Ltd. Spanning a sixty-year period from the 1860s to the early 1920s, this groundbreaking exhibition reveals dramatic changes in the province, as well as in how and why photographs were made.

NANITCH brings to light new interpretations of the early history of British Columbia. The significant role of the camera in colonization is suggested by the exhibition title, NANITCH, meaning “to look” in Chinook jargon—the lingua franca trade language of the Pacific Northwest at that time. Questioning colonialist narratives of progress, the exhibition emphasizes the contradictions of settlement. Early photographs of official land surveys, family portraits, industrial ventures, commerce, political events, indigenous peoples and their displacement are brought into dialogue with dystopian conditions of failure.

NANITCH is a co-production of Presentation House Gallery and the University of British Columbia Library. The exhibition and publication are part of UBC Library’s Centennial programme.

B.C. Almanac(h) C-B

Participants include multimedia artists Jack Dale, Michael de Courcy, Christos Dikeakos, Judith Eglington, Gerry Gilbert, Roy Kiyooka, Glenn Lewis, Taras Masciuch, NE Thing Co. Ltd., Michael Morris, Jone Pane, Timothy Porter, Peter Thomas, Vincent Trasov, and Robertson Wood.



Paperback with a cardboard box
Edition of 700
472 pages
21 x 26 cm / 8.25 x 10.25 in
Published by Presentation House Gallery in September 2015
ISBN 9780920293973

B.C. Almanac(h) C-B, marks the long overdue re-issue of a rare, sought-after anthology of fifteen photographic bookworks, originally commissioned in 1970 by the National Film Board of Canada’s Still Photography Division. The 472-page book, designed as a type of exhibition, includes key figures in the vibrant multimedia art scene that was flourishing on Canada’s westcoast. Presentation House Gallery is also remounting the accompanying 1970 exhibition that was conceived as an immersive, multimedia version of the book. The project highlights the experimental ethos of artist book production as alternatives to gallery exhibitions during that period, as well as radical new approaches to the circulation of print culture through mass media.

For information on the exhibition at Presentation House Gallery,
click here: B.C. Almanac(h) C-B

Weaving Histories

Published in collaboration with the Response Program and the First Nations Student Services at Capilano University. With contributions by Cathy Busby, Maureen Black, Marilyn
Carpenter, Bracken Hanuse Corlett, Tarah Hogue, Reg Johanson, Taran Kootenhayoo,
George Lawson, Clay Little and Sydney Hart.



64 pages
18 x 18 cm / 7 x 7 in
Published by Presentation House Gallery and the contributors in August 2015
ISBN 9780920293959

Weaving Histories documents and marks the culmination of Response, an educational
outreach program organised through a partnership between First Nations Student
Services at Capilano University and Presentation House Gallery between 2013 and 2015.
Weaving Histories features a wide range of contemporary art and writing by the
program’s guest artists and speakers, Capilano students, and others who extend from
and refine issues addressed at Response events. The publication’s contributors
investigate the current repercussions of colonial forms of education, explore the place
of oral histories as well as visual art in remembering residential schools, respond to the
Canadian government’s recent shortcomings regarding Indigenous rights and honour
the “living memory” of missing and murdered Indigenous women and girls. From a
photo-essay and digital images responding to relations between contemporary and
traditional forms, to collages reflecting a medley of cultural imperatives, this book
considers a breadth of interrelated concerns.

Emphasising the potential of art to be an ally in shaping how we understand the world,
Weaving Histories offers complementary aesthetic, ethical and critical considerations,
which crisscross throughout the book’s sections to reveal an underlying, resistant fabric.
Weaving Histories includes contributions by Cathy Busby, Maureen Black, Marilyn
Carpenter, Bracken Hanuse Corlett, Tarah Hogue, Reg Johanson, Taran Kootenhayoo,
George Lawson, Clay Little and Sydney Hart.

Annette Kelm
Subjects and Objects

Forewards by Reid Shier and Moritz Wesseler. A conversation with Isabelle Graw and Annette Kelm. Text by Tom McDonough. Designed by Heimann und Schwantes. Printed by DruckConcept

Price Not Announced


English and German
125 pages
9 x 0.7 x 11.3 inches
Published by Presentation House Gallery and Kölnischer Kunstverein in January 2015
ISBN 978-3863356767

Kelm’s photographs, often described as “deadpan”, explore standard conventions of still life and landscape genres in unsettling new ways. Kelm works both serially and with single images, producing detailed shots that are reminiscent of advertising imagery. But while her work might be read as a straightforward document of objects and places, her apparent objectivity belies a close attention to the uncertainties of perception. As critic Kirsty Bell notes, “As self-evident as [Kelm’s] images appear, they are undercut with a strangeness that questions not only the purpose of the objects, but also the nature of their representation.”


Dana Claxton
June Fourth, Fifth, & Sixth, Two Thousand & Six

Edited by Derek Barnett, Dana Claxton and Reid Shier



108 pages
Edition of 500
Published by Presentation House Gallery in December 2014
ISBN 978-0920293928

Paris, June Fourth, Fifth, & Sixth, Two Thousand & Six features 77 black and white photographs that Vancouver artist Dana Claxton made during a short, three-day visit to Paris, France. Initially conceived as a document of “Indians” as a prevalent cultural trope within the Parisian cityscape, Claxton’s photographic journey subsequently grew into a larger and more diverse portrait of the city’s urban life, a journey now compiled into this provocative publication. Claxton – who is of Hunkpapa Lakota ancestry – has been investigating the impact of colonialism on Aboriginal cultures throughout North America, and her innovative works readdressing the concerns and realities of contemporary Aboriginal peoples are recognized for their bold aesthetics and political punch. Her work is a powerful meditation on how representations and stereotypes of First Nations have been constructed and commodified, both historically and throughout contemporary popular culture.

