EDUCATION: BFA, Kansas City Art Institute, San Francisco, CA, 1968 Brooklyn Museum School of Art (Max Beckman Painting Scholarship), 1964 University of Montana, 1963 TEACHING POSITIONS: 1991-92, Nova Scotia College of Art & Design, Halifax, NS 1985-87, NSCAD, Halifax, NS 1984-85, Minneapolis College of Art & Design, Minneapolis, MN 1981-83, York University, Downsview, Ontario 1979-80, Art Center, College of Design, Pasadena, CA 1977-78, California Institute of Art, Valencia, CA 1976-78, University of California, Irving, CA 1968-74, NSCAD, Halifax, NS SELECTED SOLO EXHIBITIONS: 2008 "Three Easy Pieces" and "Sixteen Candles", CANADA, NYC 2007 "Three Easy Pieces", Mandarin Gallery, Los Angeles, CA 2005 The Immediate Landscape, CANADA, New York, NY The Burning Bush, The Burned Bush, The Bush Trap, Mandarin, Los Angeles, CA Two Hanks, Wynick/Tuck, Toronto, Ontario 2004 Two Hanks, Kling & Bang Galleri, Reykjavik, Iceland 2003 Two Hanks, CANADA, New York, NY What is Church & Two Hanks, Articule, Montreal, Quebec 2002 New Works Wynick/Tuck Gallery, Toronto, ON 2001 New Pictures and Older Videos selected videos 1970-1994 Los Angeles Contemporary Exhibitions, Los Angeles, CA 1999 Cultural Geographies, Art Gallery of Nova Scotia, Halifax, NS 1995 Cultural Geographies, Confederation Centre Art Gallery & Museum, Charlottetown, PEI 1992 Video from the 80's Articule Gallery, Montreal, Quebec 1990 Paradise Burning, Clock Tower Gallery PS1 New York, NY 1984 Selected Works, Coburg Gallery, Vancouver, BC 1981 Velville's Visit, Juncar/Kulenschmidt Gallery, Los Angeles, CA 1980 Selective Survey Van AbbeMuseum, Eindhoven, Holland 1976 Selected Works, University of California Art Gallery, Irvine, CA 1975 Notes from Lisbon and Other Works, Gallery Yvon Lambert, Paris, France 1974 Four Notes Through a Wall and Into the Grass, Gallery Francoise Lambert, Milan, Italy 1973 Kepler, Kohoutek & Other Occurrences, John Gibson Gallery, New York, NY 1972 Concert Tone Compressions, Art & Project, Amsterdam, Holland Twin Hills, Gallery Paul Maenz, Koln, Germany Video & Film, Jack Wendler Gallery, London, England 1971 Tuning Fork Concert, K.P.F.A. Radio, Berkeley, CA 1970 Multi Media Installation, NSCAD Messanine Gallery, Halifax, NS SELECTED GROUP EXHIBITIONS: 2005 Pier 21, Halifax, Nova Scotia The Canadian Embassy, Tokyo, Japan 2004 Littoral Documents, Confederation Centre Art Gallery, Charlottetown, PEI 2003 7th Lyon Biennial of Contemporary Art, Lyon, France 2002 Seventies: Art in Question, Musee de' art contemporian de Bordeaux, France 2001 Video Primer, Art Gallery of Ontario & Lonsdale Gallery, Toronto, ON 1999 Just the Facts? The Canadian Museum of C ontemporary Photography, Ottawa, ON 1997 In the Realm of the Phantoms: Photography and the Appartiions, Stadtisches Museum Abteiberg, Monchengladbach, Germany, Kunstalle Krems, Austria & Fotomuseum, Wintethur, Switzerland 1995 Reconsidering the Object of Art, 1965-1975, The Museum of Contemporary Art, Temporary Contemporary, Los Angeles, CA 1994 Conceptual Art: The NSCAD Connection 1967-1973, Anna Leonowens Gallery, Nova Scotia College of Art and Design, Halifax, NS 19991 Northern Lights, Canadian Embassy, Tokyo, Tokyo, Japan 1990 Vancouver SkyTrain, ‘Transpositions’, Vancouver, BC 1987 From Sea to Shining Sea, Power Plant, Toronto, ON 1980 Artist and Camera, Arts Council of Great Britain, London, England (traveling exhibition) 19799 Narrative Ar’, Groningen Museum, Groningen, Holland Commune Di Milano, Text/Visual, Milan, Italy 1978 Story, Narrative Ar’, Contemporary Art Museum, Houston, Texas 1977 Documenta, Kassel, Germany 1976 The Artist and the Photograph, Israel Museum, (2nd Triennial of Photography) Jerusalem, Israel 1974 Project 74, Wallraf-Richarz Museum, Koln, Germany 1973 Sound Works, The Museum of Conceptual Art, San Francisco CA 1971 3,549,000 Center of Art and Communication, Buenos Aires, Argentina 1970 Information, Museum of Modern Art, New York, NY BIBLIOGRAPHY: Askevold, David. (exhibition catalog) Eindhoven, Holland: Stedelijk Van AbbeMuseum 1980. Essays by Frederick Dolan, Peggy Gale & Alan Sondheim, texts and images by David Askevold. Bruce Barber, Conceptual Art: The NSCAD Connection 1967-1973,(exhibition catalogue) pp.17, 18, 19, 38, 39 Collins, James, Art Forum, 12 (March 1974) pp. 74-75 Coomer, Martin, "CANADA", Time Out London, April 11, 2006 Documenta VII. (exhibition catalog) Kassel, Germany, 1977. Dolan, Fred, "David Askevold: Political Modernism and Postmodernity." Vanguard, #17 (February 1988), pp. 