GALLERY REPRESENTATION: Art Lexis (New York). Leslie/Lohman Gay Art Foundation (New York). Sound-Vision (Portland).
ON-LINE REPRESENTATION: Digital Mutations (Berlin). Raven Gallery (Fort Lauderdale). Gay Art Gallery (Fort Lauderdale) (Madison). James Baird Gallery (St. John's). Burdett-Coutts Inter-national Online (Toronto).
2003 MY IDEA OF FUN: A RETROSPECTIVE OF SELECTED MULTIPLES
(1996-2003), Gallery X (Toronto) 7/14-8/8.
2002 MEINE IDEE DES (Fort Lauderdale); ongoing.
2000 Lenin Tireworks Media Salon (New York). 10/5-21.
1994 THEORETICAL PEOPLE, A Space Members Wall (Toront) 7/15-31.
1993 INTERROGATION: AIDS FORUM (a site-specific installation),
Artist's Space (New York); 4/13-5/30.
MY LIFE AS A NERD, The Bar (New York, NY); 3/5-29. 1992
THE SEX PICTURES, Dick's Bar (New York, NY); 7/17-8/27.
THE BLACK PHOTOS OF SNOW WHITE (Two-person show with Ron Giii) La Hacienda (Toronto); 2/22-3/31.
2004 SKIN DEEP: THE ART AND IMAGE OF THE GAY MALE BODY. I-Space Gallery, University of Illinois Urbana-Champaign (Chicago) June.
ARTCONCEPT. Halls of Union of Artists, Saint Peters-burg (Russia); April. 2003
ANIGMA: 1ST INTERNATIONAL FESTIVAL OF DIGITAL IMAGING AND ANIMATION. Club Rock City (Novosibirsk); 10/18-19.
MEDIA ART FESTIVAL FRIESLAND. Fries Museum (Leeuwarden); 9/28-10/15.
WIE GESTALTEN SIE IHRE GESELLSCHAFT? Historisches Museum Frankfurt; 9/10-11/16.
CAMBRIDGE ART GALLERIES OPEN JURIED EXHIBITION. Cambridge Art Gallery; 9/5-10/12.
VIOLENCE ON-LINE FESTIVAL: VERSION 0.8. Electronic Language Festival Sao Paolo, 8/14-27; Nonetart Festival - Arte Digital Rosario 2003, 8/15-27;
Open Air at Royal Gardens Copenhagen, 8/10-31. DIGITAL VISIONS.
University of British Columbia (Vancouver); 5/9-ongoing.
2003 LESBIAN AND GAY PHOTO BIENNIAL: THE KISS. Leslie/Lohman Gay Art Foundation (New York); 5/20-6/28. .
Haverhill Arts Centre (Haverhill UK) 4/28. SKIN/STRIP ON-LINE plus live feeds: Site Gallery (Sheffield UK) 3/28-5/10 and Deluxe Gallery (London UK) 3/28-30. BOUNCE.
Gala Gal-lery (Brighton UK) 3/28-4/13. 100 x 100. SoundVision (Portland); 1/24-2/6.
2002 BEAR ICONS AND BEYOND IV. National Hall, Washington Plaza Hotel (Washington D.C.) 11/8-10.
EVOLUTIONÄRE ZELLEN. Neue Gessel-schaft für Bildende Kunst (Berlin) 11/2-12/1. (curated by Arbeitsgruppe finger).
DISEMBODIED.RECONFIGURED. SoundVision (Portland); 11/1-23.
SOLIDARITY ORIGINALS. Casa Amatller (Barcelona); 9/19-10/10.
MEDIA ART FESTIVAL FRIES-LAND. Museum Smallingerland (Drachten); 8/29-9/14.
2001 BODY LANGUAGE: EXPLICIT/IMPLICIT. Leslie/Lohman Gay Art Foundation (New York); 11/7-12/21. 4TH INTERNATIONAL MEETING OF SOUND AND VISUAL POETRY. Espacio Giesso (Buenos Aires); 10/26.
MEDIA ART FESTIVAL FRIESLAND. Fries Museum (Leeuwarden); 9/6-22.
Public Collections: Franklin Furnace Collection at the Museum of Modern Art, (New York); Fries Museum (Leeuwarden); New York Public Library, Rare Books & Manuscript division; York University, (Toronto); The Tom of Finland Foundation (Los Angeles); Archivo Vortice Argentina de Documentación de Arte Alternativo (Buenos Aires); CaixaForum Mediateca (Barcelona); Modern Props (Los Angeles). Private Collections: Berlin, Denver, La Jolla, New York, Seattle, Toronto.
1970-74 Ontario College of Art, graduated with honors (AOCA).
(COMPLETE CV UPON REQUEST)
Navigating the grey area between desire and despair, my work operates against the principle that people’s delicate
constitutions will tolerate nothing less than civility and happy-talk. This work often employing disruptive juxtapositions and
various framing strategies to explore the spaces between charged relationships – between voyeurism and public display,
between male vanity and aggression, between sexuality and doctrinaire political extremism – these manipulations mimic
the psychological state of doubling. As a form of managed schizophrenia, it is the technique of psychic self-preservation in
which the task at hand is viewed as distant and abstract, a common phenomenon among slaughterhouse workers and
concentration camp guards. An inversion takes place in which individuals literally become simulacra of themselves. All of
this is cast as an investigation and critique of a zeitgeist obsessed with superficial civility, mindless consumption, and an
unquestioning obedience to a heavily mediated collective wisdom. A new – and decidedly more corrosive – form of
self-loathing has arisen in a culture that demands perpetual states of happiness (it is ironic to find its most successful
forms of mass entertainment in gothic horror and blood-splattered mayhem). It seems clear that there is widespread
disaffection with the American culture of sweetness and light, regardless of how deeply it may be suppressed in the
collective subconscious. Brutality masquerading as sentimentality is being challenged and critiqued by an art that holds a
mirror up to the society in which it was created. Yet if art is expected to be a reflection of the times, one wonders why
some are so surprised that the most relevant work being produced is so antagonistic and butch. While it is virtually
indefinable, this much I know for certain: Art is not "suitable for family viewing", nor should it be psychiatrically uplifting.
Nothing should be considered untouchable. Art must refuse to kowtow to the limitless demands for the familiar and the
safe and the conventional. If offense is taken with the viewpoints expressed, it is a problem for the literal-minded viewer.
Art has nothing to do with social work or political stability or with ending negative stereotypes: these are the jobs for
propagandists. Much of my production has been directly influenced by my work with the International Gay History
Archive, and it has been my goal to reconcile the notion of a gay sensibility within the broader construct of masculinity,
which has, paradoxically, been deemed far "too queer" for the mainstream art world and far too dark and critical of our
pre-packaged ghetto aesthetic. But this is not a problem, it’s just my idea of fun. Bruce Eves