CV

Eldon Garnet is a photo-based artist, public sculptor, and writer based in Toronto, ON. He has exhibited his photographic and sculptural work extensively in North America and Europe. A participant at the Venice Biennale in 1985. Garnet’s work, NO, 1997 was included in the exhibition Hitchcock and Art: Fatal Coincidences at the Montreal Museum of Fine Arts, Montreal (2000) and the Centre Georges Pompidou, Paris (2001). In 1997, the National Gallery of Canada hosted his mid-career survey entitled: The Fallen Body. Garnet has had major surveys of his photographs, at the Amsterdams Centrum voor Fotografie (2002) and Dust at the Museum of Contemporary Canadian Art in Toronto (2002). His novel Lost Between the Edges is published by Semiotext(e), New York. For fifteen years he was the editor of IMPULSE, an international magazine of art, fashion and ideas. He is the artist of numerous public sculptures including The Memorial to Commemorate the Chinese Railroad Workers in Canada.

 

INDIVIDUAL EXHIBITIONS

1975 All Dulled Out in Tartarus, A Space, Toronto

1977 Blurrs, Isaacs Gallery, Toronto

La Mamelle, San Francisco

1980 Isaacs Gallery, Toronto

1981 Cultural Connections, Canadian Centre of Photography, Toronto

1982 Privacy, Cameron Public House, Toronto

1983 Caves, Zona, Florence

Cultural Connections, Musee d’Art Contemporain, Montreal

In Trouble + Caves, CEPA, Buffalo

1984 Caves, PS1, New York

Caves, ArtCulture Resource Centre, Toronto

1985 Emblems of Circumstance, ArtCulture Resource Centre, Toronto

1987 Heavy Industry, Cold City, Toronto

1989 The First Edition Bronze Sculptures, Cold City, Toronto

1990 Emblems of Circumstance + The First Edition, Torch Gallery Amsterdam

Trembling + The First Edition, Martina Detterer Gallery, Frankfurt

Trembling, Cold City, Toronto

1992 Vanitas, Cold City, Toronto

The Narrative Body, Torch Gallery, Amsterdam

1993 When?, The Power Plant, Toronto

1994 Promise, Genereux Grunwald Gallery, Toronto

1995 Promise, Stichting de Bank, Enschede Holland

Four Sites, Torch Gallery, Amsterdam

1996 Aliyah, Tableau Vivant, Toronto

1997 Fissure, Wave, Toronto

The Narrative Body, Meg, Toronto

NO, Torch, Amsterdam

1998   The Fallen Body, Canadian Museum of Contemporary Photography, Ottawa

1999   Ricco/Maresca, New York

2000   Christopher Cutts, Toronto

The Fallen Body, Saidye Bronfman Centre, Montreal

2001   Geographically Based, Fly Gallery, Toronto

2002   ELDON GARNET, Amsterdams Centrum voor Fotografie

Geographically Based and Other Small Sculptural Statements, Torch, Amsterdam

The Melodious Child, Christopher Cutts, Toronto

Dust, Museum of Contemporary Canadian Art, Toronto

2004   Project Space, Chicago Art Fair

IMITATIVE HARMONY, Christopher Cutts, Toronto

2005   IMPULSE ARCHAEOLOGY, Museum of Contemporary Canadian Art, Toronto

FORGIVE, Galeria Begona Malone, Madrid

2007 IMPULSE ARCHAEOLOGY, White Box, New York

MONEY DREAMS and Other New Work,Christopher Cutts, Toronto

2009   DOMINION and CATEGORIES OF DISAPPEARANCE, Christopher Cutts, Toronto

DOMINION and selected CATEGORIES OF DISAPPEARANCE, Poulson Gallery, Copenhagen

2011 HELPLESS and LIKE SO MANY OF MY GENERATION, Christopher Cutts, Toronto

PROUDLY INSINCERE, Torch, Amsterdam

2014   SHADOWS AND SHADES, Christopher Cutts, Toronto

2016 GARDEN OF HELL ON EARTH, Christopher Cutts, Toronto

 

SELECTED GROUP EXHIBITIONS

1974 The Poet Machine, Isaacs Gallery, Toronto

1978 Studies in Time and Motion, Harbourfront Art Gallery, Toronto

1979 JFM 232, CEPA, Buffalo

Learning a Perceptual Motor Skill, A Space, Toronto

1983 New Canadian Photography, In Trouble, The Canadian Centre of Photography, Toronto

New Holography, Advice, A Space, Toronto

Caves, Centre International D’Art Contemporain, Paris

Advice, Part of touring holography exhibition in 10 locations in Europe

Chromaliving, You Can Lead A Horse to Water But You Can’t Make It Drink, Chromazone, Toronto

1984 303 Park South, N.Y

Canadian Holography Now, Museum of Holography, Brussels

1985 Canadian Holography Now, tour, England

Double/Doppleganger, Amsterdam

Interior Rites, ArtCulture Resource Centre, Toronto

1986 Art Technology Informatics, I Shot Mussolini, Venice Biennale

Lumieres, Light Industrial, Central International D’Art Contemporain de Montreal

I Shot Mussolini Cold City Gallery, Toronto

1988 Images in Time and Space, Ottawa + San Jose + Toronto

Luntic of One Idea, Imprison Polluters, Public Access, Toronto

Active Process, I Shot Mussolini, touring exhibition of bookwork.

