Made to Measure
Artist: Max Dean
Work ID: 72322
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Oeuvre d'art par Max Dean
Boom Boom Blues Box
Artist: Max Dean
ID : 72279
Description:
Des mesures :
Collection:
Date de réalisation : 1970
Matériaux : wood, metal, paper, cloth, tools
Collection virtuelle : Original CCCA, bois
Balloon Box
Artist: Max Dean
ID : 72283
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Balloon Box
Artist: Max Dean
ID : 72281
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Balloon Box
Artist: Max Dean
ID : 72280
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Balloon Box
Artist: Max Dean
ID : 72285
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Balloon Box
Artist: Max Dean
ID : 72284
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Balloon Box
Artist: Max Dean
ID : 72282
Description:
Des mesures :
Collection:
Date de réalisation : 1970-1971
Matériaux :
Collection virtuelle : Original CCCA
Large Yellow Duck
Artist: Max Dean
ID : 72286
Description: Lost Lagoon, Vancouver, BC, February 22, 1973.
Des mesures : 0.4872 x 0.174 x 0.2436 m
Collection:
Date de réalisation : 1973
Matériaux : canvas, wood, wire mesh, styrafoam
Collection virtuelle : Original CCCA
Large Yellow Duck
Artist: Max Dean
ID : 72287
Description:
Des mesures :
Collection:
Date de réalisation : 1973
Matériaux :
Collection virtuelle : Original CCCA
Stool/Tool, Sculpture on the Prairies
Artist: Max Dean
ID : 72298
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures : 61 x 45.5 cm
Collection:
Date de réalisation : 1977
Matériaux : wood, metal, paper, cloth, tools
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72302
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72303
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Tightrope, Sculpture on the Prairies
Artist: Max Dean
ID : 72296
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures : 90 x 433 x 72 cm
Collection:
Date de réalisation : 1977
Matériaux : wood, nails, fabric
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72290
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72294
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Sculpture on the Prairies, proposal
Artist: Max Dean
ID : 72288
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72301
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: ‘Fine Line’ by Max Dean
Artist: Max Dean
ID : 72306
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
This is the drawing executed by Max Dean during Drawing Event.
Des mesures : 49.5 x 65 cm
Collection:
Date de réalisation : 1977
Matériaux : pencil on paper
Collection virtuelle : Original CCCA
Sculpture on the Prairies, advertisement
Artist: Max Dean
ID : 72289
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72300
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Prairie Mountain, Sculpture on the Prairies
Artist: Max Dean
ID : 72297
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures : 114 x 249 x 295 cm
Collection:
Date de réalisation : 1977
Matériaux : wood, glass, teacups
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72291
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72293
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72305
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Max Dean: A Work
Artist: Max Dean
ID : 72312
Description: Winnipeg Art Gallery, October 18-November 29, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72295
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Sculpture on the Prairies, documentation
Artist: Max Dean
ID : 72292
Description: Sculpture on the Prairies Exhibition, Winnipeg Art Gallery, July 16-September 25, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72299
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures : drawings:each 49.5 x 65 cm
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: Fine Line
Artist: Max Dean
ID : 72304
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Drawing Event: ‘Untitled’ by Dennis Evans
Artist: Max Dean
ID : 72307
Description: Winnipeg Art Gallery, July 26, 1977. [part of Sculpture on the Prairies Exhibition].
The event involved two people [Max Dean and Dennis Evans] trying to execute drawings on opposite walls of a room. A partition divided the room in half and inhibited the participants from seeing each other at work. They were joined by a rope which was secured to their waists and passed through a hole in the partition. The rope was only long enough to allow one person to draw at a time. The event lasted six hours.
This is the drawing executed by Dennis Evans during Drawing Event.
Des mesures : 49.5 x 65 cm
Collection:
Date de réalisation : 1977
Matériaux : charcoal on paper
Collection virtuelle : Original CCCA
Max Dean: A Work
Artist: Max Dean
ID : 72311
Description: Winnipeg Art Gallery, October 18-November 29, 1977.
