GALERIE EMMANUEL HERVE 6 rue Jouye-Rouve · 75020 Paris · France T. +33 9 51 10 96 58 - bonjour@emmanuelherve.com - www.emmanuelherve.com SARL ALICE TRAVEL CIE au capital de 1500 € - RCS PARIS 508 932 803 · Siret : 508 932 803 00028 · TVA : FR88508932803

DEREK SULLIVAN

EMMANUEL HERVE

Introduction

Derek Sullivan was born in 1976 in Richmond Hill, Canada — he lives and works in Toronto, Canada

Employing formal and textual elements that frequently contradict and alter relationships with one ano-ther, Derek Sullivan draws upon overlapping histories of modernist design, abstraction and conceptual art to unsettle notions of meaning and authorship. Sullivan uses drawing and sculpture, in addition to producing various ephemeral conceptual projects, to explore his interest in reinterpreting familiar forms in order to open up new areas of inquiry.

Introduction

Derek Sullivan est né en 1976 à Richmond Hill, Canada — il vit et travaille à Toronto, Canada Derek Sullivan utilise dans son travail des éléments formels et textuels qui souvent modifient les rela-tions entre les individus. Il dessine des histoires qui se chevauchent issues de l’esthétique moderniste, de l’abstraction et de l’art conceptuel. Sullivan utilise le dessin et la sculpture, en plus de réaliser divers projets éphémères et des livres. Il réinterprète les formes familières dans le but d’offrir de nouvelles lectures.

Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole

Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole

Cover to Cover 2014 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole

Peg Rail #8 (Parrots, Photocopiers &), 2014 Rail en bois, photographie, cintre et impression jet d’encre sur toile Wood rail, photography, hanger and inkjet print on canvas90 x 90 x 12,5 cmPhoto: Aurélien Mole

Snow’s Nose, 2014Photocopie et impression jet d’encre sur tissu et magnetsPhotocopy on paper, inkjet on cotton silk, magnets225 x 50 x 5 cm Photo: Aurélien Mole

Cover to CoverKathleen Ritter - 2014

Moving between drawing and sculpture, the work of Derek Sullivan often takes the form of the double or decoy. He deftly weaves together the intersecting histories of modernist archi-tecture, design, and abstraction into new relations of signification, paying particular attention to recurring patterns and forms. Through an elaborate process of copying, and often with the most basic materials—wood, pencil crayon, gouache, printed paper—Sullivan transforms his original referents in such a way to contest the very idea of meaning and authorship.

At the heart of his practice is the book—its conventions, its histories, and its possibilities. Sullivan takes up the history of the artist’s book in particular, and looks back to artists who explored the formal and conceptual apparatus of the codex in an effort to reinvent the form of the book today.

The starting point for Sullivan’s recent exhibition is Cover to Cover, the 1975 book by Ca-nadian artist Michael Snow, one of the most seminal artists’ books produced in the history of the genre. The book is entirely composed of images reproduced to the edge of the page. There is no text, save the title printed on the spine. The sequence of images is made by two photo-graphers aiming their cameras at the artist who is caught in their photographic crossfire. Their exposures are synchronized and result in two parallel sequences that form a pair of images printed recto-verso on each page of the book, from cover to cover. The book collapses form and image in such a way that the traditional codex is no longer linear, but becomes circular.

In playful homage, Sullivan has created a series of dust jackets for Snow’s seminal book. Similarly titled Cover to Cover (2014), Sullivan’s dustjackets are a proposition to disguise, contain and ultimately reinvent the original. They are distinctly handmade, incorporating found images and collage, text and drawing, as a way to imagine new trajectories for the book. Sullivan’s proposition for different covers for Snow’s Cover to Cover plays on the multiple meanings of the word «cover» as both a book cover, but also a cover version in music when a new interpretation is made of an old hit.

Sullivan’s dust jacket decoys are paired with Snow’s Nose (2014), a large Xerographic print of Michael Snow’s face—a close-up of the artist’s nose. The work is a reference to Nikolai Gogol’s satirical short story, The Nose (1836), in which a Russian bureaucrat loses his nose only to find that it has taken on a life of its own. Snow’s Nose is also a play on words. In En-glish, “nose” and “knows” are homonyms, two words that sound exactly the same in speech, but have different etymologies and meanings. Here we see the artist’s nose, but it also suggests that Michael Snow has the knowledge of something that we don’t. What does Snow know? Where is Snow’s nose? Finally Snow’s Nose is accompanied sculptural artist’s book in the form of a handkerchief.

