{"id":77972,"date":"2019-06-26T15:01:37","date_gmt":"2019-06-26T15:01:37","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=77972"},"modified":"2019-06-27T08:16:23","modified_gmt":"2019-06-27T08:16:23","slug":"image-bank","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/","title":{"rendered":"The story behind the radical collective who subverted mass media through mail-outs and queer aliases"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":77980,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[1398,13324,34,1972,8991,4573,5280,13323,2467,13326,13327,1045,1850,7423,13330,13325],"class_list":["post-77972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-70s","tag-archives","tag-berlin","tag-canada","tag-collective","tag-dada","tag-duchamp","tag-image-bank","tag-kw-institute-for-contemporary-art","tag-michael-morris","tag-morris-trasov-archive","tag-performance","tag-queer","tag-subversion","tag-vancouver","tag-vincent-trasov"],"acf":{"main_category":139,"legacy":false,"exclude_from_ads":[],"hero_title":"","subtitle":"A new exhibition details the work of obscure 1970s Vancouver-based collective Image Bank, who distributed images among an international network of artists","hero":{"video":false,"image":false,"header_color":"black","overlay_color":"","overlay_text_color":"black"},"teasers":{"video":false,"image":{"ID":77980,"id":77980,"title":"04_MT_036_176_07","filename":"04_MT_036_176_07.jpg","filesize":59545,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/04_MT_036_176_07.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/04_mt_036_176_07\/","alt":"","author":"1","description":"","caption":"","name":"04_mt_036_176_07","status":"inherit","uploaded_to":77972,"date":"2019-06-26 14:31:09","modified":"2019-06-26 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Trasov, Mr. Peanut on the Staten Island Ferry, New York, 1972, Collection: Morris and Helen Belkin Art Gallery, Morris\/Trasov Archive, University of British Columbia"}},{"acf_fc_layout":"text_area","text_area":"

From exhibitions such as Fiona Tan\u2019s <\/span>exploration<\/span><\/a> of the Agfacolor image archives at Cologne\u2019s Museum Ludwig, to <\/span>The Black Image Corporation<\/span><\/i><\/a> currently on view at Berlin\u2019s Gropius Bau and Alexandra Bell\u2019s edited and redacted newspaper cuttings at this year\u2019s <\/span>Whitney Biennale<\/span><\/a>, the foregrounding of archival materials within the contemporary art world has emerged as a major trend in recent years. As society becomes ever more consumed by visual culture, fuelled by the speed and scale of platforms such as Instagram, images of the past offer us vital gateways into interrogating issues of the present.\u00a0<\/span><\/p>\n

These are just some of the ideas explored at Berlin\u2019s KW Institute for Contemporary Art\u2019s<\/span> thought-provoking new exhibition, <\/span>Image Bank<\/span><\/i><\/a>. <\/span><\/i>Bringing to light the political subversion and Duchampian humour of the eponymous artist collective of the title, the exhibition unravels the history of an international network of artists who shared images and correspondence by mail. Founded in 1970 by artists Michael Morris, Gerry Lee-Nova and Vincent Trasov in Vancouver, Canada, the collective was understood as \u201ca moment of utopic collaborative practice, kind of a hippy-esque situation,\u201d according to the exhibition\u2019s assistant curator, Kathrin Bentele.\u00a0 Featuring a range of art objects \u2014 including letters, photographs and video footage \u2014 the multimedia display investigates the origins and inner workings of this obscure group, who strived to democratise and decentralise mainstream image culture. <\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77981,"id":77981,"title":"05_MT_032_18-06","filename":"05_MT_032_18-06.jpg","filesize":310891,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/05_mt_032_18-06\/","alt":"","author":"1","description":"","caption":"Henry Rapapport postcard, Are words things?, c. 1971, Collection: Morris and Helen Belkin Art Gallery, Morris\/Trasov Archive, University of British Columbia","name":"05_mt_032_18-06","status":"inherit","uploaded_to":77972,"date":"2019-06-26 14:31:13","modified":"2019-06-26 14:33:27","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":972,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","thumbnail-width":128,"thumbnail-height":83,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","medium-width":1500,"medium-height":972,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","medium_large-width":1500,"medium_large-height":972,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","large-width":1500,"large-height":972,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","1536x1536-width":1500,"1536x1536-height":972,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","2048x2048-width":1500,"2048x2048-height":972,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/05_MT_032_18-06.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":972}}],"settings":{"fit_width":"6","caption":""}},{"acf_fc_layout":"text_area","text_area":"

Driven by a desire to distribute images to circumvent conventional hierarchies, the collective developed an innovative mail-out system \u2014 on a monthly basis, they circulated an image appropriated from a mass media source entitled \u2018Image of the Month\u2019 among a far-reaching group of creatives. Accompanied by a list of artists alongside their addresses and image requests, images were shared and spread on the basis of sending and receiving. In some ways, this distribution method might be seen as a precursor to social media \u2014 while we scroll through hashtags and curated feeds on Instagram, Image Bank similarly developed a \u201csystem of user-generated content\u201d with a keyword index that allowed for a searchable, thematic database of visual materials. Yet, as much as they were seeking out an ephemeral production of art, at the same time, \u201cthey were diligently filing, cataloguing, archiving their material and their output,\u201d Bentele tells SLEEK.<\/span><\/p>\n