Des mesures :
Collection:
Date de réalisation : 1977
Matériaux :
Collection virtuelle : Original CCCA
Untitled
Artist: Max Dean
ID : 72308
Description:
Des mesures :
Collection:
Date de réalisation : 1977-1978
Matériaux :
Collection virtuelle : Original CCCA
Untitled
Artist: Max Dean
ID : 72309
Description:
Des mesures :
Collection:
Date de réalisation : 1977-1978
Matériaux :
Collection virtuelle : Original CCCA
Untitled
Artist: Max Dean
ID : 72310
Description:
Des mesures :
Collection:
Date de réalisation : 1977-1978
Matériaux :
Collection virtuelle : Original CCCA
Untitled
Artist: Max Dean
ID : 72314
Description: The work is a 16 ft. square by 14 ft. high structure open on one side. From the open side two rooms are created by a partition that does not extend to the ceiling. From a metal beam extending across both rooms a concrete slab is suspended over the left hand room. The slab, which is slightly smaller than the room, is hung by a block and tackle from the metal beam. The loose end of the rope is lead from this block and tackle across the partition into the right hand room. In this room, the rope extends down the left hand wall, across the room about 10 in. from the floor and then up the right hand wall to the ceiling where it is secured to the beam. As the rope crosses the floor, it runs over a chopping block with an axe stuck in it. Near the chopping block and behind the rope is a video monitor that allows the participant to view the adjacent space. The video monitor is positioned so that it can only be seen after one has stepped over the rope and moved to the rear of the room.
In the left hand room, there is a doorway on the back wall which one can reach only by walking under the concrete slab. This rear portal provides access to a small room and an opening in this room leads to a larger room which is located directly behind the space that contains the video monitor and chopping block. The room is unfinished and the 2 x 4 studs and plywood are visible. A rope attached to the top of the common wall that separates the front and rear enclosures extends to the back wall where it is then directed toward the floor and then redirected toward the common wall where it is affixed. This rope crosses a chopping block in which a knife is stuck. The wall section that the rope is affixed to is independent structurally and leans out into the front space.
Therefore, if the rope is cut, only a gentle push on the inclined section is needed to send the wall falling forward into the space containing the monitor and axe. An alarm clock, cup and a piece of mirrored mylar are also in this back enclosure.
Des mesures : 0.4872 x 0.5568 x 0.5568 m
Collection:
Date de réalisation : 1978
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Untitled
Artist: Max Dean
ID : 72313
Description: The work is a 16 ft. square by 14 ft. high structure open on one side. From the open side two rooms are created by a partition that does not extend to the ceiling. From a metal beam extending across both rooms a concrete slab is suspended over the left hand room. The slab, which is slightly smaller than the room, is hung by a block and tackle from the metal beam. The loose end of the rope is lead from this block and tackle across the partition into the right hand room. In this room, the rope extends down the left hand wall, across the room about 10 in. from the floor and then up the right hand wall to the ceiling where it is secured to the beam. As the rope crosses the floor, it runs over a chopping block with an axe stuck in it. Near the chopping block and behind the rope is a video monitor that allows the participant to view the adjacent space. The video monitor is positioned so that it can only be seen after one has stepped over the rope and moved to the rear of the room.
In the left hand room, there is a doorway on the back wall which one can reach only by walking under the concrete slab. This rear portal provides access to a small room and an opening in this room leads to a larger room which is located directly behind the space that contains the video monitor and chopping block. The room is unfinished and the 2 x 4 studs and plywood are visible. A rope attached to the top of the common wall that separates the front and rear enclosures extends to the back wall where it is then directed toward the floor and then redirected toward the common wall where it is affixed. This rope crosses a chopping block in which a knife is stuck. The wall section that the rope is affixed to is independent structurally and leans out into the front space.
Therefore, if the rope is cut, only a gentle push on the inclined section is needed to send the wall falling forward into the space containing the monitor and axe. An alarm clock, cup and a piece of mirrored mylar are also in this back enclosure.
Des mesures : 0.4872 x 0.5568 x 0.5568 m
Collection:
Date de réalisation : 1978
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72317
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72319
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72322
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72315
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72326
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72325
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72321
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72316
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72324
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72318
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72320
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Made to Measure
Artist: Max Dean
ID : 72323
Description:
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Pass It On
Artist: Max Dean
ID : 72328
Description: Installation, Drummond Medical Building, Montréal, May 28-June 6, 1981.