Together the works in the exhibition tease out the history of the artist book alongside the question of artistic influence and lineage, in a mischievous and adoring homage to the legacy of Michael Snow.

Cover to CoverKathleen Ritter - 2014

Entre dessin et sculpture, le travail de Derek Sullivan prend souvent la forme d’un double, ou d’un leurre. Il tisse ensemble et avec dextérité les histoires de l’architecture moderniste, du design, et de l’abstraction dans de nouvelles relations de sens, avec une attention toute particulière pour les récurrences des motifs et des formes. Par un processus élaboré de copie, et souvent avec les matériaux les plus basiques – bois, crayon, gouache, papier imprimé – Sul-livan transforme ses propres référents originels de telle sorte à contester l’idée même de sens et d’originalité.

Le livre – ses conventions, ses histoires, et ses possibilités – est au cœur de sa pratique. Sul-livan s’empare de l’histoire du livre d’artiste en particulier, et revient sur les artistes qui ont exploré le dispositif formel et conceptuel du codex avec pour intention de réinventer la forme du livre.

Le point de départ de cette nouvelle exposition est l’ouvrage Cover to Cover (1975) de l’ar-tiste canadien Michael Snow, l’une des œuvres les plus influentes de l’histoire du genre du livre d’artiste. Ce livre est entièrement composé d’images reproduites en pleine page. Aucun texte, si ce n’est le titre inscrit sur le dos de l’ouvrage. La séquence d’images est réalisée par deux photographes pointant leur appareil vers l’artiste qui se retrouve pris dans leurs feux photographiques croisés. Leurs prises de vues sont synchronisées et génèrent donc deux séquences parallèles qui forment une paire d’images imprimées recto verso sur chacune des pages du livre, de couverture à couverture. Le livre confronte forme et image de telle manière à retirer au codex traditionnel sa linéarité, pour le rendre circulaire.

Dans un hommage ludique, Sullivan a créé une série de jaquettes pour l’ouvrage fondamental de Snow. Egalement intitulées Cover to Cover (2014), ses couvertures de Sullivan sont une proposition pour déguiser, contenir, et finalement réinventer l’original. Elles sont à l’évidence faites à la main, incorporent des images trouvées, du texte et des dessins, comme pour ima-giner de nouvelles trajectoires pour le livre. La proposition de Sullivan pour de nouvelles couvertures au Cover to Cover de Snow se joue des multiples sens du mot « couverture » en anglais, couverture de livre mais aussi la notion de reprise en musique [cover music] lors-qu’une nouvelle interprétation est faite d’un vieux succès.

Les jaquettes leurres de Sullivan sont associées à Snow’s Nose (2014), une grande impression xérographique du visage de Michael Snow – un gros plan du nez de l’artiste. Ce travail fait référence à la nouvelle satirique de Nikolai Gogol, The Nose (1836), dans laquelle un bureau-crate russe perd son nez, avant de se rendre compte que ce dernier assume sa propre existence. Snow’s Nose est aussi un jeu de mot. En anglais, nose et knows sont homonymes, deux mots qui sonnent identiques à l’oreille mais dont les étymologies et le sens diffèrent. Nous voyons ici le nez de l’artiste, mais il suggère aussi que Michael Snow sait quelque chose que nous ignorons. Que sait Snow? Où est le nez de Snow? Finalement, Snow’s Nose s’accompagne d’un livre d’artiste sculptural dans la forme d’un mouchoir.

Les œuvres réunies dans cette exposition se jouent de l’histoire du livre d’artiste tout autant que de la question de l’influence et de la parenté artistique, dans un hommage espiègle et ado-rateur à l’héritage de Michael Snow.