As their network grew, the collective began asking for works to be submitted according to a thematic framework \u2014 examples include, \u201c1984\u201d or \u201cPiss Pics\u201d. According to Bentele, this process presented something of a temporal paradox \u2014 \u201cthey projected the future into the present. This way of dealing with the archive was actually projecting something that\u2019s happening now into the future, so the other way around, an inversion.\u201d\u00a0<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77974,"id":77974,"title":"190620_KW_0255_HQ","filename":"190620_KW_0255_HQ.jpg","filesize":1012224,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/190620_kw_0255_hq\/","alt":"","author":"1","description":"","caption":"","name":"190620_kw_0255_hq","status":"inherit","uploaded_to":77972,"date":"2019-06-26 14:30:35","modified":"2019-06-26 14:30:35","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":1000,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","thumbnail-width":128,"thumbnail-height":85,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","medium-width":1500,"medium-height":1000,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","medium_large-width":1500,"medium_large-height":1000,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","large-width":1500,"large-height":1000,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","1536x1536-width":1500,"1536x1536-height":1000,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","2048x2048-width":1500,"2048x2048-height":1000,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/190620_KW_0255_HQ.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":1000}}],"settings":{"fit_width":"6","caption":"Annual Artists\u2019 Directory and Image Bank Image Request Lists FILE Magazine, Vol. 2. No. 5, 1974, installation view (detail) 'Image Bank' at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling"}},{"acf_fc_layout":"text_area","text_area":"

But not only was Image Bank founded to distribute artworks and build an ever-expanding network of artists,\u00a0 at its core it wanted to disrupt conventional mass media rhetoric through a queer language of camp, masquerade and a playful adoption of aliases. The artists involved in the collective used interchangeable pseudonyms and aliases to challenge the individualism inherent in artistic ownership, promoting ideals of collective consciousness and fluid identities that could transcend cultural mythology instead. \u201cIt was a time of a much more collaborative thinking, and this moment of mingling of art and life,\u201d confirms Bentele of the lively period in which they were working.<\/span><\/p>\n

One of the most famous of these aliases was \u201cMr Peanut\u201d, a character assumed by Trasov that exuded all the campness and dry humour that characterised the collective\u2019s work. Based on the highly recognisable mascot of the American snack food company Planters, the persona represented the genericism and ludicrous quality of advertising imagery, and acted as a recurring motif throughout Image Bank\u2019s corpus. Amazingly, in the guise of Mr. Peanut, Trasov eventually ran for mayor in the 1974 Vancouver municipal election as a pointed commentary on the superficiality of consumerism and failings of the political system. The unlikely candidate garnered around 5000 votes and subverted the consumerist tropes from which the character originated in the process.<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77990,"id":77990,"title":"14_MT_036_181_364","filename":"14_MT_036_181_364.jpg","filesize":1300526,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/14_mt_036_181_364\/","alt":"","author":"1","description":"","caption":"Mr. Peanut with colour bars at Babyland, 1972\u201374, Collection: Morris and Helen Belkin Art Gallery, Morris\/Trasov Archive, University of British Columbia, Photo: Michael Morris","name":"14_mt_036_181_364","status":"inherit","uploaded_to":77972,"date":"2019-06-26 14:31:49","modified":"2019-06-26 14:34:41","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":927,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","thumbnail-width":128,"thumbnail-height":79,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","medium-width":1500,"medium-height":927,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","medium_large-width":1500,"medium_large-height":927,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","large-width":1500,"large-height":927,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","1536x1536-width":1500,"1536x1536-height":927,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","2048x2048-width":1500,"2048x2048-height":927,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/14_MT_036_181_364.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":927}}],"settings":{"fit_width":"6","caption":""}},{"acf_fc_layout":"text_area","text_area":"

While Image Bank is still relatively unknown outside of Canada, this eye-opening exhibit showcases an underrepresented body of artistic production in a way that interrogates the status of the art object itself. Through an international distribution network, Image Bank democratised the art object as Bentele explains, \u201c<\/span>with so much sending and receiving, the collective operated in an in-between state.\u201d<\/span>\u00a0 Offering an insight into the surprising parallels of a forgotten archive with modern systems of image distribution, <\/span>Image Bank<\/span><\/i> attests to the power of the archive as a source for effective commentary on contemporary issues. As a final note, Image Bank<\/em> reveals the significance of a diverse artistic group, who refuse easy categorisation. \u201cThrough its mail outs, its extended performances, its festivals, they used so many modes of working,\u201d posits Bentele. \u201cThere is not a single one way you can say that this is \u2018Image Bank\u2019.”<\/span><\/p>\n

See more from the exhibition below:<\/em><\/p>\n"},{"acf_fc_layout":"gallery","gallery":[{"ID":77987,"id":77987,"title":"11_MT 036.181.430","filename":"11_MT-036.181.430.jpg","filesize":1339064,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/11_MT-036.181.430.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/11_mt-036-181-430\/","alt":"","author":"1","description":"","caption":"Submission Piss Pics for Barbara Rrose, c. 1972, Collection: Morris and Helen Belkin Art Gallery, Morris\/Trasov Archive, University of British Columbia","name":"11_mt-036-181-430","status":"inherit","uploaded_to":77972,"date":"2019-06-26 14:31:35","modified":"2019-06-26 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Image Bank<\/span><\/i><\/a> runs through to 1 September 2019 at KW Institute for Contemporary Art.<\/span><\/i><\/p>\n"}]},"yoast_head":"\nThe story behind the radical collective who subverted mass media through mail-outs and queer aliases The story behind the radical collective who subverted mass media through mail-outs and queer aliases<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The story behind the radical collective who subverted mass media through mail-outs and queer aliases The story behind the radical collective who subverted mass media through mail-outs and queer aliases\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/image-bank\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-26T15:01:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-06-27T08:16:23+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"sleek\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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