ANDREW WRIGHT

ANDREW WRIGHT

Andrew Wright’s artistic practice is multifarious and is characterized by breadth as much as it is by depth. Central to his inquiries are lens-based technologies and photographic techniques. His work functions as a series of visual inquiries at the heart of a practice that is exploratory and experimental. With interests in perception, photographic structures and technologies, and the ways we relate to an essentially mediated and primarily visual world, Wright employs simple phenomena to reinterpret, reinvestigate, and re-present.

Wright’s work aims to create a particular kind of imagery that both identifies and challenges conventional uses and understandings of photographic practice. His subjects vary, but often take on traditional tropes (landscape and the natural world, portraiture, as well as cinema) to create perceptual bridges that examine the very conditions of image production. Wright sees the seemingly inevitable demise of traditional photographic techniques as problematic, and the beginning of a void. Therefore, photographic “blackness” has become increasingly important in his investigations. Wright believes that the difficulty we face in terms of understanding the world around us has less to do with the complexity and fullness of the world itself and more to do with the human and ultimately fallible methods by which we seek to understand it.

STANDING WAVES
Wright’s Standing Wave photographs make up his series Water’s Edge from 2007. These works once again seek to identify and challenge conventional uses and understandings of photographic practice. Taken from a rather dangerous photo shoot in the Niagara Gorge, Wright set out to photograph the largest standing waves in North America. These images of standing waves probe both fiction and reality. Shot at night with an excessive amount of strobe flash power against dark grounds, these waters were perpetually removed from their real world context. Thus, the contradictions abound: the waves are both static and dynamic, their scale thrown into question as they appear both miniaturized and many meters tall, their chaos and randomness appearing organized. The images from this series post a kind of narrative questioning: Where is the photographer? What are the conditions of this image’s making?

ILLUMINATED LANDSCAPES
Andrew Wright’s images of pines, boulders and rock use artificial light to reconstruct a sense of the staged, the protected, the artificial, and the segregated. The artist's objects and settings, both living and inanimate, are presented as pre-formed, illuminated, and plastic. By the simple addition of artificial light into so-called natural and even remote locales, his images encourage a reconsideration of existing space that is disconcerting and beautiful all at once. They posit nature itself as a series of vistas constructed solely for the eyes, designed to be consumed and knowable within the bright glow of highly controlled illumination.
“Wright’s photographs reprogramme the activity of the eye in such a landscape, preventing us from distraction, imposing a particular kind of dramatic attention. Having had the scene narrowed and focused for us we teeter back and forth on the edge between the sublime and the tableau.” (– Kim Simon)

SURVEY: CANADIAN FORCES ARTIST PROGRAM
CURATOR'S STATEMENT" CHANTAL ROUSSEAU
"In the spring of 2005, multi-media artist Andrew Wright participated in the Canadian Forces Artists Program (C.F.A.P.) in a three-week tour aboard Her Majesty’s Canadian Ship (H.M.C.S.) Toronto, a naval frigate. Administered through The Department of National Defense, this program was created in 2001 and encourages Canadian artists to observe and document daily life in the armed forces. Survey aligns a series of photographs and videos documenting Wright’s experience with the C.F.A.P. along with more recent videos made using homemade rockets.

The tradition of war art in Canada began with 1916’s First World War when Lord Beaverbrook – formerly Max Aitken – established the Canadian War Memorials Fund. The fund hired Canadian and international artists to document Canada’s involvement until loss of funding in 1919. The decommissioned program was reactivated in 1942 as the Canadian War Records Program for the duration of the Second World War. Twenty years later, in 1968, the Canadian Armed Forces’ Civilian Artists Program was created to provide civilian access / documentation of the military and military life, both home and abroad. The program was discontinued in 1995 due to a lack of funding and was reinstated in 2001 as the C.F.A.P.

The context and history of the various Canadian war art programs are embedded with propagandist overtones that celebrate the military. How does Wright’s series of works from H.M.C.S. fit into this agenda? His ambivalence towards his own participation is evident in the seemingly objective documentary approach to the project. He presents what he sees, whom he meets, and what goes on with a definite air of detachment – his goal is to not present didactic messages. However, the political undertones cannot be dismissed. Wright leaves it up to the viewer to decide how they wish to approach his documents.