Cold City Gallery, Toronto

1989 The Zone of Conventional Practice, Heavy Industry, Optica, Montreal, Presentation House

American Fine Art, New York

A Space, Toronto

Prospect Photography, Frankfurter Kunstverein, Frankfurt

150 Ans Apres La Photographie, Musee de la Civilisation, Quebec

1990 The Zone of Conventional Practice, Mendel Art Gallery, Saskatoon, TWP, Toronto

Today Tonight Tomorrow, National Library, Ottawa

1992   Beau, Canadian Museum of Contemporary Photography, Ottawa

1994   The Body: Le Corps, Kunsthalle Bielefeld

The Body: Le Corps, Haus am Waldsee, Berlin

1995   Vanitas, Nature Studies, University of Massachusetts, Amherst

1996   Happy End, Kunsthalle Dusseldorf, Dusseldorf

10 Years, Cold City, Toronto

1997   NO, Archive, Toronto

NO, Ricco/Maresca, New York

Figuratively Speaking, Wave, Toronto

NO, David Klein Gallery, Birmingham, Michigan

1998   Lewd, Archive Inc., Toronto

Picturing the Toronto Art Community: The Queen Street Years, The Power Plant, Toronto

Ashkenaz: A Festival of Yiddish Culture, Toronto

Truth, Lies and Photographs, Art Gallery of Peel

2000   Glo, Archive Inc., Toronto

2000 Words, Toronto Photographes Workshop, Toronto

Hitchcock and Art: Fatal Coincidences, Montreal Museum of Fine Arts, Montreal

2001   The Admittance of Photography, Dunlop Art Gallery, Regina

Bedroom Gallery 2.0, Milk Gallery, Toronto

Hitchcock and Art: Fatal Coincidences, Centre Georges Pompidou, Paris

Pool, Harbourfront Art Gallery, Toronto

Droomoord, Noorderlicht Photofestival, Groningen, The Netherlands

Exploring the Collection: Prevalent Concerns, Kamloops Art Gallery, Kamloops, B.C.

Bigshots, Art System, Toronto

La Vie, La Mort, Le Ceremonial, Galerie Bourbon-Lally, Montreal

2002   Bio-Mech, Archive Inc., Toronto

The Claustrophobic Forest, Kenderdine Art Gallery, Saskatoon

National Gallery of Canada, permanent collection

2003   PLAQUES AND ANGELS, Alliance Francaise, Toronto

LE SALON DU PRINTEMPS, Montreal

Scope NY., Scope L.A., Scope Miami with Christopher Cutts Gallery

Berlin Forum, with Christopher Cutts Gallery

PUBLIC RESPONSIBILITY, Art Museum of the Americas, Washington

PARIS PHOTO, Paris, with Torch Gallery

2004   The Armory Show, with Torch Gallery

Scope New York, with Chrisopher Cutts Gallery

2005   DUST, University of Lethbridge Art Gallery, Lethbridge

THE SLAYED LAND, Galeria Begona Malone, Madrid, Spain

BUG CITY, Winnipeg Art Gallery, Winnipeg

THE COLD CITY YEARS, The Power Plant, Toronto

2006   20TH ANNIVERSARY, Christopher Cutts Gallery, Toronto

20TH ANNIVERSARY, Sculpture, Christopher Cutts Gallery, Toronto

Pulse, NY, with Torch Gallery Amsterdam,

Scope, NY, with Christopher Cutts Gallery, Toronto

DIVA, NY, with Galerie Begona Malone, Spain

THE CONSTANT POSSIBILITY OF ERASURE, Dorsky Gallery Curatorial Projects, New York

2007 THE BOOK OF LOVE, Spin Gallery, Toronto

Pulse, New York, with Torch Gallery, Amsterdam

Contact Tickler, Christopher Cutts, Toronto

Splash, Christopher Cutts, Toronto

CONTEMPORARY CURIOSITIES, Kamloops Art Gallery, Kamloops

VIC’S CRANE, Harbourfront Centre, Toronto

Nuit Blanche, Lancaster, Toronto

COLLECTED, Ryerson Gallery, Toronto

2008 Scope, NY, with Christopher Cutts Gallery, Toronto

Pulse, NY & Pulse Miami with Torch Gallery Amsterdam

Pulse, Dubai with Torch Gallery Amsterdam

GARDEN OF DELIGHTS, Yeosu, Korea

2009 Pulse Miami with Torch Gallery Amsterdam

2010 Works on Paper, Gallery Poulson, Copenhagen

STIRRINGS STILL, White Box, New York

LIKE SO MANY OF MY GENERATION, Pulse, Miami with Torch Gallery Amsterdam

MORE THAN FLESH: EMBODIMENT OF ABSTRACTION, University of Toronto Arts Centre,

2011 DEATH PENALTY, White Box, New York

2012 ART MANIFESTO, Pulse, New York with Torch Gallery Amsterdam

Galeria Begona Malone, Madrid

Gemeente Museum, Helmond, Netherlands

2013   A THOUSAND WORKS IN EIGHTY SPACES, University of Toronto Art Space, Toronto

CATEGORIES OF DISAPPEARANCE, Christopher Cutts Gallery, Toronto

2014 WELCOME TO THE DREAMTIME,Stephen Romano Gallery, New York

CAGE &KAINO, PIECES AND PERFORMANCES, World Chess Hall of Fame, Saint Louis

PERCEIVED VALUES, Money Dreams, Art Miami

BEYOND THE PLEASURE PRINCIPAL, Art Miami with Torch Gallery, Amsterdam

IN MISSA INTERFECTIONIS VERUM, Stephen Romano Gallery, New York

2015 DIRECTOR’S CHOICE I, Christopher Cutts Gallery, Toronto

IN MISSA INTERFECTIONIS, Stephen Romano Gallery, New York

 

PUBLICATIONS (books)