The installation took place in a doctor's office in a medical building in downtown Montréal. From the hallway, the viewer entered a small (9 ft. x 9 ft.) windowless waiting room containing three wooden chairs and a locked door. A note posted to this door asked that only one viewer enter and participate at a time; waiting for the blue light mounted nearby to go on before doing so. Behind this door was a very small cubicle containing another door, and beyond that was a large rectangular room measuring 26 x 12 feet. On the long wall opposite the doorway were four large windows looking out onto the street below. To the right of the viewer as he entered the room was a plexiglass stand; to his left, located three quarters of the way down the room, was a functional cast iron bathtub complete with soap rack, soap, and bathmat. The tub was placed perpendicular to the long walls with the faucet end facing the one window with a bamboo pull-blind. On the wall opposite were two clothes hooks and a towel rack with a towel and face cloth. Suspended from the ceiling above the tub, but slightly farther down the room, was a circular convex minor. The mirror reflected the tub, plexiglass stand, and most of that end of the room. The clear plexiglass stand housed a Polaroid SX-70 camera which was directed at the tub and mirror. Below the camera was a clock with an altered white face, a black line indicated the noon position and blue lines were used for the 1, 6, 11, 16, and 21 minute positions. Apart from these six lines the face was bare. The black minute hand was used to indicate the time, and as the hour hand was not employed, it was painted white. Behind the clock, battery-powered electronic circuitry was visible inside the plexiglass stand. A paint can filled with sand was placed in the base of the plexiglass stand to stabilize the unit. There were no electrical wires leading to or from the stand..
In the waiting, the viewer, seeing the blue light go on, stood on the plywood pad in front of the locked door. This activated an electric switch which un¬locked the first door giving access to the cubicle beyond. Here, another plywood pad activated the switch for the second door, and beyond that the viewer found himself in the larger space. Each participant found the room in its original state: minute hand of the clock at 12, clean tub, and fresh towels and soap. Once in the room the viewer could lock the door behind him thus ensuring his privacy. Passing through this second door triggered a timing device which started the clock. One minute after entering, as the minute hand of the clock crossed the first blue line, the SX-70 camera took a pic¬ture. The photograph, ejected into an attached plexiglass tray, could be kept by the viewer. Because of the position of the camera and the mirror almost everything in the room was captured in the photo. Five minutes after the first photograph, as the minute hand crossed the next blue line, another photo was taken. This continued until five photographs had bean taken, at which time the clock would turn off.
Des mesures :
Collection:
Date de réalisation : 1981
Matériaux : time triggered polaroid series
Collection virtuelle : Original CCCA
Pass It On
Artist: Max Dean
ID : 72327
Description: Installation, Drummond Medical Building, Montréal, May 28-June 6, 1981.
The installation took place in a doctor's office in a medical building in downtown Montréal. From the hallway, the viewer entered a small (9 ft. x 9 ft.) windowless waiting room containing three wooden chairs and a locked door. A note posted to this door asked that only one viewer enter and participate at a time; waiting for the blue light mounted nearby to go on before doing so. Behind this door was a very small cubicle containing another door, and beyond that was a large rectangular room measuring 26 x 12 feet. On the long wall opposite the doorway were four large windows looking out onto the street below. To the right of the viewer as he entered the room was a plexiglass stand; to his left, located three quarters of the way down the room, was a functional cast iron bathtub complete with soap rack, soap, and bathmat. The tub was placed perpendicular to the long walls with the faucet end facing the one window with a bamboo pull-blind. On the wall opposite were two clothes hooks and a towel rack with a towel and face cloth. Suspended from the ceiling above the tub, but slightly farther down the room, was a circular convex minor. The mirror reflected the tub, plexiglass stand, and most of that end of the room. The clear plexiglass stand housed a Polaroid SX-70 camera which was directed at the tub and mirror. Below the camera was a clock with an altered white face, a black line indicated the noon position and blue lines were used for the 1, 6, 11, 16, and 21 minute positions. Apart from these six lines the face was bare. The black minute hand was used to indicate the time, and as the hour hand was not employed, it was painted white. Behind the clock, battery-powered electronic circuitry was visible inside the plexiglass stand. A paint can filled with sand was placed in the base of the plexiglass stand to stabilize the unit. There were no electrical wires leading to or from the stand..
