October 15, 2015 [originally published on March 31, 2010] — Looking back over twenty years and trying to retrace the path of experiments with images, we start in the early 1990s, when a couple of newcomers, Alain Paiement and Roberto Pellegrinuzzi, were already starting to turn heads. In an essay published in 1992, Denis Lessard tried to show what these artists owed to the heritage of Pierre Boogaerts, Bill Vazan, and Serge Tousignant.1 He also mentioned the work, then new, of Raymonde April, Lucie Lefebvre, and Denis Farley. This effort at historical perspective was out of place at the time, when the lion’s share of attention in the critical environment was being paid to the rebirth of installation art and the manner in which photography and, soon, the photographic would be inserted into it.
[Summer 2007] This article was originally published only in French. You can read it by switching over to the French version of this page. Summary Since the end of the 1960s, Bill Vazan has been producing conceptual works in the form of urban itineraries for which he uses various modes of transportation (walking, driving, riding […]
[Summer 2007] by Henry Lehmann The title was as brief and streamlined as the piece itself, called simply Worldline. With this unearthly 1971 project, based on the ultimate invisibility of pure line and on its infinite conceptual reach, Montreal artist Bill Vazan truly launched his career. Of course, most of this line, tangibly linked up […]
[Spring 1995] by Mona Hakim Bill Vazan’s fragmented photographs, one comes to understand the necessity of interrogating the very conditions of photography’s procedures, and consequently, those of vision. Conditions related to what Philippe Dubois adverts to as the “flatness” of the photographic image, an image “reinforced by the monocular nature of the optical device, [and […]