H.M.C.S. Toronto was built as a helicopter-carrying vessel, but the helicopters are noticeably absent. This ship, abandoned of its original purpose, is an indication of how military funding works within Canada: the ship is powered, manned, but is now assisting in operations that have little to do with its intended function. Canada’s current military maritime helicopters, the Sea Kings, crash often, a depressing and frightening fact. The Department of National Defense has been engaged in a costly, 25-year long venture attempting to replace these old helicopters with different models. It has not been an easy process; according to the Canadian American Strategic Review, the first new shipboard helicopter wouldn’t be arriving until mid-2008.[i] In what will likely be a very slow replacement procedure, the Sea Kings will continue to operate on those vessels that still have them.[ii] Choosing to focus on the empty space – and using it as an extemporaneous studio - Wright calls attention to this history and current reality. The title of one photograph, Empty Sea King Helicopter Hangar Aboard H.M.C.S. Toronto, North Atlantic, 2005 (2008) further underscores this point.

While touring on H.M.C.S. Toronto, Wright documented the ship, the personnel, and their training drills. The empty helicopter hangar became the subject of several photographs, a makeshift studio for the duration of his tour, and a backdrop for portraits he took of the crew. We can compare Wright’s strategy of presenting these seemingly flat and detached images of H.M.C.S. and her crew as a counter strategy - differentiating them from the heroic imagery that is found in traditional war art and contemporary military advertisement. Wright, with full approval from the Department of National Defense, was given the opportunity to create subjective representations of the military and, interestingly, was given no guidelines as to what he should portray. This left Wright asking himself, “How do I respond to this situation?” and when relating his C.F.A.P. experience, Wright described how he befriended the crew.[iii] Although he started working with the C.F.A.P. with an expectation, and even desire, to react critically towards the military, that inclination was compromised by his growing awareness that the crew were real people just doing their jobs.[iv]

With his series from the H.M.C.S., Wright hopes to articulate a larger issue regarding the politics of war, situating his work in the grey area that envelopes individual ethics and agency.[v] Wright’s portraits of the crewmembers aboard H.M.C.S. Toronto expose the contradictions present in attempts to support individuals while also providing critical responses to the actions that those same individuals are asked to carry out. Whether intentionally or not, C.F.A.P. functions as a parallel to recent military practices that embed journalists in war zones. Both strategies tend to work to the military’s advantage as there is a clear bias towards generating a sympathetic bond through human interest reporting while holding the overarching politics for the war at a distance. It is on this troubling and complicated axis that Wright’s H.M.C.S. work rests.

In his narratively ambiguous and aurally rich video works, Casualty in the Fridge Flats (2008) and Warning Shots (2008), Wright records training drills on the ship. These works expose the varying and collapsing layers of reality that are present in both truthful media representations and the film industry’s adaptation and reinterpretation of that same reality. The drill itself is a simulated event, yet, as argued in Jean Baudrillard’s third order of simulacra - the military drill replaces the real on many levels.[vi] The language and imagery of Wright’s video footage - bursts of gunfire over the Atlantic – recall video games and television footage akin to the first Gulf War. Televised war is a format that most of us accept as our sole access to foreign conflict. In writing about this conflation of reality and imaginary in war imagery, Susan Sontag notes, “Something becomes real . . . by being photographed. But a catastrophe that is experience will often seem eerily like its representation . . . unreal, surreal, or like a movie.”[vii] Andrew Wright moves away from Hollywood emotionalism in an effort to let viewers question and resolve their own understandings of reality and truth in war.

Wright’s series from the H.M.C.S., more documentary in nature than his previous work, faces similar issues in the mediation of imagery and systems of perception. Untitled Rocket Launches (2007) is a recent example of Wright’s work that uses machines to generate imagery and simultaneously highlight these technologies as image generators. While Wright’s past work involved such technologies as the camera obscura and camera lucida, in Untitled Rockets Launches, Wright turns towards contemporary technology - combining homemade rockets with miniature video cameras to collect data, broadcast it on radio waves, and then record the resulting imagery on his computer. The three projected videos present dizzying aerial views of approaching landscapes as each rocket speeds towards the ground - reminiscent of early military attempts to record visuals from missiles.