1971 Angel, Press Porcepic, Toronto

1973 Asparagus, Missinglink Press, Toronto

The Last Adventure Oberon, Ottawa

1974 W)Here? Other Canadian Poetry (ed.), Press Porcepic, Toronto

1977 Brebeuf, A Martydrom of Jean de, Press Porcepic, Toronto

1978 Einstein’s Joke, Impulse (microfiche), Toronto

1979 Spiraling/JFM 232, 1W1 Communications, Toronto

1982 Cultural Connections, Image Nation, Toronto

1984 Caves, ArtCulture Resource Centre, Toronto

1987 I Shot Mussolini, Limited Edition, Toronto

1989 Today Tonight Tomorrow, Limited Edition, Toronto

I Shot Mussolini, Summerhill Press, Toronto

1975-1990 Impulse magazine, Toronto

1992 The Narrative Body, Autonomedia, New York

1993 When?,The Power Plant, Toronto

1995 The Garden of Failure: Reading Brooke Shields, Semiotexte, New York

1998 The Fallen Body, Canadian Museum of Contemporary Photography, Ottawa

2002 ELDON GARNET, Amsterdams Centrum voor Fotografie, CD catalogue

The Melodious Child/Dust, Museum of Contemporary Canadian Art/Christopher Cutts Gallery, CD catalogue, Toronto

2004 MIMESIS ANTIMIMESIS IN PHOTOGRAPHY, Blank Slate, Toronto

2005 IMPULSE ARCHAEOLOGY, University of Toronto Press, Toronto

2007 LOST BETWEEN THE EDGES, Semiotext(e), New York

2011 HELPLESS,Christopher Cutts Gallery, Toronto

2013 CATEGORIES OF DISAPPEARANCE, Impulse[b:], Toronto

2016 GARDEN OF HELL ON EARTH, Impulse[b:] & Christopher Cutts Gallery, Toronto

ERASURE, Impulse(b:), Toronto

 

FILM . AUDIO . VIDEO

1967 Pictures, 16mm, black and white, 17 minutes

1974 L’Heure D’Oeuf, 16mm, black and white, 5 minutes

1975 Enclosure, super-8, colour, 15 minute loop

1976 Airswim, super-8, colour, 5 minutes

1977 Einstein’s Joke, super-8, colour, English sub-titles, 15 minutes

1979 Eldon Garnet Live, audio casette, Art Contemporary Editions, San Francisco

1979 Winning, super-8, colour, 55 minutes

1980 VideoZine, video, black and white, 30 minutes, La Mamelle San Francisco

1984 The Political Error, 16mm, black and white, 12 minutes

1977-1987 Portraits, super-8, colour, 60 minutes

  • $300, Maclean Hunter Cable Television, half hour monthly
  • Today Tonight Tomorrow, video, 180 minutes

2005 New Kapital, video, 23 minutes

2007   IF ONLY FOR A MOMENT, video, 3 loops, 2 min., 2:10 min., 5:28 min.

2013  CATEGORY 67, video, 11 min.

 

PUBLIC COMMISSIONS

1989       THE METROPOLITAN TORONTO POLICE HEADQUARTERS, Toronto

1989         MEMORIAL TO COMMEMORATE THE CHINESE RAILROAD WORKERS IN CANADA, Toronto

1996         TIME: AND A CLOCK, Toronto

2000         GIFT, Toronto

2004         TURNING, Toronto

2007         GRACE, Oshawa

2010         INVERSION, Toronto

2012         EQUAL BEFORE THE LAW, Toronto

2015        ARTIFACTS OF MEMORY

 

PUBLICATONS (writing and visual)

Acta, The Victoria College Union, 1968, poetry.

T.O. Now, 1968, House of Anansi, Toronto, poetry.

Thumbprints, 1969, Peter Martin & Associates, Toronto, poetry.

On The Bias, Innis College Student Society, 1969, poetry.

Notes for a Native Land, Oberon Press, Toronto, 1969, poetry.

Saturday Night, January 1970, book review.

The Earth and You, Sherwood, Toronto, 1971, poetry.

A Three Legged Tiger, York Literary Series, Toronto, 1971, poetry.

Open Letter, Toronto, 1971, review.

The Canadian Forum, “Fog”, January/February, 1972, poetry.

Editor, A Book of Process, Rumplestillpress/La Club Foot, Toronto, 1974

Image Bag, “Printed Matter”, “Myth Structure”, June 1974, No. 5, limited edition magazine.

Impulse, “El topo: A film by Alexandro Jodorowsky”, Spring 1975, cover and film review.

Impulse, Avrom Isaacs and Carmen Lamanna, Spring 1975, Vol. 4, No. 2, interview.

Impulse, “Eldon Garnet”, Vol. 4, No. 4, Vol. 5, No. 1, photograph.

Landscapes: Pacific Coast Photographs, Impressions, Toronto, 1976 (poetry)

  1. Erotics, Fibre Studios, Toronto, 1976, collage.

Impulse, “A Critical Investigation”, Winter 1977, photograph and essay.

Aurora, Doubleday Canada, Toronto, 1978, poetry

MATRIX, Champlain Regional College, Lennoxville Que, 1978, poetry

Impulse, “Jonathan Richmond”, Fall 1979, Vo. 8, No. 1, interview.

Deciphering America, Kontext Publications, Amsterdam, 1979, poetry.

C Magazine, “Pages from the journal”, Fall 1979, prose and photographs.

Aurora, Doubleday Canada, Toronto, 1979, poetry.

Impluse, “Andy Warhol Interview”, Summer 1979, interview and photograph.

Impulse, “Personal Hygiene: Dental floss vs. periodontal disease”, Winter 1979, Vol. 7, No. 3, literary piece.

