So Much To See: The Films of Mark Lewis
Canadian Art, Summer 2009, v. 26, no. 2, pp. 48-55
This retrospective survey of Mark Lewis’s film career arrives just in time for his showcase of Cold Morning at the Canada Pavilion of the Venice Biennale. Nancy Tousley overviews his work since his entry to the medium in 1991, documenting its formalist, sculptural tendencies: Lewis turns the pans, tilts, and zooms of the camera into a graceful language of abstraction. Notably, he asserts that film became modern when rear projection was invented, “when the medium began to quote itself.”
ITEM 2009.043 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
Downtown: Tolt, Zoom and Pan – Mark Lewis
Harper Road – Mark Lewis
Rush Hour, Morning and Evening, Cheapside – Mark Lewis
Rear Projection (Molly Parker) – Mark Lewis
The Fight – Mark Lewis
Backstory – Mark Lewis
Nathan Philips Square – Mark Lewis
A Winter's Night, Skating – Mark Lewis
Cold Morning – Mark Lewis
TD Centre, 54th Floor – Mark Lewis
Disgraced Monuments – Mark Lewis
Two Impossible Films – Mark Lewis
Children's Games, Heygate Estate – Mark Lewis
Algonquin Park, Early March – Mark Lewis
Jay's Garden, Malibu – Mark Lewis
Off Leash, High Park – Mark Lewis
Smithfield – Mark Lewis
Isoceles – Mark Lewis
Gladwell's Picture Window – Mark Lewis