In the waiting, the viewer, seeing the blue light go on, stood on the plywood pad in front of the locked door. This activated an electric switch which un¬locked the first door giving access to the cubicle beyond. Here, another plywood pad activated the switch for the second door, and beyond that the viewer found himself in the larger space. Each participant found the room in its original state: minute hand of the clock at 12, clean tub, and fresh towels and soap. Once in the room the viewer could lock the door behind him thus ensuring his privacy. Passing through this second door triggered a timing device which started the clock. One minute after entering, as the minute hand of the clock crossed the first blue line, the SX-70 camera took a pic¬ture. The photograph, ejected into an attached plexiglass tray, could be kept by the viewer. Because of the position of the camera and the mirror almost everything in the room was captured in the photo. Five minutes after the first photograph, as the minute hand crossed the next blue line, another photo was taken. This continued until five photographs had bean taken, at which time the clock would turn off.
Des mesures :
Collection:
Date de réalisation : 1981
Matériaux : time triggered polaroid series
Collection virtuelle : Original CCCA
Pass It On
Artist: Max Dean
ID : 72330
Description: Installation, Drummond Medical Building, Montréal, May 28-June 6, 1981.
The installation took place in a doctor's office in a medical building in downtown Montréal. From the hallway, the viewer entered a small (9 ft. x 9 ft.) windowless waiting room containing three wooden chairs and a locked door. A note posted to this door asked that only one viewer enter and participate at a time; waiting for the blue light mounted nearby to go on before doing so. Behind this door was a very small cubicle containing another door, and beyond that was a large rectangular room measuring 26 x 12 feet. On the long wall opposite the doorway were four large windows looking out onto the street below. To the right of the viewer as he entered the room was a plexiglass stand; to his left, located three quarters of the way down the room, was a functional cast iron bathtub complete with soap rack, soap, and bathmat. The tub was placed perpendicular to the long walls with the faucet end facing the one window with a bamboo pull-blind. On the wall opposite were two clothes hooks and a towel rack with a towel and face cloth. Suspended from the ceiling above the tub, but slightly farther down the room, was a circular convex minor. The mirror reflected the tub, plexiglass stand, and most of that end of the room. The clear plexiglass stand housed a Polaroid SX-70 camera which was directed at the tub and mirror. Below the camera was a clock with an altered white face, a black line indicated the noon position and blue lines were used for the 1, 6, 11, 16, and 21 minute positions. Apart from these six lines the face was bare. The black minute hand was used to indicate the time, and as the hour hand was not employed, it was painted white. Behind the clock, battery-powered electronic circuitry was visible inside the plexiglass stand. A paint can filled with sand was placed in the base of the plexiglass stand to stabilize the unit. There were no electrical wires leading to or from the stand..
In the waiting, the viewer, seeing the blue light go on, stood on the plywood pad in front of the locked door. This activated an electric switch which un¬locked the first door giving access to the cubicle beyond. Here, another plywood pad activated the switch for the second door, and beyond that the viewer found himself in the larger space. Each participant found the room in its original state: minute hand of the clock at 12, clean tub, and fresh towels and soap. Once in the room the viewer could lock the door behind him thus ensuring his privacy. Passing through this second door triggered a timing device which started the clock. One minute after entering, as the minute hand of the clock crossed the first blue line, the SX-70 camera took a pic¬ture. The photograph, ejected into an attached plexiglass tray, could be kept by the viewer. Because of the position of the camera and the mirror almost everything in the room was captured in the photo. Five minutes after the first photograph, as the minute hand crossed the next blue line, another photo was taken. This continued until five photographs had bean taken, at which time the clock would turn off.
Des mesures :
Collection:
Date de réalisation : 1981
Matériaux : time triggered polaroid series
Collection virtuelle : Original CCCA
Pass It On
Artist: Max Dean
ID : 72329
Description: Installation, Drummond Medical Building, Montréal, May 28-June 6, 1981.