Impulse, “Escapism”, Fall/Winter 1980, literary piece and photographs.

Impulse, Cover, Spring 1980, Vol. 8, No. 2.

Impulse, “Interview: Bob Colacello”, Spring 1980, Vol. 8, No. 2, interview.

Impulse, Spring 1980, Vol. 8, No. 2, cover photograph.

Catalogue (Experimental Faculty OCA), 1980, edited and produced.

Catalogue (Experimental Faculty OCA)“Gordon Pask”, 1980, photographs and text.

Rampike, “Wood: “Bubblegum”, Spring 1981, text and image.

Impluse, “Privacy”, Summer 1982, Vol. 10, No. 1, art piece (text and photographs).

Impluse, Summer 1982, Vol. 10, No. 1,cover.

Rampike, “Erotika: Jealousy”, Spring 1983, text and image.

Impulse, “Caves”, Spring/Summer 1983, Vol. 10, No. 3, art piece (text and photographs), cover.

Impulse, Fall 1983, Vol. 10, No. 4, cover.

Project Studios One, “Special Projects”, Winter 1984, The Institute for Art and Urban Resources Inc., Toronto.

Impulse, “Not For Sale”, Fall 1984, Vol. 11, No. 2, photograph.

Impulse, Fall 1984, Vol. 11, No. 2, cover photograph.

C Magazine, “Allegory: To speak other wise”, Summer 1985, essay and photographs.

Impulse, “I Shot Mussolini”, Winter 1985, vol. 11, No. 4, literary excerpt.

Impluse, Winter1985, Vol. 12, No. 2, cover.

Impulse, “Expo 1986”, Summer 1986, Vol. 12, No. 1, SITE interview.

Impulse (Cold City Fiction), Spring 1986, author portraits with Carolyn White.

Impulse, “Bridges for future history”, Spring 1988, full page artwork.

Impulse (New City Fiction), Summer 1988, author portraits.

Impulse, “William Burroughs”, 1990, Vol. 15, No. 4, interview.

Our Threshold, “Fight Against the Dying of the Light”, Workshop for Architecture and Urbanism, Tokyo, 1991, text and installation project proposal.

The Jewish Advocate, “Boston’s Holocaust Memorial Designs Miss the Point”, June 7, 1991, article.

Parachute, “Debats/Issues: Public Signs”, Issue 63, article and photograph.

C Magazine, Winter 1994, issue 40, cover photograph.

C Magazine, “Fear of Symbols”, Summer 1995, article.

Toronto Life Magazine, Slings and Arrows, November 1996, Vol. 30, No. 16, article.

AK2 Plain Dealer, “The Garden of Failure Reading Brooke Sheilds”, No. 1. March, 1996, literary excerpt.

Toronto Life Magazine, Soul’s Kitchen, November 1997, Vol. 31, No. 16, article photography.

C Magazine, Winter 1997, cover photograph.

Purgatory: The Gate, Yellowhat, Toronto, 1997, Fictocritical essay.

Flux, “Have I seen the future?”, 1998, text.

Shift, “Eye Tech”, October 2000, photography.

“What we don’t know about children”, Simona Vinci, Alfred A. Knopf, New York, 2001, jacket cover photograph.

Jayne Anne Phillips, Black Tickets, Vintage Contemporaries, New York, 2001, jacket cover photograph.

Over Magazine, Thailand, Lost, 2001, photographs.

The Collected Interviews of William S. Burroughs, Sylvere Lotringer editor, Semiotext(e), New York, 2001, “Afterlife”.

Montage, “Favourite”, Summer 2003, “Bladerunner,” text.

Canadian Art, “Video Green,” March 2005, text.

Impulse Archaeology, ”It Will Happen,” University of Toronto Press, Toronto, Buffalo, London, 2005, text.

Magenta Foundation, NO#3, photograph.

The Flayed Landscape, Galeria Begona Malone, Madrid, 2005

Magenta Foundation, Carte Blanche, 2006, “Fissure,” photo work.

Canadian Art, Frieze Art Fair, April 2008, text.

Images Festival 2010, feature catalogue essay for feature Canadian artist Ross McLaren

Canadian Art, Miroslaw Balka at Tate Modern, Winter 2010, text

BorderCrossings, Marcel Duchamp, photo work, art pages, Issue No.114, 2010, images

OneHourEmpire, The Unpublic Man, Fall 2010, text and images

Now Magazine, Graffiti Vandals, Take On Tagging, June 14, 2012, article

Prefix, The Garden of Hell on Earth, November 2013, article

Now Magazine, Facadism vs Public Art, May 19, 2016, article and image.

 

BIBIOGRAPHY

Gary Michael Dault, Canadian Art, Spring 2016, feature article, The Later Work of Eldon Garnet, Toronto.

Ben Portus, MOMUS, Eldon Garnet Garden of Hell on Earth at Christopher Cutts, review and images, March 2016

Daniel Baird, Bordercrossings, The End of Telling: Eldon Garnet’s Narrative of Extinction, feature article, Vol.33, No.2, 2014, Winnipeg

Steven Rockwell, Artoronto, Eldon Garnet: Shadows and Shades, review and images, June 2014, Toronto

Terence Dick, Akimblog, Eldon Garnet at Christopher Cutts, review and images, June 24, 2014

Edward Rubin, Artes Magazine, , January 2013, Project Birch Forest, New York

Sheila Heti, Helpless, Catalogue, 2011, Christopher Cutts Gallery, Toronto

Peter Goddard, The Toronto Star, May 21, 2009, review and image, Dominion and Emblems of Disappearance, Christopher Cutts Gallery, Toronto.