Cover to Cover (Handheld), 2014Crayon de couleur et lettraset sur papier + étagère en boisColored pencil and lettraset on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)Photo: Aurélien Mole

Cover to Cover (Court and Spark), 2014Aquarelle et crayon de couleur sur papier + étagère en bois Watercolor and colored pencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Sideglances), 2014Encre sur un poster trouvé, acétate + étagère en boisInk stamp on found poster, acetate + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Les Ziaux), 2014Aquarelle et encre sur papier + étagère en bois Watercolor and ink on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (colour balance), 2014Aquarelle et crayon de couleur sur papier + étagère en bois Watercolor and colored pencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Snow’s Nose), 2014Sérigraphie, acrylique et collage sur papier + étagère en boisSilkscreen, acrylic and collage on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (colour balance), 2014Aquarelle et crayon de couleur sur papier + étagère en bois Watercolor and colored pencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Snow’s Nose), 2014Sérigraphie, acrylique et collage sur papier + étagère en boisSilkscreen, acrylic and collage on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (The Nose), 2014Impression EPSON, encre et crayon de couleur sur papier + étagère en boisEPSON print, ink and colored pencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (La Promenade), 2014Crayon sur papier + étagère en boisPencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Hand Held), 2014Gouachesur papier + étagère en bois Gouache on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Gordon Lightfoot), 2014Crayon de couleur, gouache et lettraset sur papier + éta-gère en boisColored pencil, gouache and lettraset on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Cover to Cover (Dueling Banjos, 2014Crayon sur papier + étagère en bois Pencil on paper + wood shelf23 x 53 cm (dessin) 20 x 40,5 x 25 cm (étagère)23 x 53 cm (drawing) 20 x 40.5 x 25 cm (shelf)photo: Aurélien Mole

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notables Booksellers 2013 -- vue d’exposition exhibition view -- Jessica Bradley, Toronto, Canada

Four Notable Booksellers, 2013Bois, contreplaqué imprimé, charnières métalliques, crayon de couleur sur papier / Impression EPSON sur papier entourant des livres trouvés, acid free mylar, dessins sur carton, pince métallique Wood, printed plywood, metal hinges, colored pencil on paper / gouache on paper / EPSON print on paperwrapped around found books, acid free mylar, drawings in mat board, metal clips

Problems That Arise From Continually Confusing Left + Right, 2013Plaque émaillées / Vitreous enamel signs

5 éléments, chaque 6,4 x 27,9 cm, dimension et configuration varible5 units, each 6.4 x 27.9 cm, installation dimensions variable, configuration adaptable

Edition de 3 exemplaires / Edition of 3

#91, Michelangelo Pistoletto, 2013Crayon de couleur sur papier / Colored pencil on paper127 x 98 cm

#93, Literatur & Katzen & Katzenliteratur, 2013Crayon de couleur sur papier / Colored pencil on paper

127 x 98 cm

Rules, 2012 -- Bois, métal, peinture acrylique et encre / Wood, iron, acrylic painting and ink --2 x 1,5 x 270 cm -- Edition de 2 exemplaires / Edition of 2 -- Photo: Aurélien Mole

Wright, rite, write, right 2012 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole

Rules, 2012 -- Bois, métal, peinture acrylique et encre / Wood, iron, acrylic painting and ink --2 x 1,5 x 270 cm -- Edition de 2 exemplaires / Edition of 2 -- Photo: Aurélien Mole

Wright, rite, write, right 2012 -- vue d’exposition exhibition view -- galerie Emmanuel Hervé,Paris, France -- Photo: Aurélien Mole

Peg Rail #7 (Letters to a Young Poet), 2012Rail en bois, objet en verre, corde en nylon, cuir, livre, chaise Rietveld Zig-Zag en pin, gouache et impres-sion EPSON sur papier Wood rail, glass object, nylon rope, colored leather, found book, pine Rietveld Zig-Zag chair, gouache and EPSON print on paper180 x 244 x 48 cmphoto: Aurélien Mole

Peg Rail #7 (Letters to a Young Poet), 2012 -- Détail / Detail -- photo: Aurélien Mole

Peg Rail #7 (Letters to a Young Poet), 2012 -- Détail / Detail -- photo: Aurélien MolePeg Rail #7 (Letters to a Young Poet), 2012 -- Détail / Detail -- photo: Aurélien Mole

Peg Rail #6 (You were right...) 2012 -- Rail en bois, chaines métallique, pack de 6 bierres modifié / Wood rail, various chains, modified beer 6-pack -- 120 x 366 x 16 cm -- Collection privée / Private collection, Paris, France

