Publications

T+T False Creek – Book Publication

Publications
Book Cover

The work of T&T (Tony Romano and Tyler Brett) reflects on ideas of sustainability, green architecture and technological progress. Their artworks frequently include elements of natural systems such as solar power and organic filters in conjunction with recycled and reconfigured technology. Over the course of their diverse artistic practice, they have developed a survivalist-informed aesthetic, creating whimsical, yet critically considered artworks that provide astute commentary on our historical moment.

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Digital Natives- Book

Publications
Digital Natives Bool Cover Cover

Other Sights for Artists’ Projects and the City of Vancouver Public Art Program are pleased to announce the release of a book publication documenting the public art project Digital Natives, presented on the electronic billboard at the Burrard Street Bridge, in Vancouver, Canada.

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Jordan Strom on T+T – pdf

Commissioned Text Series
T&T PDF Cover

In summer of 2007 a banner was proudly unfurled from one of the upper stories of a newly erected condominium tower on the north footing of Vancouver’s Cambie Street Bridge. Printed on it was a picturesque image of False Creek complete with knock-off geodesic dome and striated, pinky-orange sky.

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Bruce Grenville on Eric Deis – pdf

Commissioned Text Series
Essay Cover

It is a sad picture, and one that carries a surprising anxiety. The small house is surrounded by chain link fencing, topped with barbed wire, a ‘beware of dog’ sign bars the door, and nearby another hand-scrawled posting advises that the house and lot are not for sale. It is a tiny fortress, buttressed against a panic driven transformation of the urban landscape – last chance to buy, last chance to save the house, last chance to escape – it is hard to tell which is more important – but it is definitely the last chance.

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Holly Ward on Köbberling & Kaltwasser – pdf

Commissioned Text Series
Essay Cover

Folke Köbberling and Martin Kaltwasser’s The Games are Open presently takes the form of an oversized bulldozer that sits on the west side of Vancouver’s Southeast False Creek’s Olympic Village. A gargantuan mock-up of the very machine that was recently used to raze the surface upon which it sits, the object appears to be permanent, dominating and perhaps even obtuse. Appearances, in this case, can be misleading. Rather than a static example of ‘plop art’, this colossal model performs a dialectical dance between notions of legacy and the forces of entropy, operating in turn as both monument and anti-monument.

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