- 1. Vancouver's artists had already achieved national attention in the 1950s . . .
- 2. The staging of Vancouver art as an international contender in the 1960s . . .
- 3. An essay like this, focused on painting, is a priori arbitrary . . .
- 4. But . . . something else was being advanced . . .
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- 5. First, "communication" as the desire to transmit something . . .
- 6. Second . . . communications media and technology were seen as a national value . . .
- 7. Third, in the local record it is communication . . .
- 8. It is through the lens of communication, as the antithesis of modernist painting . . .
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- 9. Given the currency of multimedia and communication theory in the sixties . . .
- 10. But accounts of Kiyooka's pedagogy reveal that he was effective . . .
- 11. In Kiyooka's absence, the most watched of the young hard-edge painters . . .
- 12. Another Regina-Vancouver School of Art-Kiyooka-schooled hard-edge painter . . .
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- 13. Pop art, or a variant thereof, made its first appearance in local practice . . .
- 14. Presented under the sponsorship of one of the city's most respected senior artists . . .
- 15. Despite his involvement in performance . . .
- 16. What Breeze did share with some of the hard-edge painters was a hot palette . . .
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- 17. One of the artists most dedicated to the psychedelic movement . . .
- 18. Michael Morris returned from his studies at the Slade in 1965, bringing with him the gouaches . . .
- 19. In 1968, Morris began his last series on canvas . . .
- 20. Thus, the idea of painting became increasingly expansive . . .
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- 21. The juror, Montreal artist Yves Gaucher, was underwhelmed . . .
- 22. Indeed, a younger generation was already experimenting . . .
- 23. In fact, it was left to Gaucher himself to deliver a resolution . . .
- 24. For Gaucher, the guiding metaphor of the Grey on Grey paintings was silence . . .
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