Peg Rail #5 (Albatros Omnibus) 2012 -- Rail en bois, chaise Rietveld Zig-Zag en pin, 52 livres d’artiste, cordes en nylon, ancre de 2 kg et tissu imprimé / Wood peg rail, replica Gerrit Rietveld Zig Zag Chair, 52 artist’s books, nylon cord, 2kg boat anchor, printed fabric -- 106 x 244 x 47 cm --Edition de 2 exemplaires / Edition of 2

Peg Rail #4 (More Young Americans) 2012 -- Rail en bois, tissu imprimé, bande magnétique, ceinture de bagage en nylon, badge designé par l’artiste, livre relié et cuir / Wood peg rail, printed fabric, twill tape, nylon luggage belt, hardcover book, artist designed button, leather -- 209 x 244 x 16 cm

Stripped Cover, 2012Impression EPSON, gouache et lettraset sur papierEPSON print, gouache and lettraset on paper21 x 14 cmphoto: Aurélien MoleCollection privée / Private collection, Sherbrook, Canada

Stripped Cover, 2012Impression EPSON, gouache et lettraset sur papierEPSON print, gouache and lettraset on paper19,7 x 14 cmphoto: Aurélien Mole

Stripped Cover, 2012Impression EPSON, gouache et lettraset sur papierEPSON print, gouache and lettraset on paper20 x 15 cmphoto: Aurélien MoleCollection privée / Private collection, Paris, France

#82, The Missing Novella, 2012Crayon de couleur sur papier / Colored pencil on paper127 x 98 cm

#89, Letters to a Young Poet, 2012Crayon de couleur sur papier / Colored pencil on paper

127 x 98 cm

Peg Rail #3 (An idea folded into time. An idea folded into space), 2011Rail en bois, chaise Rietveld Zig-Zag en pin peinte en vert oxyde, corde sur un support en bois ,tissu découpé au

laser, tressage de corde et livre d’artiste uniqueWood rail, pine Rietveld Zig-Zag chair painted oxide green, laser cut fabric, cable on wooden form, rope

weaving, unique artists’ book180 x 152,5 x 46 cm

Collection de Joe Shlesinger and Samara Walbohm’s collection, Toronto, Canada

Peg Rail #2 (walking and chewing the fat at the same time), 2011Rail en bois, chaise Rietveld Zig-Zag en pin, 3 morceaux de corde, tissu découpé au laser et livre d’artiste uniqueWood rail, pine Rietveld Zig-Zag chair with aluminum paint, 3 pieces of rope, laser cut fabric, unique artists’ book137,2 x 129,5 x 45 cm

Peg Rail #1 (A turn of 90 degrees is the most one can change direction without backtracking), 2011Rail en bois, chaise Rietveld Zig-Zag en pin, crayon de couleur sur papier, objet en bois, réplique d’un

collier Anni Albers et livre d’artiste unique Wood rail, pine Rietveld Zig-Zag chair, coloured pencil on paper, wood object, replica Anni Albers

necklace, unique artists’ book150 x 152 x 45 cm

Peg Rail #2 (walking and chewing the fat at the same time), 2011Rail en bois, chaise Rietveld Zig-Zag en pin, 3 morceaux de corde, tissu découpé au laser et livre d’artiste uniqueWood rail, pine Rietveld Zig-Zag chair with aluminum paint, 3 pieces of rope, laser cut fabric, unique artists’ book137,2 x 129,5 x 45 cm

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- vue d’exposition exhibition view -- The Power Plant, Toronto, Canada

Albatros Omnibus 2011 -- 52 livres d’artistes, étui toilé, tissu / 52 artist’s books, cloth bound case, cloth -- Dimension variable / Variable dimension -- Edition de 10 + 2 E.A. / Edition of 10 + 2 A.P.