19-22 Extra, Cologne, Germany. #4 (April, 1975) Special issue on David Askevold, bibliography, exhibition chronology, documentation of works from1968-1975. Flash Art, 38 (January 1974), p.7. documentaion and text by David Askevold, bibliography, exhibition chronology, documentation of works. Glueck, Grace, "Action/Performance and the Photograph", The New York Times, April 7, 2000 Knight, Christopher, "Playing Around with Pictures", Los Angeles Times, March 4 (illus.)2005 Krauss, Rosalind. ‘Notes on the Index: Seventies Art in America’ October #3, (Spring 1976), pp. 68-81. Reprinted in ‘The Originality of the Avant-Garde and Other Modernist Myths’. Cambridge, Massachusetts and London, England: The MIT Press, 1987. Goldstein, Ann, and Anne Rommimer, "Reconsidering the Object of Art: 1965-75 (exhibition catalogue) The Museum of Contemporary Art, Los Angeles and the publishers Cambridge, Massachusetts and London, 1996. The Journal, A Contemporary Art Magazine, Journal’s 40th Issue, LAICA’s Ten Year Catalog, Number 40, Vol.4, Fall 1984, "The Poltergeist" (a collaboration with Mike Kelley) pp. 57-59, Los Angeles, CA Liberal Art University Experiences. David Askevold in Conversation with Paul McMahon & 3 pg. presentations of game and film pieces: Studio International 183 (April 1972) pp. 156-159. Lippard, Lucy. ‘Six Years: The Dematerialization of the Art Object from 1966 to 1972’.New York: Praeger, 1973. Loers, Veit, "Mediumististische oder Psychedelische Fotografie? Der Psi-Effekt im Konzeptualismus, Im Reich der Phan tome, (In the Realm of the Phantom) fall, 1998, (exhibition catalogue) p. 149, plates 225, 226, 228, 230 Myers, Holly, "Exploring the Dawn of Digital Expression, Los Angeles Times, Feb. 27, 2001 Narrative Art (exhibition catalog). Bonn, Germany: Booner Kunsteverein, 1979. Oursler, Tony and Mike Kelley, “In the Weave of Reason”. ARTFORUM, Summer, 2008 Rosenberg, Karen. "Three Easy Pieces", The New York Times, March 7, 2008 Smith, Roberta. "Two Hanks", The New York Times, June 6, 2005 Sondheim, Alan, ed. ‘Individuals: Post Movement Art in America’. New York: Dutton Books, 1977. Stacey, Robert, and Liz Wylie. ‘Eighty/Twenty - 100 years of the Nova Scotia College of Art and Design’ (exhibition catalog). Halifax, Art Gallery of Nova Scotia, 1988.Video by Artists, Toronto: Art Metropole, 1975. Includes David Askevold’s "Notes for Explanation and Attitude" PUBLIC COLLECTIONS: Art Gallery of Nova Scotia. Canada Art Center College of Design. Pasadena, CA Art Metropole. Toronto, Canada Canada Council Art Bank. Ottawa Canadian Museum of Contemporary Photography. Ottawa Confederation Centre Art Gallery and Museum. Charlottetown, P.E.I., Canada Long Beach Museum of Art. Long Beach, CA Museum of Contemporary Art. Los Angeles, CA National Gallery of Canada. Ottawa National Public Library. Ottawa Van AbbeMuseum. Eindhoven, Holland Vancouver Art Gallery. Vancouver, BC, Canada Art Gallery of Windsor. Windsor, Ontario, Canada TWO HANKS, April 26, 2003 PRESS RELEASE David Askevold is among a handful of artists responsible for the development of the practice and pedagogy of conceptual art. His career is a litany of seminal publications, exhibitions and teaching posts in the history of conceptualism. From “The Information Show” at MOMA in 1970, LA MOCA’s 1995 “Reconsidering the Art Object 1965-1975”, Lucy Lippard’ s Six Years: the Dematerialization of the Art Object from 1966-1972, Alan Sondheim’s Individual’s: Post Movement Art in America, and Rosalind Krauss’s Notes on the Index: 70’s Art in America. Over the last thirty years he has taught at most of the centers for conceptualism in North America, and was a founding faculty of the Nova Scotia College of Art and Design. Askevold’s work has never been mired in the rhetorical issues or formal traps of conceptualism. He has refused to remain within any vernacular of the art movement and has moved through text, photography, video, story art, performance and most recently digital imaging. His refusal to accept technique as anything but a reduced vehicle for elaborate ideas has kept his work fresh and distinct from his contemporary’s work and contemporary art in general. "Even though David’s work has been the object of my consideration for many years, I am still mystified by it. His work is so elusive and multilayered that it escapes easy description... His work was the most stretched, it allowed me access, but was also oblique to the point of leaving me disoriented.” -Mike Kelley, collaborator and former student, 1998