Survey indicates a technological measuring, a gathering of information, and the myriad ways in which data is presented. The exhibition asks that we question the historical function of Canadian war art as we move towards sensitive and intelligent strategies of portrayal that are so necessary in our present social climate."
CHANTAL ROUSSEAU, 2008

DEATH BY CHOCOLATE
Death By Chocolate is a participatory project proposed by Waterloo photographers Andrew Wright and Stefan A. Rose, whereby participants stage their own deaths using chocolate syrup provided by the local Dairy Queen. Using the Dairy Queen and its adjacent parking lot located a stone’s throw from their respective homes, Andrew and Stefan will provide Dairy Queen patrons the opportunity to don a white t-shirt, douse themselves in chocolate syrup, and…die for the camera. This will provide an opportunity for participants to not only observe and interact with two professional photographers at work — to see the contrast of one using digital photographic cameras and the other using antique view cameras — but also for them to help create and direct the end result of this photographic foray: the images become the manifestations of individual imaginations. These images will then be displayed on a dedicated website where subjects can view their Hollywood-like staging.

Chocolate syrup was an effective surrogate for blood in black & white films, most notably in Alfred Hitchcock’s Psycho and both colour and black & white media will be used here as well to emphasize drama and the suspension of disbelief.

American photographer Arthur Fellig, known popularly as ‘Weegee’, was both a crime scene photographer and keen observer of people and groups. Death By Chocolate is in some ways an homage to, and a combination of, these two practices…made sweet and tasty! The Dairy Queen on King Street, Kitchener-Waterloo’s main thoroughfare, is popular and busy until 11pm on any given summer evening. Further, this is one of the few Dairy Queens that sits amidst a residential neighbourhood—most patrons arrive on foot.


CURRICULUM VITAE

EDUCATION
1995 – 97 Master of Fine Arts, Concentration in Sculpture, Photography and Installation,
University of Windsor, Windsor Ontario
1990 – 94 Honours Bachelor of Art, Visual Art and Art History, University of Toronto,
Toronto, Ontario (Graduated with distinction, Dean’s Honour List and Faculty
Scholar)
1990 – 94 Diploma in Studio Art, Sheridan College, Oakville, Ontario

SELECTED SOLO EXHIBITIONS
2013 Thames Art Gallery, Chatham Cultural Centre, Chatham, Ontario
2011 Coronae, Patrick Mikhail Gallery & Peak Gallery, Ottawa and Toronto
2011 Still Water, Patrick Mikhail Gallery, Ottawa
2009 Still Water, Peak Gallery, Toronto, Ontario
2008 Survey, Prefix Institute for Contemporary Art, Toronto, Ontario
2007 Falling Water, Prefix Photo 16, Commissioned series for Prefix Photo Magazine, Toronto,
Ontario
2007 Water’s Edge, Peak Gallery, Toronto, Ontario
2007 Blind Man’s Bluff, Robert McLaughlin Gallery, Oshawa, Ontario
2005 Photographs, Peak Gallery, Toronto, Ontario
2004 Blind Man’s Bluff, Art Gallery of Calgary, Calgary, Alberta; Art Galley of Southwestern
Manitoba, Brandon, Manitoba; Kitchener-Waterloo Art Gallery, Kitchener, Ontario
2004 Worth Ryder Gallery, University of California, Berkeley, San Francisco, California
2004 Skies, Presentation House, Vancouver, British Columbia; Peak Gallery, Toronto, Ontario
2003 Blind Man’s Bluff and Other Fictions, Peak Gallery, Toronto, Ontario
2002 Home & Garden, Oakville Galleries, Oakville, Ontario
2002 Mise-en-scène, The Red Head Gallery, Toronto, Ontario
2001 148 Clouds, Rotunda Gallery, Kitchener City Hall, Kitchener, Ontario
2000 In Camera: The View from Here, Gallery 101, Ottawa, Ontario
1999 The Plausible Impossibility of the Here & Now (Moving Picture), Cambridge Library and
Gallery, Preston Branch, Cambridge, Ontario
1999 Panorama, Rotunda Gallery, Kitchener City Hall, Kitchener, Ontario
1999 Here & There, Kitchener-Waterloo Art Gallery, Kitchener, Ontario
1997 The Metaphysics of Presence, Thames Art Gallery, Chatham Cultural Centre, Chatham,
Ontario
1997 Troubling Vision, Art Gallery of Windsor and Common Ground Gallery, Windsor, Ontario
1996 New Work, Lebel Art Gallery, University of Windsor, Windsor, Ontario