Six Illustrations for (and/or from) a book that is (and/or will be) titled More Young Americans 2011 -- Gouache, crayon, impression EPSON sur papier / Gouache, pencil, EPSON print on paper -- 6 x 30,4 x 22,7 cm, chaque / 6 panels, each 30,4 x 22,7 cm -- photo: Aurélien Mole

Illustration from The Albatross (K), 2010Crayon de couleur et gouache sur papier / Colored pencil and gouache on paper61 x 46 cm

Illustration from The Albatross (J), 2010Crayon de couleur et gouache sur papier / Colored pencil and gouache on paper

61 x 46 cm

Illustration from The Albatross (B), 2010Impression EPSON et gouache sur papier / EPSON print and gouache on paper61 x 46 cmEdition de 3 exemplaires uniques / Edition of 3 unique copiesphoto: Aurélien Mole

Illustration from The Albatross (A), 2010Impression EPSON et gouache sur papier / EPSON print and gouache on paper

61 x 46 cmEdition de 3 exemplaires / Edition of 3

I never dreamt that I would get to be the creature that I always meant to be #2, 2008Tissu découpé au laser (Geometri 459970 by Verner Panton 1960)Lasercut fabric (Geometri 459970 by Verner Panton 1960)Dimension et présentation variable / Variable dimension and presentationEdition de 2 exemplaires / Edtion of 2Collection privée, Toronto, Canada et Collection privée, Paris, FrancePrivate collection, Toronto, Canada & Private collection, Paris, Francephoto: Aurélien Mole

We May Be Standing on the Shoulder of Giants But Some of Us are Looking at the Stars 2007 -- Tissu découpé au laser / Laser-cut fabric -- 140 x 112 cm -- Présentation Variable / Variable presentation -- Edition de 3 exemplaires uniques / Edition of 3 uniques copies

Derek SULLIVAN

Born 1976 in Richmond Hill, Canada — Lives and works in Toronto, Canada

Education

2002 — MFA, University of Guelph, Guelf, Canada1998 — BFA, York University, York, Canada

Solo exhibitions

2014 — Cover to cover, Galerie Emmanuel Hervé, Paris, France 2013 — Four Notable Booksellers, Jessica Bradley, Toronto, Canada 2012 — Wright, rite, write, right, Galerie Emmanuel Hervé, Paris, France2012 — Surplus Portfolio, Open Studio, Toronto, Canada2012 — Right, write, wright, rite, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium2012 — Leiber & Sullivan, National Gallery of Canada, Library & Archives, Ottawa, Canada2011 — Albatross Omnibus, The Power Plant, Toronto, Canada2011 — Walking and Chewing the Fat at the Same Time, Jessica Bradley Art + Projects, Toronto, Canada2011 — Young Americans, KIOSK, Ghent, Belgium2010 — It is more difficult to hit a moving target, University of Waterloo Art Gallery, Waterloo, Canada2009 — Waiting Game, Jessica Bradley Art + Projects, Toronto, Canada2008 — Le poème de l’angle droit, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium2008 — Bulletin Board, White Columns, New York, USA2008 — How, I wrote certains of my books, Librairie Florence Loewy, Paris, France2008 — We May Be Standing On The Shoulder Of Giants But Some Of Us Are Looking At The Stars, Southern Alberta Art Gallery, Lethbridge, Canada2007 — Jessica Bradley Art + Projects, Toronto, Canada2007 — Art Gallery of York University, Toronto, Canada2007 — Cold Open, Optica, Montréal, Canada2005 — Toronto Sculpture Garden, Toronto, Canada2005 — Jessica Bradley Art + Projects, Toronto, Canada2005 — Statements, Solo Exhibition, Toronto, Canada2004 — Satchel Gallery, Toronto, Canada2004 — Gallery Xeno, Vancouver, Canada2003 — Mercer Union, Toronto, Canada2002 — MacDonald Stewart Art Centre, Guelph, Canada2001 — Passengers & Tour Guides (with Kevin Rodgers), Artspeak, Vancouver, Canada

Selected group exhibitions

2014 — Contemporary Drawings from The National Gallery of Canada, Mendel Art Gallery, Saskatoon, Canada 2013 — Barbarie, La Générale en Manufacture, Sèvres, France — curator Elisa Rigoulet 2013 — Brigadoon, La Tolerie, Clermont-Ferrand, France — curator Céline Poulain2013 — More Young Americans, L’Enclos des Bernardins, Paris, France — curator Susanne van Hagen with the help of Marc-Olivier Wahler & Miguel Macedo Basto de Carvalho2013 — PATHFINDER Everything goes, not anything, Moins Un, Paris, France — curator Arlène Berceliot Courtin