The installation took place in a doctor's office in a medical building in downtown Montréal. From the hallway, the viewer entered a small (9 ft. x 9 ft.) windowless waiting room containing three wooden chairs and a locked door. A note posted to this door asked that only one viewer enter and participate at a time; waiting for the blue light mounted nearby to go on before doing so. Behind this door was a very small cubicle containing another door, and beyond that was a large rectangular room measuring 26 x 12 feet. On the long wall opposite the doorway were four large windows looking out onto the street below. To the right of the viewer as he entered the room was a plexiglass stand; to his left, located three quarters of the way down the room, was a functional cast iron bathtub complete with soap rack, soap, and bathmat. The tub was placed perpendicular to the long walls with the faucet end facing the one window with a bamboo pull-blind. On the wall opposite were two clothes hooks and a towel rack with a towel and face cloth. Suspended from the ceiling above the tub, but slightly farther down the room, was a circular convex minor. The mirror reflected the tub, plexiglass stand, and most of that end of the room. The clear plexiglass stand housed a Polaroid SX-70 camera which was directed at the tub and mirror. Below the camera was a clock with an altered white face, a black line indicated the noon position and blue lines were used for the 1, 6, 11, 16, and 21 minute positions. Apart from these six lines the face was bare. The black minute hand was used to indicate the time, and as the hour hand was not employed, it was painted white. Behind the clock, battery-powered electronic circuitry was visible inside the plexiglass stand. A paint can filled with sand was placed in the base of the plexiglass stand to stabilize the unit. There were no electrical wires leading to or from the stand..
In the waiting, the viewer, seeing the blue light go on, stood on the plywood pad in front of the locked door. This activated an electric switch which un¬locked the first door giving access to the cubicle beyond. Here, another plywood pad activated the switch for the second door, and beyond that the viewer found himself in the larger space. Each participant found the room in its original state: minute hand of the clock at 12, clean tub, and fresh towels and soap. Once in the room the viewer could lock the door behind him thus ensuring his privacy. Passing through this second door triggered a timing device which started the clock. One minute after entering, as the minute hand of the clock crossed the first blue line, the SX-70 camera took a pic¬ture. The photograph, ejected into an attached plexiglass tray, could be kept by the viewer. Because of the position of the camera and the mirror almost everything in the room was captured in the photo. Five minutes after the first photograph, as the minute hand crossed the next blue line, another photo was taken. This continued until five photographs had bean taken, at which time the clock would turn off.
Des mesures :
Collection:
Date de réalisation : 1981
Matériaux : time triggered polaroid series
Collection virtuelle : Original CCCA
![The Table [with Raffaello D’Andrea] desc.?](https://ccca.art/wp-content/uploads/2024/04/deanmax047.jpg)
The Table [with Raffaello D’Andrea] desc.?
Artist: Max Dean
ID : 72338
Description:
Des mesures :
Collection:
Date de réalisation : 1984-2001
Matériaux :
Collection virtuelle : Original CCCA
Robotic Chair
Artist: Max Dean
ID : 72331
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux :
Collection virtuelle : Original CCCA
Prototype
Artist: Max Dean
ID : 72332
Description: Prototype is a kinetic close-circuit video installation that is to be seen through a ground floor storefront window. The work uses a close-circuit video camera linked to two monitors which are mounted on a revolving metal stand. The video camera is located just inside the store window and is focused out onto the sidewalk. The monitors are supported by arms extending from the metal base. The arms can revolve together or independently around the base in either a clockwise or counter-clockwise direction and at various speeds. The horizontal circular path of the arms brings the monitors within six inches of the walls and eighteen inches of the storefront window.
The sculpture is activated when the viewer places his hands on two paper cut-outs of hands mounted on the store window. These cut-out hands also position the participant so that the video camera frames the viewer's head. This image of the viewer's head appears on both monitors screens which face out onto the street. Initially both arms revolve together but after a predetermined time period a random sequence of speeds and directions is introduced. As the monitors continue to revolve the video image becomes distorted. As soon as the viewer removes their hands from the cut-outs, the mechanism stops and returns to the rest position.