SELECTED GROUP EXHIBITIONS
2012 Papier 12 Contemporary Art Fair, Montreal
2012 PMG Editions Project, Patrick Mikhail Gallery, Ottawa
2011 Viva Voce: 40th Anniversary of the Art & Art History Program, Blackwood Gallery
2010 – 11 Preternatural/Surnaturel, Multiple Venues, Ottawa, Ontario
2010 PRIMER, Patrick Mikhail Gallery, Ottawa, Ontario
2009 Microcosm, Patrick Mikhail Gallery, Ottawa, Ontario
2007 WintergARTen-Vogelfrei 7, Art Discoveries in Private Gardens, Darmstadt, Germany
2007 Toronto International Art Fair, Metro Toronto Convention Centre, Toronto, Ontario
2007 Woodlot: KW/AG3 Biennial, Kitchener-Waterloo Art Gallery, Kitchener, Ontario
2007 Image & Apparatus, Museum London, London, Ontario
2007 AAHLUMINIEX, Art Gallery of Mississauga, Mississauga, Ontario
2007 Flourish, Alumni works, University of Windsor, Windsor, Ontario
2007 Passages, Cambridge Galleries, Cambridge, Ontario
2006 Photo Miami, International Contemporary Art Fair for Photo-Based Art, Video and New
Media
2006 Toronto International Art Fair, Metro Toronto Convention Centre, Toronto, Ontario
2006 Equinox, Blackwood Gallery, University of Toronto, Toronto, Ontario
2006 Two Degrees of Separation, University of Waterloo Art Gallery, Waterloo, Ontario
2006 Cluster V, Peak Gallery, Toronto, Ontario
2005 ARCO, Madrid International Art Fair, Madrid, Spain
2005 Toronto International Art Fair, Metro Toronto Convention Centre, Toronto, Ontario
2004 Toronto International Art Fair, Metro Toronto Convention Centre, Toronto, Ontario
2004 Branching Out: Sylvia Safdie and Andrew Wright, Roam Contemporary, New York, New
York
2004 By Chance or By Design, Art Gallery of Ontario, Toronto, Ontario
2003 Toronto International Art Fair, Metro Toronto Convention Centre, Toronto, Ontario
2003 Cluster III, Peak Gallery, Toronto, Ontario
2003 Lucida, Hamilton Artist’s Inc., Hamilton, Ontario
2003 In the Light Of: Six Contemporary Artists Explore the Legacy of William Henry Fox Talbot,
Kitchener-Waterloo Art Gallery, Kitchener, Ontario
2001 boygirl, Ballroom Studios, Kitchener, Ontario
2001 Commute, ARC Gallery, Chicago, Illinois
2001 The New Spirit of Ontario, Lieutenant-Gouvenor of Ontario, Queen’s Park, Toronto,
Ontario
2001 Chronicles, Edward Day Gallery, Toronto, Ontario
2000 Braziers International Artist’s Workshop, Oxfordshire, United Kingdom
2000 Wave of the Future, Waterloo Regional Children’s Museum, Kitchener, Ontario
2000 Search, Open Studio, Toronto, Ontario
2000 Bonanza!, University of Western Ontario Faculty Exhibition, ARTLAB, London, Ontario
2000 Retrospective: 10 years of The Red Head Gallery, Red Head Gallery, Toronto, Ontario
1999 Welcome to Mitchell: 1999 Southwest Triennial, London Regional Art Historical
Museum, London, Ontario
1999 PROOF6 , Gallery 44, Centre for Contemporary Photography, Toronto, Ontario
1999 Toronto: Under 40, Art Gallery of Ontario, Toronto, Ontario
1999 Eleventh Annual Miniature Exhibitions, Michael Gibson Gallery, London, Ontario
1998 Technological Bottom-Feeders, Niagara Artist’s Company, St. Catharines, Ontario;
Artcite Inc., Windsor, Ontario
1998 Undefining Structure, Detroit Artist’s Market, Detroit, Michigan
1998 Little Things, Art Gallery of Windsor, Windsor, Ontario
1998 Interior Landscapes, Reflecting Studio, Kitchener City Hall, Kitchener, Ontario
1997 Public Order: 1997 Southwest Triennial, Art Gallery of Windsor, Windsor, Ontario
1996 Artseen IV: Exhibition of New and Experimental Work, Artcite Inc., Windsor, Ontario
1996 MediaCity II: Exhibition of Film & Video Works, Artcite Inc., Windsor, Ontario