2013 — Ed Ruscha Books & Co., Gagosian Gallery, New York, USA2013 — Magiciens, Galerie Emmanuel Hervé, Paris, France2012 — Sobey Art Award 10th Anniversary, MOCCA, Toronto, Canada 2012 — Builders, Biennale du Canada, National Gallery of Canada, Ottawa, Canada 2012 — Lou Ford, G Gallery, Toronto, Canada — curator Roger Bywater2012 — Celluloid Brushes an anthology of the filmic perception of the artist from 1627 till today, Witte de With Center for Contemporary Art, Rotterdam, Netherlands — curator Etablissement d’en Face2012 — Celluloid Brushes an anthology of the filmic perception of the artist from 1627 till today, Galerie Isabella Bortolozzi, Berlin, Germany — curator Etablissement d’en Face2012 — Cut And Paste, Equinox Project Space, Vancouver, Canada2011 — During the night the exhibition continue : La servante, Galerie Emmanuel Hervé, Paris, France2011 — Books on Books, Swiss Institute, New York, USA2011 — Power to the People: Contemporary Conceptualism and the Object in Art, ACCA, Melbourne, Australia2011 — The Object of Observation (Changes by Being Observed), Johnen Galerie, Berlin, Germany2011 — The 2011 Sobey Art Award: Ontario Long-List, Oakville Galleries, Oakville, Canada2011 — Out of Print, Mercer Union, Toronto, Canada2010 — The Illustrated Dictionary of Received Ideas, Drawing Session Nine (with Gareth Long), Kate Werble Gallery, New York, USA2009 — Art Read, Glenn Horowitz, East Hampton, New York, USA2009 — La collection, enrichissements 2008 - 2009, CDLA, Saint-Yriex-la-Perche, France2009 — Architecture of Survival, Komplot, Brussels, Belgium2009 — Sobey Art Award Ontario Shortlist, Cambridge Galleries, Cambridge, Canada2008 — Art Metropole: The Top 100, Museum of Contemporary Canadian Art, Toronto, Canada2008 — The Black Market Type & Print Shop, articule, Montréal, Canada2008 — Citizen, Denizen, Resident, Tatjana Pieters/OneTwenty Gallery, Ghent, Belgium2008 — Untitled (Work on Paper), David Kramer, David Armostrong Six, Jennifer Murphy, Raymond Pettibon and Derek Sullivan, Moti Hassan Gallery, New York, USA2008 — P2P, Casino Luxembourg Forum d’art Contemporain, Luxembourg, Luxembourg — curated by Le Bureau2007 — Gasoline Rainbows, Contemporary Art Gallery, Vancouver, Canada2007 — On being an exhibition, Artists Space, New York, USA2007 — Limited, Jessica Bradley Art + Projects, Toronto, Canada2006 — We Can Do This Now, The Power Plant, Toronto, Canada2006 — Art Metropole: The Top 100, National Gallery of Canada, Ottawa, Canada2006 — Habitat, Jessica Bradley Art + Projects, Toronto, Canada2006 — Art on Paper 2006, Weatherspoon Art Museum, Greensboro, USA2006 — Du coté de Jessica Bradley Art + Projects, Galerie René Blouin, Montréal, Canada2006 — Storefront, National Gallery of Canada, Ottawa, Canada2005 — The Gift, Julia Friedman Gallery, New York, USA2005 — Other Worlds, Jessica Bradley Art + Projects, Toronto, Canada2005 — Dedicated to you, but you weren’t listening, The Power Plant, Toronto, Canada2004 — Sculpture. The News at 5, Toronto International Art Fair, Toronto, Canada — curated by Rick Rhodes2004 — Downtown Art Space, Adelaide, Australia2004 — Come Up to My Room, Gladstone Hotel, Toronto, Canada2003 — Chamomile Testerosa, 1066 Project Space, Toronto, Canada2003 — James Carl/Jennifer Murphy & Chris Rogers/Derek Sullivan, Mercer Union @ art forum Berlin, Berlin, Germany2003 — Psychotopes, YYZ Artistsí Outlet, Toronto, Canada2003 — Bauhauswerk, weewerk, Toronto, Canada2003 — Lucid Clutter, YYZ Artists’ Outlet, Toronto, Canada2002 — Selling Out & Buying In, Biz Art, Shanghai, China2002 — RISK, Belkin Satellite, Vancouver, Canada