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux :
Collection virtuelle : Original CCCA
Prototype
Artist: Max Dean
ID : 72333
Description: Prototype is a kinetic close-circuit video installation that is to be seen through a ground floor storefront window. The work uses a close-circuit video camera linked to two monitors which are mounted on a revolving metal stand. The video camera is located just inside the store window and is focused out onto the sidewalk. The monitors are supported by arms extending from the metal base. The arms can revolve together or independently around the base in either a clockwise or counter-clockwise direction and at various speeds. The horizontal circular path of the arms brings the monitors within six inches of the walls and eighteen inches of the storefront window.
The sculpture is activated when the viewer places his hands on two paper cut-outs of hands mounted on the store window. These cut-out hands also position the participant so that the video camera frames the viewer's head. This image of the viewer's head appears on both monitors screens which face out onto the street. Initially both arms revolve together but after a predetermined time period a random sequence of speeds and directions is introduced. As the monitors continue to revolve the video image becomes distorted. As soon as the viewer removes their hands from the cut-outs, the mechanism stops and returns to the rest position.
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux :
Collection virtuelle : Original CCCA
As Yet Untitled
Artist: Max Dean
ID : 72336
Description:
Des mesures : 175 x 226 x 230 cm
Collection:
Date de réalisation : 1992-1995
Matériaux : industrial robot, metal, found photographs
Collection virtuelle : Original CCCA
As Yet Untitled
Artist: Max Dean
ID : 72335
Description:
Des mesures : 175 x 226 x 230 cm
Collection:
Date de réalisation : 1992-1995
Matériaux : industrial robot, metal, found photographs
Collection virtuelle : Original CCCA
As Yet Untitled
Artist: Max Dean
ID : 72334
Description:
Des mesures : 175 x 226 x 230 cm
Collection:
Date de réalisation : 1992-1995
Collection virtuelle : Original CCCA
As Yet Untitled
Artist: Max Dean
ID : 72337
Description:
Des mesures : 175 x 226 x 230 cm
Collection:
Date de réalisation : 1992-1995
Matériaux : industrial robot, metal, found photographs
Collection virtuelle : Original CCCA
Telephone Piece
Artist: Max Dean
ID : 72347
Description:
Des mesures :
Collection:
Date de réalisation : 2000
Matériaux :
Collection virtuelle : Original CCCA
So, this is it
Artist: Max Dean
ID : 72339
Description:
Des mesures : 69 x 51 x 15 cm
Collection:
Date de réalisation : 2001
Matériaux : electronic components, video monitor, computer
Collection virtuelle : Original CCCA
So, this is it
Artist: Max Dean
ID : 72340
Description:
Des mesures : 69 x 51 x 15 cm
Collection:
Date de réalisation : 2001
Matériaux : electronic components, video monitor, computer
Collection virtuelle : Original CCCA
As Yet Unrealized
Artist: Max Dean
ID : 72346
Description:
Des mesures : chairs: 82 x 40 x 45 cm
Collection: Art Gallery of Ontario, Toronto
Date de réalisation : 2002
Matériaux : DVD & robotic chair-models, wood, plexiglass
Collection virtuelle : Original CCCA
Mist
Artist: Max Dean
ID : 72344
Description: Mist is a three-screen video projection. The screens are arranged in a very shallow horseshoe shape emulating the Falls. The tape is made up of six video clips. Each video sequence opens with a shot of the crestline of the Falls. This is a stationary shot taken directly above where the water falls over the edge. The viewer sees the water: rushing to and falling over the crestline, tumbling to the rocks below and generating clouds of mist. The second shot in each sequence is a frontal view of the Falls - a wall of water. From the top of this wall of water, a pair of hands appear to make their way downward, caressing the water, eventually grabbing the water as if it were a skirt, and lifting this watery skirt up to reveal a pair of women's legs. There are five `leg shots', each quite different in character, ranging in temperament from the sedate to the seductive. The hands release the aquatic skirt and the water crashes to the bottom thus restoring the Falls. The crestline shot reappears.
There are six video sequences. The order is random with a computer randomly ordering and playing all six clips before reshuffling and representing the next six sequences.