COMMISSIONS AND PUBLIC ART
2009 Parochial Views #7, Kitchener-Waterloo Art Gallery, Kitchener Waterloo
2007 Prefix Photo 16 Magazine, Toronto, Ontario
2006 – 07 Watershed and CL Anni: Waterloo’s Sesquicentennial, Waterloo, Ontario (shortlisted)
2004 Victoria Park Gateway Project (invitational), City of Kitchener, Kitchener, Ontario
(shortlisted)
2003 Contrails, Region of Waterloo Airport, Waterloo, Ontario (shortlisted)
2001 5 Skies for Pioneer Park, City of Kitchener, Artist Residence Program, Kitchener,
Ontario
1999 Floating Window, City of Kitchener Fire Department Headquarters
1999 Pearl’s Barley, City of Waterloo/Labatt Brewery Site, Waterloo, Ontario (shortlisted)

AWARDS AND GRANTS
2011 BMW Photography Prize, Most Outstanding Exhibition Scotiabank Contact Photography Festival
2011 Canada Council Creation/Production Grant to Professional Mid-Career Artists
2011 Ontario Art Council Mid-Career Grant to Professional Visual Artists
2010 Canadian Foundation for Innovation (CFI), Leaders Opportunity Fund Grant
2010 Nominee, The Sobey Art Award (also in 2009, 2003, 2005, 2008)
2008 Nominee, Kitchener-Waterloo Arts Award (also in 2005)
2008 The Ontario Arts Council, Spotlight Grant
2007 The Ontario Arts Council, Exhibition Assistance Grant (also in 1997, 1999, 2000,
2002)
2007 Semi-Finalist, The Sobey Art Award
2007 City of Waterloo Arts Sesquicentennial Award
2006 Ontario Association of Art Galleries (OAAG) Award, Multi-Media, for the
publication Blind Man’s Bluff
2004 Ontario Volunteer, Award Ontario Honours and Awards Secretariat
2003 The Canada Council for the Arts, Creation/Production Grant to Professional
Emerging Artists (also in 1998, 2001)
2001 Ernst & Young Great Canada Printmaking Competition
2001 The Ontario Arts Council, Mid-Career Grant to Professional Visual Artists
2000 The Ontario Arts Council, Emerging Artist Grant to Professional Visual Artists
(also in 1999)
2000 The Canada Council for the Arts, Travel Grant
1997 Finalist Selection 97, Annika Sundvik Gallery, New York, New York

COLLECTIONS
Royal Bank of Canada; The Canada Council Art Bank; City of Ottawa, Collection, Concord Adex Development Corporation; Ernst & Young; The City of Kitchener; Kitchener-Waterloo Art Gallery; Private Collections