2002 — Wreck Room, Art System, Toronto, Canada2002 — Wreck Room, Helen Pitt Gallery, Vancouver, Canada2001 — It’s Not What You’re Like, It’s What You Like, Art System, Toronto, Canada2001 — Trophy, YYZ Artistsí Outlet, Toronto, Canada2000 — Inaugural Ball, West Wing Art Space, Toronto, Canada 2000 — Hat Towers 2, Red Head Gallery Showcase, Toronto, Canada — curated by Jenifer Papararo2000 — 20th Century Sideshow, Blueprint Gallery, Toronto, Canada1999 — Suburban Landscape, Red Head Gallery, Toronto, Canada

Awards 2012 — Sobey Art Award Ontario Short List 2011 — Sobey Art Award Ontario Long List 2009 — Sobey Art Award Ontario Long List2008 — Canada Council, Travel Grants to Professional artists 2007 — Toronto Arts Council Level Two 2006 — Ontario Arts Council Exhibition Assistance 2005 — Ontario Arts Council Exhibition Assistance Ontario Arts Council Emerging Artist Grant 2003 — Toronto Arts Council Level One

Collections

Art Gallery of York University, Toronto, Canada Bibliothèque Kandinsky, Centre Pompidou, Paris, France Bibliothèque Nationale de France, Paris, France BMO Bank of Montreal Collection, Montreal, CanadaCDLA, Saint-Yrieix-la-Perche, FranceGetty Museum Archives and Library, Los Angeles, USAMacDonald-Stewart Art Centre, Guelph, CanadaLibrary & Archives of the National Gallery of Canada, Ottawa, CanadaMcCarthy-Tétrault, Toronto, CanadaNational Gallery of Canada, Ottawa, CanadaPerimeter Institute, Waterloo, CanadaRBC Collection, Toronto, Canada TD Bank Group Collection, Toronto, Canada

Selected bibliography in alphabetical order

Adler, Dan. We Can Do This Now. (review) Artforum, March 2007Adler, Dan. Derek Sullivan, Canadian Art, Spring 2008Balzer, David. Eye Candy: Dedicated to You, But You Weren’t Listening, Eye Weekly. March 24, 2005Balzer, David. Eye Candy: Derek Sullivan, Eye Weekly. September 29, 2005Bowen, Elaine. Lucid Clutter, YYZine, YYZ Artist’s Outlet, January 2003.Burnham, Clint. Poster Boy, brochure, Toronto Sculpture Garden, 2005. Burke, Gregory; Bronson, AA; Ritter, Kathleen. Derek Sullivan: Albatros Omnibus, toronto: The Power Plant Contemporary Art Gallery, September, 2011 Clarke, Bill. Albatross Omnibus. Canadian Art. Winter, 2011