Dana Claxton (b.1959, Yorkton, Saskatchewan) has been an influential teacher at Emily Carr University, University of Regina, Simon Fraser University and is now a faculty member at the University of British Columbia. Claxton is participating in the landmark exhibition The Plains Indians: Artists of Earth and Sky, at the Metropolitan Museum of Art, NYC (2015). She has participated in the exhibition Beat Nation, a survey of contemporary Aboriginal art, which travelled from the Vancouver Art Gallery, (2012) to The Power Plant, Toronto, (2012), and Musée d’art contemporain de Montréal, (2013). Other presentations include the 17th Biennale of Sydney, 2010; the Biennale of Montréal, 2007, Magnetic North at the Walker Art Centre, Minneapolis, 2000, and Walking with the Ancients at MoMA, New York, 1994. Claxton was awarded the prestigious VIVA Award from the Doris and Jack Shadbolt Foundation in 2001. Her work is included in the public collections of the National Gallery of Canada, Ottawa; Vancouver Art Gallery and Winnipeg Art Gallery. She is represented by Winsor Gallery (Vancouver).

Moyra Davey

An artist book by Moyra Davey



36 pages
56 black & white reproductions
11 ¾ x 8 inches / 30 x 20.4 cm
Edition of 500

Published by Presentation House Gallery in 2013
ISBN 978-0-920293-4

Morya Davey is an acclaimed photographer, writer, and filmaker based in New York. EMPTIES, a new artist book documents a selection of the photographs from the artist’s Bottle series. published on the occasion of the exhibition Moyra Davey: Ornament and Reproach, curated by John Goodwin. This exhibition presented notable projects that Davey has undertaken with John Goodwin since 1993. Through an understated approach to photography, video, as well as her insightful critical writing on photography, she considers the meaning carried in everyday objects. This exhibtion provided an overview of her practice with early works including the multiple Money Box (1993), published by Shark Editions, New York photographs from her Newstands series (1993-94), Bottle Grid series (1996-2000), and video work.

Exhibition dates: November 8, 2013 – February 1, 2014 at the Satellite Gallery, Vancouver

Isabelle Pauwells

Texts by PHG curator Helga Paksaar and Juan A. Gaitan, with a conversation between Paul Kajander and Pauwells



123 pages, hardcover
10 ¼ x 9 ¼ inches / 26.1 x 9.5 cm
Edited by Helga Pakasaar and Jonah Gray
Design: Sacha Hurley
Printing: POP Promotion Printing
Numerous colour reproductions

Published by Presentation House Gallery in 2013
ISBN 978-0-920293-84-3

This publication marks the first comprehensive monograph on Vancouver multimedia artist Isabelle Pauwells.

The 123 page publication surveys the artist’s practice with texts by PHG curator Helga Paksaar and Juan A. Gaitan as well as a conversation between Paul Kajander and Pauwells. Artist biography and bibliography included.

Signed copies available

Exhibtion dates: January 31 – March 22, 2009

Strangelove’s Weegee

John O’Brian, Introduction by Reid Shier



57 pages, softcover
18 duotone photographs
7 7/8 x 5 ¼ inches / 20 x 13.5 cm
Design: Sacha Hurley
Printed at Hemlock Printers, Burnaby

Published by Presentation House Gallery in 2013

A catalogue to accompany the exhibition featuring photographs by the infamous press photographer Weegee taken on the set of the film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. The exhibition also included publicity stills, posters, lobby cards and other material related to the film. The catalogue includes a transcription of a conversation between Weegee and Peter Sellers on the set of Dr. Strangelove. Introduction by Reid Shier, essay by curator John O’Brian
Exhibition dates: June 14 – July 26, 2013

West of Eden

Photographs by Bruce Stewart. Essays and texts by Lance Blomgren, Tom Burrows, Ida Carnevale, Bill Jeffries and Robin Simpson.



96 pages
48 reproductions
Designed by Carrie Ann Schaefer
Printed by Rhino Print Solutions

Published by Presentation House Gallery in 2014
ISBN 978-0-920293-93-5

Presentation House Gallery’s recent publication West of Eden, situates the Dollarton Pleasure Faire within the larger context of the mudflats settlement, the social history of Vancouver, and the conflicting ideologies that both frame and limit our ideas of community itself.

June 7 – August 3, 2014
Bruce Stewart: Dollarton Pleasure Faire, 1972
Curated by Bill Jeffries

Bruce Stewart is a Victoria photographer, painter and medical illustrator who lived in Vancouver throughout the 70s and 80s. Many of Stewart’s paintings and photographs identify key landmarks in B.C.’s psychogeography, from the Rockies to Long Beach. His solo exhibition, Salad Days, was shown at the Simon Fraser University’s Teck Gallery in 2007. Stewart’s photographs were also featured in Unfinished Business: Vancouver Street Photography 1955-1985 at Presentation House Gallery in 2003.

Bill Jeffries is a curator, writer and lecturer from Vancouver. Since 1983, Bill has organized almost 150 exhibitions. He has worked as the Director/Curator for The Contemporary Art Gallery, Presentation House Gallery and, most recently, at the Simon Fraser University Galleries from 2005-2012. His writings have appeared in catalogues and journals internationally.