PROFESSIONAL EXPERIENCE
Present Assistant Professor, University of Ottawa, Ottawa, Ontario
2011 Artist Talks, University of Regina, Saskatchewan, Emily Carr University of Art & Design
2010 Public Lecture, “Contemporary Context”, “Nightlife” exhibit, Ottawa Art Gallery, Ottawa,
Ontario
2010 Visiting Lecturer, Carleton University, Ottawa, Ontario
2008 Public Lecture, University of Ottawa, Ottawa, Ontario
2007 Founder and Executive Producer of CAFKA.TV, Contemporary Art & Culture Podcast
2007 Lecturer, Visual Studies Program & Graduate Program in Art History and Theory,
University of Toronto, Toronto, Ontario
2006 Vice President, CAFKA Board of Directors (Contemporary Art Forum, Kitchener
and area), Kitchener, Ontario
2005 Public Lecture, Art Gallery of Calgary, Calgary, Alberta; University of Western
Ontario, London, Ontario; Sheridan Institute of Technology and Advanced
Learning; Peak Gallery, Toronto, Ontario
2005 Public Lecture and Demonstration, Presentation House Gallery, Vancouver,
British Columbia
2005 Canadian Forces Artist Program, HMCS Toronto Fisheries Patrol, North Atlantic
2004 Forest City Gallery Advisory Committee Member, London, Ontario
2004 Photo Educators Conference Workshop Presenter, Toronto, Ontario
2003 MFA Defense Committee-External Examiner, University of Western Ontario, London;
University of Windsor, Windsor, Ontario
2003 Public Lecture, Museum London, London, Ontario
2002 Public Art Working Group, City of Kitchener, Kitchener, Ontario
2002 Jury Member, Forest Heights Pool Public Art Project, Kitchener, Ontario
2002 Artist Talks, Sheridan College, Oakville; Kiwanis International, Kitchener, Ontario
2001 – 03 Artistic Director, CAFKA, Kitchener, Ontario
2001 Slo-Mo Thematic Residency, Banff Centre for the Arts, Banff, Alberta
2001 Jury Member, Ontario Arts Council Emerging Artist Grant, Toronto, Ontario
2001 Artist in Residence, City of Kitchener, Kitchener, Ontario
2000 Organizing Committee Member, Contemporary Art Forum, Kitchener, Ontario
2000 Artist Talk, University of Waterloo, Waterloo, Ontario
2000 Advisory Panel, Waterloo Regional Arts Council Grant Writing Workshop, Waterloo,
Ontario
2000 Residency, Braziers International Artists Workshop, United Kingdom
2000 Project Manager and Jury Member, ART WORKS! CAFKA, Kitchener, Ontario
1999 Jury Member, PROOF 7, Gallery 44, Centre for Contemporary Photography, Toronto,
Ontario
1998 Administrative Assistant, Art Gallery of Windsor, Windsor, Ontario
1997 Residency, Thames Art Gallery, Chatham Cultural Centre, Chatham, Ontario
1996 – 98 Head of Communications Committee, Artcite Inc., Board of Directors, Windsor’s Artist-
Run Centre for the Contemporary Visual Arts, Windsor, Ontario
1996 Assistant Preparer, Art Gallery of Windsor, Windsor, Ontario
1993 – 94 Curatorial Assistant and Technician, Blackwood Gallery, Mississauga, Ontario
1992 Art Conservation Assistant, Art Gallery of Ontario, Toronto, Ontario

PUBLICATIONS
2011 Wright, Andrew, Akimblog: Layoffs & Caravaggio at the National Gallery, etc, June 21, 2011, www.akimbo.ca
2010 Wright, Andrew, Akimblog: It Is What It Is at the National Gallery, etc, November 8, 2010, www.akimbo.ca
2010 Wright, Andrew, Personal Blog: http://andrewwright.posterous.com
2008 Wright, Andrew, Akimblog: Kitchener, Cambridge, London, February 27, 2008,
www.akimbo.biz
2007 Wright, Andrew ed., Peace of Mind, CAFKA 04 (Catalogue)
2004 Wright, Andrew, Probing Into the Distance, CAFKA 03 (Catalogue)
2004 Wright, Andrew, ‘Outdoorsy’: Melissa Doherty at Red Head Gallery, February (Exhibition
Brochure)
2003 Wright, Andrew, Power to the People, CAFKA 02 (Catalogue)
2002 Wright, Andrew ed., …and then we take Berlin, CAFKA 01 (Catalogue)
2002 Wright, Andrew, Proto-Painting: Melissa Day at Red Head Gallery, June (Exhibition
Brochure)
2002 Wright, Andrew, Image reproduction for Canadian Art Magazine Christmas card
2001 Wright, Andrew, And the Green Grass Grows All Around, Joseph Bergel at Ballroom
Studios, Review in LOLA Contemporary Art Magazine, iss. 9
2001 Wright, Andrew, Nocturne, Jay Johnson at the Kitchener-Waterloo Art Gallery, Shotgun
review in LOLA Contemporary Art Magazine, iss. 8
1999 Wright, Andrew, Non-Stop, Mandy Barber, Pekao Gallery, LOLA Contemporary Art
Magazine, iss. 4
1998 Wright, Andrew, Flowers, Showers & Curtain Calls, Surface/Tension: Rachelle Viader
Knowles, Art Gallery of Windsor, LOLA Contemporary Art Magazine, iss. 3