Dault, Gary Michael. Gallery Going, The Globe and Mail. August 7, 1999Dault, Gary. Gallery Going, The Globe and Mail. August 14, 2003.Dault, Gary. A poster child for street life, The Globe and Mail, November 12, 2005. Davis, Brian Joseph. Fun for Goths 2: Robert Smithson Eye Weekly, February 1, 2007.De Vito, Natalie. Selling Out & Buying In. catalogue essay, 2002.Demkiw, Janis. Each the Same to Start. brochure, 2003. Enright, Robert. Echoes of Familiarity. C Magazine. Winter, 2009.Godard, Peter. A Dose of Conceptual Art. Toronto Star, April 14, 2005.Hirschman, Thomas. Messy Success, Lucid Clutter review, NOW magazine. January 15, 2003.Hirschman, Thomas. High-quality quartet. NOW magazine. January 1, 2004. Hutton, Jen. Canadians In Europe. Magenta, 2011.Jordan, Betty Ann. Dedicated to you, But You Weren’t Listening, Toronto Life, April 2005.Labossière, Robert. Dedicated to you, But You Weren’t Listening, Para Para 20, 2005.Lauson, Clifford. The Artifice of Risk. Risk: Playing the Game, brochure, 2002.McLaughlin, Bryne. Biennale de Montréal: The Gamblers. Canadian Art, Summer, 2011. Mavrikakis, Nicolas. Nouveau Territoires. Voir, March 1, 2006.Meredith, Pamela. Derek Sullivan: We May be Standing on the Shoulder of Giants but Some of Us are Looking at the Stars. Lethbridge: Southern Alberta Art Gallery, 2009.Miller, Earl. Law and Ordering: On Evaluating Recent Canadian Neoconceptualism, C Magazine, Fall 2006.Milroy, Sarah. News at Five. The Globe and Mail, 1 October 2004.Milroy, Sarah. At the galleries. The Globe and Mail, 25 March 2005.Milroy, Sarah. Exploring collaboration. The Globe and Mail, 5 April 2005.Milroy, Sarah. Drawn Together. The Globe and Mail, 22 July 2005.Milroy, Sarah. A meeting of art, power, and the city. The Globe and Mail, 10 January 2007. Osborne, Catherine. Suburban Landscape (review), Lola issue 5, Winter 1999-2000.Osborne, Catherine. Deconstructing Ikea, National Post, 14 February 2004.Papararo, Jenifer. Modelumental, brochure, Redhead Galllery, 2000.Papararo, Jenifer. Gasoline Rainbows. Vancouver: Contemporary Art Gallery, 2007. Ritter, Kathleen. Derek Sullivan More Young Americans, ESSE #76, Fall 2012.Rousseau, Chantal. Trophy, YYZine, YYZ Artist’s Outlet, 2001.Scott, Kitty; Shaughnessy, Jonathan; Gale, Peggy; and AA Bronson. Art Metropole: The Top 100. Ottawa: The National Gallery of Canada, 2006.Strickland, James. Various Canadian Artists, db Magazine, January 28, 2004. Twerdy, Saelan. Garden of Forking Paths: A Conversation with Derek Sullivan, C Magazine, Spring 2012. Whyte, Murray. The Sobey Art Prize: Ontario Nominees. The Toronto Star. 11 July 2011.

Artist’s publications

Wouldn’t it be nice?Mirror Olympic BookNational Gallery CatalogueStatementsGreetings from LA (edition of 8)Cremaster 4 (edition of 8)Statements (new version)Robert Smithson (isbn 0-921972-46-6)Some treatments for doorways and windows… (published by Boabooks)

Persistent Huts (published by Printed Matter Inc.)The BookloverEvery Letter in “The Sunset Strip”Two-Day HangoverLandscape Manual #1Landscape Manual #2Landscape Manual #3-esque –ish –like –nessRobert Smithson (second edition)How I wrote certain of my books (a conversation with Allen Ruppersberg)Le poeme de l’angle droit (edition of 100)Lynn Valley #8Albatross Omnibus (52 titles, each produced in an edition of 28 copies)Pages (the 1st 93 prime numbers)MidsummerwordsBook Caverntomato vine scentbuch- hand- lungMeandering PathsThe Borges NumbersButtress Supportwells & follies & features &seasonal allergieswingspan spinning black circlesfeeling wordsinventory coincidenceBearded Idolsmore Young AmericansEndless LibraryEvil Flowers (with additional qualitites)statementssometimes green is greyshrill titter sharp little wingsTrees of Canadathe desire & pursuit of the wholeField Bookbooklover, fragments, detailsNo Image, No MessageDead EndsA script for a vernissage…Orchid ShowExamples + a Glass House +Blue in Black & WhiteParrots & PhototcopiersCitizen! Denizen! Resident!Orchid Show (Inverted), or…

Looking for the thirdIncomplete & Open…Ghent Cock DanceAbstract and not-so-abstract flower arrangement…Burying Small FiresParrots, Photocopiers &I want to be new again…dodging Ulyssesextra eyesYou were right…essay pieceIndex of 36 book covers…Reading two books at the same time…garden structuresYng Amrcns (line works)Snow’s Nosea portalChoices Choices Choices Choices Choices Choices Choices Choices ChoicesA view of the garden from the studio window

Derek Sullivan is represented by Galerie Emmanuel Hervé

www.emmanuelherve.com

GALERIE EMMANUEL HERVE 6 rue Jouye-Rouve · 75020 Paris · France T. +33 9 51 10 96 58 - bonjour@emmanuelherve.com - www.emmanuelherve.com

EMMANUEL HERVE