Gary Michael Dault, The Globe and Mail, May 30, 2009, review and image, Dominion and Emblems of Disappearance, Christopher Cutts Gallery, Toronto.

Carole Pearson, Our Times, November 15, 2008, Monuments to Memory, review and images, Toronto

GARDEN OF DELIGHTS, Catalogue, Yeosu, Korea, 2008

Linda Steer, Canadian Art, Winter 2007, review and image, Money Dreams and Other New Work, Christopher Cutts Gallery, Toronto.

Ibi Kaslik, The Globe and Mail, August 18, 2007, Lost Between the Edges, Semiotext(e), Los Angeles.

Ryan Oakly, Sunday Book Review, June 24, 2007, Lost Between the Edges, Semiotext(e), Los Angeles.

Gary Michael Dault, The Globe and Mail, June 2007 review and image, Money Dreams and Other New Work, Christopher Cutts Gallery, Toronto.

Publishers Weekly, April 16, 2007, Lost Between the Edges, Semiotext(e), Los Angeles.

Joshua Cohen, The Jewish News, August 29, 2007, Lost Between the Edges, Semiotext(e), Los Angeles.

Janet Bellotto, d’Art International, Volume 9, Number 1, Spring 2006, Impulse Archaeology, Museum of Contemporary Canadian Art, Toronto.

CBC Radio, On the Arts, 2006, 10 minute interview

Bug City Catalogue, January 2006, text and images, The Winnipeg Art Gallery.

Nicole Cohen, Spacing, Winter 2006, The Usual Suspects, review and images, Memorial to Commemorate the Chinese Railroad Workers of Canada, TIME: And a Clock.

Jose Perez_Guerra, El Punto, Madrid, December 2005, review and image, Forgive, Galeria Begoona Malone, Madrid

Gary Michael Dault, The Globe and Mail, December 2005, review and image, Impulse Archaeology, Museum of Contemporary Canadian Art, Toronto.

Canadian Art, Fall 2005, Gutenberg Galaxy, review and image, Impulse Archaeology, University of Toronto Press.

Now, Best of Toronto, Cityscape, November 2005, review and image, TIME: And a Clock, Toronto.

Steve Finbow, StopSmiling, September 2005, review, Impulse Archaeology, University of Toronto Press.

Ryan Doherty, catalogue, August 2005, Dust: Reflections on Mortality, text and images, University of Lethbidge Art Gallery

Julia Dault, National Post, November 2005, review and images, Impulse Archaeology book, University of Toronto Press, exhibition Impulse Archaeology, Museum of Contemporary Canadian Art, Toronto.

Earl Miller, C Magazine, Winter 2005, article with images, A Brief History of Punk Rock’s 30-Year Relationship with Toronto’s Art Press.

Peter Goddard, Toronto Star, November 2005, review, Impulse Archaeology, Museum of Contemporary Canadian Art, Toronto.

Randy Gladman, Artform.com, June 2004, “Critics’ Picks,” review and image, Imitative Harmony”, Christopher Cutts Gallery, Toronto.

Gary Michael Dault, The Globe and Mail, “Garnet dances away, enigmatically,” June 19, 2004, review and image, “Imitative Harmony”, Christopher Cutts Gallery, Toronto.

Julia Dault, National Post, “The rhymes and harmonies of visual poetry,” June 17, 2004, review and images, “Imitative Harmony,” Christopher Cutts Gallery, Toronto.

Chris Kraus, Art in America, “Eldon Garnet at Christopher Cutts and MOCCA,” February 2003, review and image, “The Melodious Child,” Christopher Cutts Gallery, Toronto and “Dust,” Museum of Contemporary Canadian Art, Toronto.

Penny Cousineau-Levine, Faking Death, McGill-Queen’s University Press, 2003, Montreal.

John Bentley Mays, Lola, “Eldon Garnet, Dust,” Winter 2002/03, Museum of Contemporary Canadian Art, Toronto.

Kunstbeeld, “Eldon Garnet”, April, 2002, images and review, Amsterdams Centrum voor Fotografie and Torch Gallery Amsterdam.

Parool – Ps van de week, March 30, 2002, images and listing with text, Amsterdams Centrum voor Fotografie and Torch Gallery Amsterdam.

de Volkskrant, April 2, 2002, image and listing, Amsterdams Centrum voor Fotografie.

Place of Dreams/Stations of the Cross, curator/editor Eddie Marsman, Fourth part in a range of small catalogues accompanying Noorderlicht 2001, The Netherlands

KRUISWEG DROOMOORD, Nooderlicht 2001, Stichting Aurora Borealis, curator Eddie Marsman, September 2001, catalogue, cover, and 6 pp.

HITCHCOCK AND ART: FATAL COINCIDENCES, The Montreal Museum of Fine Arts, Montreal, edited by Dominique Paini and Guy Cogeval, 2001, catalogue essay by Stephane Aquin, p173-179

HITCHCOCK ET L’ART: COINCIDENCES FATALES, Centre Pompidou, Paris, edited by Dominique Paini and Guy Cogeval, 2001,

catalogue essay by Stephane Aquin, p173-177

HITCHCOCK ET L’ART: COINCIDENCES FATALES, Centre Pompidou, Paris, Les expositions de l’oeil, 2001.

Gary Michael Dault, The Globe and Mail, “Water, water, everywhere,” August 4, 2001, review and image, “Pool,” York Quay Gallery, Harbourfront, Toronto.

Gary Michael Dault, The Globe and Mail, “A very small piece of art that’s sure to rattle viewers,” November 24, 2001, review and image, “Geographically Based,” Fly Gallery, Toronto.

