Caroline Langill, Shifting Polarities

Doug Back, Small Artist Pushing Technology, 1987.

Collection of the artist.

Courtesy of Doug Back.

Mowry Baden, Seat Belt with Block, 1969.

From the exhibition Mowry Baden: Fickle Periptery, Otis Gallery, Los Angeles, 1998.

Courtesy of Mowry Baden.

Jean-Pierre Boyer, Inedit, 1975.

Daniel Langlois Foundation. Jean-Pierre Boyer collection.

Roland Brener, Bad Trick, 1989.

Photo © National Gallery of Canada.

Courtesy of Roland Brener and the National Gallery of Canada, Ottawa. Gift of the artist, Victoria, 1992.

Diana Burgoyne, Hanging One, 1989.

De Fabriek, Eindhoven, The Netherlands.

Courtesy of Diana Burgoyne.

Max Dean, ____., 1978.

Performance Festival, Montreal Museum of Fine Arts.

Photo: Glenn Lewis. Courtesy of Max Dean.

Alan Dunning, Translation, 1991.

Photo © National Gallery of Canada.

Courtesy of Alan Dunning and the National Gallery of Canada, Ottawa. Gift of the artist, Calgary, 1992.

Murray Favro, Synthetic Lake, 1973-74.

Photo © National Gallery of Canada.

Courtesy of Murray Favro and the National Gallery of Canada, Ottawa.

Vera Frenkel, String Games: Improvisations for Inter-City Video (Montreal-Toronto, 1974).

Learning the eight string figures; rehearsal with rope in preparation for video transmission between Toronto and Montreal, George Street, Toronto, 1973.

Gift of the artist, 2006, as part of the Sonja and Michael Koerner residency. Collection of the Agnes Etherington Art Centre, Queen's University, Kingston, Ontario (49-026). Courtesy of Vera Frenkel and the Agnes Etherington Art Centre.

Juan Geuer, Al Asnaam: the People Participating Seismometer, 1980.

Collection of The Ottawa Art Gallery: Purchased with the support of the Canada Council for the Arts Acquisition Assistance program, Glen A. Bloom, the Walter and Duncan Gordon Foundation and OAG's Art Rental and Sales Service, 1997.

Photo: David Barbour. Courtesy of Juan Geuer and the Ottawa Art Gallery.

Laura Kikauka, KITCHen, 2000.

Funny Farm East (Berlin, Germany).

Photo: Constance Hanna. Courtesy of Laura Kikauka.

Laura Kikauka, So Good Baby Blue, 2006.

Funny Farm (Meaford, Ontario).

Photo: Lary Seven. Courtesy of Laura Kikauka.

Gordon Monahan, Speaker Swinging, 1987.

Music Gallery, Toronto, 1987.

Photo: Dwight Siegner. Courtesy of Gordon Monahan.

Nancy Paterson, Stock Market Skirt, 1998.

Courtesy of Nancy Paterson.

Catherine Richards, Curiosity Cabinet at the End of the Millenium, 1995.

Copper mesh, mahogany wood, brass, coper cable.

Collection of the artist. Courtesy of Catherine Richards.

David Rokeby, Very Nervous System, 1986-2004.

Photos: William Eakin, Risa Horowitz and Liz Garlicki.

Courtesy of David Rokeby and aceartinc (Winnipeg, Manitoba).

Tom Sherman, Faraday Cage, 1973.

A Space Gallery, Toronto.

Photo: Lisa Steele. Courtesy of Tom Sherman.

Michael Snow, De La, 1969-72.

Aluminum and steel mechanical sculpture with surveillance camera, electronic controls, and four monitors; 182.9 x 142.2 cm without base; base: 45.7 x 243.8 cm diameter.

Photo © National Gallery of Canada.

Courtesy of Michael Snow and the National Gallery of Canada, Ottawa.

Jana Sterbak, Remote Control, 1989.

Courtesy of Jana Sterbak.

Nell Tenhaaf, Species Life, 1989.

Four fluorescent lightboxes and Duratrans transparencies.

Courtesy of Nell Tenhaaf.

Norman White, First Tighten Up on the Drums,1968.

Photo © National Gallery of Canada.

Courtesy of Norman White and the National Gallery of Canada, Ottawa.

Norman White, The Helpless Robot, 1987-2002.

Steel, plywood, electronics.

Purchased with the support of the Canada Council for the Arts Acquisition Assistance Program and the Chancellor Richardson Memorial Fund, 2003. Collection of the Agnes Etherington Art Centre, Queen's University, Kingston, Ontario (46-003).

Courtesy of Norman White and the Agnes Etherington Art Centre.