* * * * * * * * * *
Review by Gary Michael Dault
The Globe and Mail, Toronto. March 2, 2002
This is your last day, alas, to see Max Dean's brilliant installation, Mist. To walk into the gallery is to find yourself in the midst of a panoramic, three-screen projection of Niagara Falls, water thundering down from the top of the gallery to the floor, everywhere the deafening noise of the mighty cascade. You can almost feel, breathe, the cool rising mist.
Every so often, the view changes -- from looking up at the tumbling tumult to looking down from above (from a helicopter, as a matter of fact), as the rush of water glides vertiginously over the lip and tumbles to the river below.
But here's the thing. While the water is slipping away below you, it's just, well, nature-study. It's dizzying, but real. But when you stand there when the high cascade is pouring down from above, the most enchanting, absurd, deliciously corny, outrageously affronting, endlessly seductive thing happens: once in a while, occasionally (too infrequently), a pair of comely female hands reaches down from above, emerging from the rushing waters, and slowly, deliberately, archly, pulls up the tumultuous waters as if it were all dress material, and exposes, out of the water, a curvacious pair of female legs, eventually letting the `waterá drop back again to become part of the usual epic rush.
There are several versions of these strange, pixillated maid-of-the-mist intrusions. Sometimes the beauteous water-sprite is wearing striped stockings. Sometimes fishnet stockings. Sometimes she's swathed in black pantyhose with black lace tops. Her appearances are random, unpredictable, tantalizing. You feel guilty hanging around to see if there's more (does she ever get naked?) You feel silly hanging around to see her again and again.
You feel boyish, of course. Goofy. And then, out of the frantic need to rationalize your no-doubt prurient interest in this watery now-and-again apparition, this Niagara siren, you tell yourself how seductive the fall of the water is anyhow, how profound its pull, how the flirtatious water-creature might well embody the oceanic generalized pull of the falls itself. The eternal feminine leads us on, as Goethe said. Well, he said she leads us on "to perfection." But let's just leave it at "leads us on" for now.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux : three-screen video installation
Collection virtuelle : Original CCCA
![BE ME, [in collaboration with with Kristan Horton]](https://ccca.art/wp-content/uploads/2024/04/deanmax050.jpg)
BE ME, [in collaboration with with Kristan Horton]
Artist: Max Dean
ID : 72341
Description: BE ME is an interactive video installation.
BE ME will allow a participating viewer to animate the facial expressions of a projected video image of my face and allow the viewer to speak for me. My projected image will mimic the facial expressions of the viewer and the voice of this individual will be heard and seen has coming from my lips. As the selected viewer pauses the projected image will mimic the facial expressions and repeat back the last voice segment thus giving the impression that the viewer is speaking for me. For other visitors in the room the experience will be akin to hearing a conversation. The character of the projected image will be dictated by the facial expressions and the dialogue of the viewer. I foresee my image taking on as many characteristics and personalities as there are participants.
BE ME represents my on-going interest with interactively in the visual arts. I am interested in extending the parameters of the visual art experience by presenting the viewer with situations where a decision to participate is required of the viewing public. I have focused on creating works that seek to have the viewer respond in an intelligent and thoughtful manner. Issues of identity, trust and control are raised yet always with a humorous twist. BE ME taps into a shared fantasy. We all want to be someone else - here is that opportunity.
As the viewer enters the exhibition space they will see a large projected image of my face (3 to 4 feet in height) at the far end of the room and off to the viewer's left. The image will appear to be waiting, moving slowly and with eyes blinking. Located near the centre of the room is an armature/table with two cut-out hand silhouettes mounted horizontally. As the viewer moves into the room, the projected image will become attentive and say:
"So, you want to BE ME?"
If the viewer proceeds and moves toward the table the image says:
"Well then, place your hands on mine."
The cut-out hand silhouettes will locate and hold the viewer in a position where the video camera and microphone will be able to capture their image and voice.
Once this has been accomplished a full facial image of the viewer will appear on the far right of the screen. The image of the viewer being the same size as my image. The image of the viewer will then pan across the screen and move behind my image. As this is taking place my projected image will say:
"Say something."