David Lubin, Artforum, “Hitchcock and Art: Fatal Coincidences”, November 2001, review, Centre Georges Pompidou, Paris.

Deirdre Hanna, Now, “Splashy Pool”, August 9-15, 2001, review and image, “Pool,” York Quay Gallery, Harbourfront, Toronto.

Now, August 9-15, 2001, review, Pool, York Quay Gallery, Harboufront Centre.

Gary Michael Dault, The Globe and Mail, August 4, 2001, review, Pool, York Quay Gallery, Harboufront Centre.

The Toronto Star, August 2, 2001, review, Pool, York Quay Gallery, Harboufront Centre.

Martha Langford, BorderCrossings, “Dispiriting Nature: The Work of Eldon Garnet and Genevieve Cadieux”, November 2000, Vol. 9, No. 4, issue 76, p36-40, article with images.

Bernard Lamarche, Le Devoir, Montreal, “Danse macabre”, “A corps perdu/The fallen body”, Saturday, Spril 23, 2000, review, Gallerie du Centre Saidye Bronfman.

Christopher Hume, The Toronto Star, “Art Show”, Wednesday, May 24, 2000.

Henry Lehmann, The Gazette, Montreal, “Photos offer competing realities”, Saturday April 22, 2000, review, Saidye Bronfman Center.

Thomas Hirschmann, The National Post, “Menace, sex, concrete”, Saturday, May 20, 2000.

Gary Michael Dault, 2000 Words: Four Writers Respond to Photography, Toronto Photographers Workshop, 2000. p17.

Corinna Ghaznavi, Parachute, “Eldon Garnet”, April/May/June 1999, vol. 94, p54-56, review, Canadian Museum of Contemporary Photography.

Robert Hicks, The Villager, “Eldon Garnet’s works flesh out human struggles”, April 7, 1999, review, Ricco/Maresca gallery, Chlesea.

The Globe and Mail, “Freeing art from the tyranny of physical ability”, Friday, October 15, 1999.

Gary Michael Dault, Canadian Art, “Loss Leaders”, Spring 1999, p81, review, Canadian Museum of Contemporary Photography.

Douglas Ord, C Magazine, “Eldon Garnet”, February-April 1999, Issue 61, p19, review, Canadian Museum of Contemporary Photography

Gary Michael Dault, The Globe and Mail, “A lovely little part of a show”, Friday, December 24, 1999.

Lynne Tillman and Sylvere Lotringer, BLURRING THE EDGES, Ricco/Maresca Gallery, New York, 1999

Robert Everett-Green, The Globe and Mail,”Robbery strips downtown monument of plaques”, Wednesday, February 25, 1998.

Eileen Daspin, The Globe and Mail, “When your art shocks the neighbours”, Saturday, July 25, 1998.

Philip Monk, C Magazine, “Picturing the Toronto Art Community”, September-November 1998, issue 59, insert.

Gary Michael Dault, Canadian Architect, April 1998, “Towards a Public Narrative”, p20-23, Vol. 43, No. 4.

Canadian Art, “The Business of Being Human”, Winter 1998, Vol. 5, No. 4, p60-65.

Gary Michael Dault, The Globe and Mail, “Brampton Gallery mounts smokin’ little show”, Saturday, August 22, 1998, review, Art Gallery of Peel.

Louise Bak, CIUT Programming Guide, Aurotica on the FM (Fremorrow) Dial, Fall/Winter 1997, p18.

John Barber, The Globe and Mail, “Monkey, dragons, part of new streetcar line”, Wednesday, April 16, 1997.

Karina Godfly, Lola, review, Wave, No. 1, 1997.

Corinna Ghaznavi, Flash Art, November-December 1997, p114,Vol. 30, No. 197, review, Archive.

Earl Miller, Art Focus Magazine, Fall 1997, “Contact 97: Toronto’s First Annual Photography Festival”, review, Archive, p7.

Canadian Art, Summer 1997, review, Archive, MEG Gallery, Wave.

Alexander Nagel, ARTnews, October 1997, p176, review, Wave.

Slate, June/July 1997, cover image.

Betty Ann Jordan, The Globe and Mail, Saturday, September 6, 1997, review, Harbourfront Centre.

Robert Enright, The Globe and Mail, “Bodies of Work”, Saturday, November 1, 1997.

Betty Ann Jordan, The Globe and Mail, “Existential nausea an acquired taste”, Saturday, August 9, 1997, review, Wave.

Betty Ann Jordan, The Globe and Mail, “Skins at Archive”, Saturday, July 5, 1997, review, Archive.

Toronto Sun, Time: And a Clock, 1996.

Toronto Life, “This City”, February 1996, Vol. 30, No. 2, p10-11, review, Police Headquarters Public Sculpture.

Gary Michael Dault, Toronto Life, “Time memorial”, August 1996, Vol. 30, No. 11, p26.

Zsuzsi Gartner, The Georgia Straight, “Reading Brooke Shields: The Garden of Failure”, May 23-30, 1996, book review, Art of Spring Book Review.

John Betley Mays, The Globe and Mail, “Looking into the writer’s mirror”, Saturday March 23, 1996, review, Reading Brooke Sheilds: The Garden of Failure.

Bruce Campion-Smith and Daniel Girard, The Toronto Star, “Time for a Change”, Tuesday, June 11, 1996.

Oliver Girling, Eye, “Moving toward the light”, September 12, 1996, review, Tableau Vivant.

Rob McLean, The Ottawa X Press, “Reading Brooke Shields: A surreal pop culture narrative”, Thursday, August 1, 1996, p25, review.