SELECTED BIBLIOGRAPHY
2011 Enright, Robert, BorderViews, Border Crossings Magazine, issue 119, Fall 2011
2011 Purvis, Matthew, Art Agenda: CONTACT reviews of Lynne Cohen, Eldon Garnet, and Andrew Wright, BlogTO. May 25
2011 Hansen, Mike. Openings: Andrew Wright. ArtSync Video Interview, Aired Rogers 10, Toronto, May 6
2011 Latimer, Joanne. “Would Picasso have sold on line?” Maclean’s, Mar 16
2011 Simpson, Peter. “A holey approach to film studies”, Ottawa Citizen, Mar 14,
2011 Martins, Toni. “Convention Submerged in Wright’s Still Water”, Guerilla Magazine , Feb. 17,
2010 Simpson, Peter. “Andrew Wright gets Inspired by 24’s Closed Captions”, Ottawa Citizen, Oct 14
2009 Kitchener-Waterloo Art Gallery, “Parochial Views #7”, Canadian Art Magazine, Fall 2009
2009 Kitchener-Waterloo Art Gallery, “Parochial Views #7”, Border Crossings, No. 111, August
2009 Dault, Gary Michael, “A Chance to Window Shop for the Meaning of Life”, Gallery Going,
Globe & Mail, May 25
2008 Sandals, Leah, “The Wright Stuff: Military Images Elicit Complex Responses”, NOW
Magazine, Vol. 27, No. 45, July 10
2008 Rhodes, Richard, “Andrew Wright: War Games and Rockets” (online audio interview),
Canadian Art Magazine, http://www.canadianart.ca/online/audio/2008/07/24/andrew-
wright/, July 7
2007 Sandals, Leah, “Cross-Country: Arts Professionals Offer Thoughts About Canada’s
Largest City and At Scene”, Canadian Art Magazine, Winter 2007
2007 Cheetham, Mark, “Andrew Wright”, Border Crossings, Vol. 26, No. 103, September
2007 Edelstein, Susan; Townsend, Melanie ed., “Image & Apparatus”, (Exhibition Catalogue),
July
2007 Sandals, Leah, “Commencing Countdown, Engines On”, National Post, June 21
2007 “Preview”, Canadian Art Magazine, Vol. 24, No. 1, Spring
2006 Podedworny, Carol, “Two Degrees of Separation”, (Exhibition Catalogue), January
2005 Enright, Robert, “The Artful Doubter”, Catalogue from the exhibition Blind Man’s Bluff,
Kitchener-Waterloo Art Gallery, November
2004 Dault, Gary Michael, “Floating Around, Looking at Things”, Gallery Going, Globe & Mail,
April 24
2004 Temple, Kevin, “No-Tricks Photography”, NOW Magazine, Vol. 23, No. 32, April 8
2004 “Fast Forward”, Canadian Art Magazine, Vol. 24, No. 1, Spring
2003 “Toronto International Art Fair Preview: ‘Fresh Avant Garde’”, Canadian Art Magazine,
Vol. 20, No. 3, Fall
2003 Dault, Gary Michael, “A Movie, Experience, At One Remove”, Gallery Going, Globe &
Mail, June 14
2003 Hirschmann, Thomas, “Sensory Deception: Two Shows Play Tricks with Sight and
Sound”, NOW Magazine, Vol. 22, No. 41
2003 Reid, Robert, “Video Shed Funky New Light on Blind Man’s Bluff”, The Record, May 24
2003 Horowitz, Risa, “Andrew Wright”, Border Crossings, No. 85, February


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