Once the viewer's image has slide behind my image the viewer is controlling my facial expression with my lips synching to the viewer's voice. The viewer will say something and at a perceived pause the projected image will then speak back the expression and mimic the facial expressions used by the viewer thus allowing someone else to BE ME.
Des mesures : variable
Collection:
Date de réalisation : 2002
Matériaux : computer, video projector, camera, lights, custom software
Collection virtuelle : Original CCCA
Mist
Artist: Max Dean
ID : 72345
Description: Mist is a three-screen video projection. The screens are arranged in a very shallow horseshoe shape emulating the Falls. The tape is made up of six video clips. Each video sequence opens with a shot of the crestline of the Falls. This is a stationary shot taken directly above where the water falls over the edge. The viewer sees the water: rushing to and falling over the crestline, tumbling to the rocks below and generating clouds of mist. The second shot in each sequence is a frontal view of the Falls - a wall of water. From the top of this wall of water, a pair of hands appear to make their way downward, caressing the water, eventually grabbing the water as if it were a skirt, and lifting this watery skirt up to reveal a pair of women's legs. There are five `leg shots', each quite different in character, ranging in temperament from the sedate to the seductive. The hands release the aquatic skirt and the water crashes to the bottom thus restoring the Falls. The crestline shot reappears.
There are six video sequences. The order is random with a computer randomly ordering and playing all six clips before reshuffling and representing the next six sequences.
* * * * * * * * * *
Review by Gary Michael Dault
The Globe and Mail, Toronto. March 2, 2002
This is your last day, alas, to see Max Dean's brilliant installation, Mist. To walk into the gallery is to find yourself in the midst of a panoramic, three-screen projection of Niagara Falls, water thundering down from the top of the gallery to the floor, everywhere the deafening noise of the mighty cascade. You can almost feel, breathe, the cool rising mist.
Every so often, the view changes -- from looking up at the tumbling tumult to looking down from above (from a helicopter, as a matter of fact), as the rush of water glides vertiginously over the lip and tumbles to the river below.
But here's the thing. While the water is slipping away below you, it's just, well, nature-study. It's dizzying, but real. But when you stand there when the high cascade is pouring down from above, the most enchanting, absurd, deliciously corny, outrageously affronting, endlessly seductive thing happens: once in a while, occasionally (too infrequently), a pair of comely female hands reaches down from above, emerging from the rushing waters, and slowly, deliberately, archly, pulls up the tumultuous waters as if it were all dress material, and exposes, out of the water, a curvacious pair of female legs, eventually letting the `waterá drop back again to become part of the usual epic rush.
There are several versions of these strange, pixillated maid-of-the-mist intrusions. Sometimes the beauteous water-sprite is wearing striped stockings. Sometimes fishnet stockings. Sometimes she's swathed in black pantyhose with black lace tops. Her appearances are random, unpredictable, tantalizing. You feel guilty hanging around to see if there's more (does she ever get naked?) You feel silly hanging around to see her again and again.
You feel boyish, of course. Goofy. And then, out of the frantic need to rationalize your no-doubt prurient interest in this watery now-and-again apparition, this Niagara siren, you tell yourself how seductive the fall of the water is anyhow, how profound its pull, how the flirtatious water-creature might well embody the oceanic generalized pull of the falls itself. The eternal feminine leads us on, as Goethe said. Well, he said she leads us on "to perfection." But let's just leave it at "leads us on" for now.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux : three-screen video installation
Collection virtuelle : Original CCCA
![Snap [after Robert Frank]](https://ccca.art/wp-content/uploads/2024/04/deanmax057.jpg)
Snap [after Robert Frank]
Artist: Max Dean
ID : 72348
Description:
Des mesures :
Collection:
Date de réalisation : 2004
Matériaux :
Collection virtuelle : Original CCCA
Avery Stranded
Artist: Max Dean
ID : 72342
Description:
Des mesures :
Collection:
Date de réalisation : unknown/inconnue
Matériaux :
Collection virtuelle : Original CCCA
Avery Stranded
Artist: Max Dean
ID : 72343
Description:
Des mesures :
Collection:
Date de réalisation : unknown/inconnue
Matériaux :
Collection virtuelle : Original CCCA