Gary Michael Dault, BorderCrossings, “Brooke-ing No Compromies”, 1996.

HAPPY END, Kunstalle, Duddeldorf, 1996, catalogue essay by Marie Luise Syring

Silvia Fraser, Why, “A language without words”, Summer 1995, p39.

John Bentley Mays, The Globe and Mail, “In spring, this man’s fancy turns to public art”, Saturday, April 1, 1995.

Roni Feinstein, Art in America, ”Report from Toronto: Opening Doors”, November 1994,

Roni Feinstein, Art in America, “Canada’s Art Capital: The Public Sector”, July 1994, p34. p38.

Christopher Hume, The Toronto Star, May 15, 1993, review, Power Plant Exhibition.

Donna Lypchuk, Eye, May 20, 1993, review, Power Plant Exhibition.

John Bentley Mays, The Globe and Mail, “Exhibits at the Power Plant stir up feelings of mortality in those who have accepted the inevitable”, Saturday, May 15, 1993, review, Power Plant.

Donna Carlson, Art Voice Buffalo, “White Men in Suits”, Vol. 4, Issue 23, November 17-30, 1993, review.

THE NARRATIVE BODY, essays by Sylvere Lotringer, Bruce Ferguson, Paul Groot, Autonomedia, New York, 1992

NRC Handelsblad, Vazdias, “Eldon Garnet”, November 3, 1992, review, Torch Gallery.

Linda Genereux, ArtForum, “Eldon Garnet”, 1992, review, Cold City, p106.

Herman Brusselmans, Man, “Kleine Opstoot”, December 1992, p129.

BEAU, catalogue, afterword by Martha Langford, Canadian Museum of Contemporary Photography, 1992

Kate Taylor, The Globe and Mail, “Vanitas”, May 1, 1992, review.

Sabine B. Vogel, Contemporanea, September 1990, p105-106, review, Galerie Martina Detterer.

Christopher Hume, The Toronto Star, “Trembling”, October 12, 1990, review.

Sabine B. Vogel, Artis, Bern, July/August 1990, issue 42, p50. review, Martina Detterer Gallery.

TREMBLING, catalogue, essay by Sabina B, Vogel, Galerie Martina Detterer, Frankfurt, 1990

Rommert Boonstra, Avenue, ”Bedenik, uq, Eigen Verhaal”, March 1990, p17. review, Torch Gallery.

Jocelyn Laurence, Canadian Art, “Water”, Winter 1990, Vol, 7, No. 4, p35.

Eve Drobot, L’Actualite, Montreal, “Monuments, Sculptures, ou art public”, October 1990.

Prospect Photographie, catalogue, Frankfurter Kunstverein, Frankfurt, 1989

John Bentley Mays, The Globe and Mail, “Garnet’s tape/book project”, December, 23, 1989.

Francois Dion, Voir, Montreal, Bain D’Arret, “The Zone of Conventional Practice and Other Real Stories”, April 6, 1989.

Claire Grovel, Le Devoir, Montreal, “Une Photographie Canadienne Particulierement Riche”, April 8, 1989.

Wilfred Wiegand, 150 Jahre Photographie, “Frankfurter Kunstverein”, October-Decmber, 1989, p22.

Christopher Hume, The Toronto Star, “Fit to be Tied”, Wednesday, November 1, 1989.

Donna Lypchuk, Metropolis, “Models for the perfect metaphor”, January 19, 1989, review, Cold City Gallery.

Alex Varty, The Georgia Straight, “A Thickly Intellectual Zone”, September 29-October 6, 1989, review, Presentation House.

Martin Tschechne, Art, October 1989, review of Prospect Photographie

Donna Lypchuk, Canadian Art, “Time Frames: Eldon Garnet monitors everyman’s private journey through contemporary history”, Winter 1988, p58-65.

Prospect Photographie, “Eldon Garnet”, Kunstverein, Benedict Press, Kunstverein Frankfurter, 1988, p50-53,

Dick Loeb, Toronto Star, “Police Officer a model subject for statue”, Wednesday, August 3, 1988, pA3.

Christopher Hume, The Toronto Star, “Choice of art is crime at police headquarters”, Friday, August 5, 1988.

The Toronto Star, “Best of 88: Twelve months of entertainment”, Saturday, December 31, 1988.

Christopher Hume, The Toronto Star, “Abstract predictions for ‘89 art”, Friday, December 30. 1988.

Jane Perdue, Now, “Seeking the dream and lie of public awareness”., August 11-24, 1988.

Donald Schmitt, Vanguard, February/March 1988, Vol. 17, No. 1, p45, response to Chinese Railway Memorial.

Joe Serge, The Toronto Star, “Monument to Honour 17,000 chinese railway workers”, Monday, January 11, 1988.

Artviews, “Design Chosen in competition for Chinese Railroad Workers’ Memorial”, Spring 1987, p37.

Mark Lewis, Vanguard, “The technologies of public art”, November 1987, p16,17.

Geoff Miles, Vanguard, Volume 16 no. 2, April/May 1987, review, Cold City Gallery.

Gary Greenwood, Views, “Heavy Industry”, Vol. 4 No. 1, February 1987, review, Cold City Gallery.

The Globe and Mail, “Eldon Garnet’s installation is perhaps best read as an allegory of the art world”, Saturday, January 10, 1987.

Earl Miller, Vanguard, January 1987, “Undimensional man”, p39, review, Cold City Gallery.

John Bentley Mays, The Globe and Mail, “Sexual stress and the urban male”, Saturday, January 10, 1987, review, Cold City.

Deirdre Hanna, Now, January 8-14, 1987, review, Cold City Gallery.

John Bentley Mays, The Globe and Mail, January 10, 1987, review, Cold City Gallery.

Canadian Art, Winter 1986, review, Cold City Gallery.

Bruce Grenville, Parachute, review, March-May 1986, A.R.C. Toronto.

Carlo Pirovano, Arte e Scienza, Biologia, Technologia e Informatica, “Technologia e Informatica”, Edizioni la biennale, Electra Editrice, 1986, p63,

Gary Michael Dault, Vanguard, December 1985/January 1986, Vol. 14, No. 10, review, A.R.C. Toronto.

John Bentley Mays, The Globe and Mail, “Urban fish out of water speared by Garnet”, October 30, 1985, review, A.R.C.

Donna Lypchuk, C Magazine, No. 2, Summer 1984, “Caves”, p57-59, review, A.R.C.

John Bentley Mays, The Globe and Mail, “Garnet’s Caves”, Friday, April 6, 1984, review, A.R.C.

James Marck, Eye, Garnet’s Controversial Caves”, April 19-25, 1984, p1, p9, review, A.R.C.

Jon Bentley Mays, The Globe and Mail, “Garnet’s tableaux”, “Caves”, February 1984, review on performance in Buddies in bad times Theatre Company.

John Bentley Mays, The Globe and Mail, “Garnet’s Tableaux”, Monday, January 31, 1983, review, The Theatre Centre.

David Livingstone, Toronto Life Fashion, “Four Artists’ thoughts on fashion”, Spring 1983, p75-76.

The Globe and Mail, “Photos banned from bus shelters”, Saturday, December 11, 1982.

Gary Michael Dault, Vanguard, “Here Between Towers Photographic Environments of Eldon Garnet”, September 1982, Vol. 11, No. 7, p19.

Gary Michael Dault, The Globe and Mail, “Quirky, ‘hot’ shots invite the voyeur”, Thrusday, June 3, 1982, review, The Cameron.

David Hlynsky, Image Nation 26, “New Canadian Photography”, Canadian Centre of Photography and Film, 1982.

Karl Edward Jirgens, Toronto Arts News, “White Slave Trade invades the Cameron”, March 1982, p5, review.

Shelley Rice, Afterimage, “Nots and lots of knots”, Summer 1982.

Carole Corbeil, The Globe and Mail, “Eldon Garnet: Every picture tells a story”, Saturday, April 11, 1981, review, Canadian Centre of Contemporary Photography.

Claudia Dona, Fashion Design, “Other Magazines”, March 1981, p2, Impulse magazine review.

Cover, “Circuits”, January 1980, Vol. 2, No. 1, p14.

Beverly Ensom, Super 8 Filmaker, “Profiles: Canadians Film Einstein’s Joke”, January/February, 1979, Vol.7, No. 1, p66-67.

Adele Freedman, The Globe and Mail, “High School a snow job from Snow”, March 31, 1979, review.

Janice Ross, Artweek, “Eldon Garnet- ‘Einstein’s Joke’ and ‘Brebeuf’”, June 1978.

Caitlin Kelly, The Globe and Mail, “Fred and Ginger wouldn’t have stood a chance”, Tuesday, August 15, 1978, event coverage, A Space Gallery.

Adele Freedman, Toronto Life, “An epic poet for the electronic age”, November 1978, p57

Adele Freedman, The Globe and Mail, “Turning the page opens doors”, November 1, 1978, review, Einstien’s Joke.

  1. Bidner, Brick 3, “Disposable Sculptures”, Spring 1978, p34, review Impulse magazine.

Judith A. Hoffberg, Umbrella, “AAP Conference in Chicago: An Overview”, November 1978, p131, panel discussion coverage.

Voice, “Wednesday”, February 13, 1978, p46, review Impulse magazine.

Marjore Harris, The Canadian/The Toronto Star, “The Little Prints”, April 8, 1978, p18b, review Impulse magazine.

Carl E. Loeffler, La Mamelle Magazine: Art Contemporary, “Eldon Garnet”, Summer 1978, no. 11, Vol. 3, No. 3, p25, interview.

Brooks Joyner, Centerfold, “Impulse”, Summer 1977, No.9-10, p6, review Impulse magazine.

Jurgens, Brown, Only Paper Today, “Eldon Garnet at the Isaacs Gallery”, October 1977.

Paul Steuwe, Quill and Quire, “Small Magazines”, November 1976, review.

Stephen Vincent, San Francisco Review of Books, “Poetry Review”, December 1975, p22, literary review.

Gary Michael Dault, Books in Canada, “Garnet and other glows”, February 1975, literary review.

Eli Mandel, The Globe Magazine, “The real reveals tiresome”, September 27, 1969, p18.

A.W. Purdy, The Canadian Forum, “T.O. Now: The Young Poets”, November 1968, p181-182, review, T.O. Now Poetry Anthology.

 

INSTITUTIONAL COLLECTIONS

Appleton Museum Florida

Art Bank

Art Gallery of Ontario

University of Cape Brenton

Canadian Museum of Contemporary Photography

Carlton University Gallery

Dunlop Art Gallery

Gemeente Museum Helmond

Georgian Art Gallery

Greater Victoria Art Gallery

Hamilton Art Gallery

Kamloops Art Gallery

Kenderdine Art Gallery, Saskatoon

Museum of Modern Art, NY

Ryerson Art Gallery

Sudbury Art Gallery

University of Lethbridge

University of Toronto Art Gallery

Vancouver Art Gallery

Wilfred Laurier University Gallery

Windsor Art Gallery

Winnipeg Art Gallery

York University Gallery

Ydessa Hendeles Foundation

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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