| 1949 | Born in Leeds, England (Canadian Citizen) |
| 1971 | B.A. (Art History), University of British Columbia, Vancouver |
SELECTED SOLO EXHIBITIONS
| 2012 | Nicholas Metivier Gallery, Toronto |
| 2009 | Nicholas Metivier Gallery, Toronto |
| 2007 |
The Robotic Chair, Solo Projects, Toronto International Art Fair The Robotic Chair, Solo Projects, ARCO, Spain |
| 2004 | Snap, Susan Hobbs Gallery, Toronto |
| 2002 |
National Gallery of Canada, Ottawa Ottawa Art Gallery, Ottawa Mist, Susan Hobbs Gallery, Toronto |
| 2000 | Any Moment, Susan Hobbs Gallery, Toronto |
| 1996 | As Yet Untitled, Art Gallery of Ontario, Toronto |
| 1992 | Skins, Georgian College, Barrie |
| 1991 | Storefront Installation, 31 Maple Avenue, Barrie |
SELECTED GROUP EXHIBITIONS
| 2013 | Scale, Nicholas Metivier Gallery, Toronto |
| 2011 | Traffic: Conceptual Art in Canada 1965-1980, Blackwood Gallery, University of Toronto (touring exhibition) |
| 2010 | Robotic Chair, Ronald Feldman Gallery, NYC |
| 2009-10 | Robotic Chair, Lampton Gallery, Sarnia |
| 2009 | Caught in the Act, the National Gallery of Canada |
| 2008 | Domestic Appliance, Flowers East, London, England |
| 2004 | Facing History, Canadian Cultural Centre, Paris |
| 2003 |
The Bigger Picture, Ottawa Art Gallery, Ottawa Future Cinema, ICC, Tokyo, Japan Future Cinema, Kiasma, Helsinki, Finland |
| 2002 |
Future Cinema, ZKM, Karlsruhe, Germany The Found and the Familiar: Snapshots in Contemporary Canadian Art, Gallery TPW, Toronto Iconoclash, ZKM, Karlsruhe, Germany |
| 2001 |
Facing History, Presentation House, Vancouver Platea dell'umanita, La Biennale di Venezia 49a Esposizione Internazionale d'Arte, Venice, Italy Quality Control, Site Gallery, Sheffield, England |
| 2000 |
Canadian Stories, Ydessa Hendeles Art Foundation, Toronto Voici, 100 years of contemporary art, Palais des Beaux-Arts, Brussels, Belgium Umedalen Skulptur, Umeå, Sweden The Fifth Element, Kunsthalle Düsseldorf, Düsseldorf, Germany |
| 1999 |
Still Life, York Quay Gallery, Toronto d'APERTutto, La Biennale di Venezia 48a Esposizione Internazionale d'Arte, Venice, Italy |
| 1996 | Prospect 96, Frankfurter Kunstverein, Frankfurt, Germany |
| 1994 | Three Small Rooms, MacLaren Art Centre, Barrie |
| 1992 |
Masks and Metaphor, MacLaren Art Centre, Barrie Localmotive, Toronto |
| 1989 |
Luminous Sites, Or Gallery, Vancouver Gardens, Artscourt, Ottawa |
| 1987 | Memory/Souvenir, The Festival of the Arts, Ottawa |
| 1986 | Artists-in-Residence, The National Museum of Science and Technology, Ottawa |
| 1983 | The Berlin Project, Montreal Museum of Fine Arts, Montreal |
| 1982 | O'Kanada, Akademie der Künste, Berlin, Germany |
| 1980 |
Compass/Winnipeg, Harbourfront Art Gallery, Toronto Pluralities, National Gallery of Canada, Ottawa |
| 1979 | Form and Performance, Winnipeg Art Gallery, Winnipeg |
| 1978 | Obsessions, Rituals, Controls, Norman Mackenzie Art Gallery, Regina |
| 1976 |
The Mid-Western, Winnipeg Art Gallery, Winnipeg Mosaicart, Cultural Olympics, Montreal Sculpture on the Prairies, Winnipeg Art Gallery, Winnipeg Artists' Prints and Multiples, Winnipeg Art Gallery, Winnipeg True Confections, Burnaby Art Gallery, Burnaby |
| 1975 | Royal Horse's Mouth Piece, The Dandelion Gallery, Calgary |
| 1974 | SCAN (Survey of Canadian Art Now), Vancouver Art Gallery, Vancouver |
| 1973 | Pacific Vibrations, Vancouver Art Gallery, Vancouver |
EVENTS
| 1982 | _ _ _ _. National Gallery of Canada, Ottawa |
| 1981 | Pass It On, An installation for Performance organized by Parachute, Drummond Medical Building, Montreal |
| 1980 |
A, B, ou C, Montreal Museum of Fine Arts, Montreal _ _ _ _. 11e Biennale de la ville de Paris, Paris |
| 1979 |
Untitled, The Living Art Performance Festival, Vancouver Thirty Minute Sketch, Norman Mackenzie Art Gallery, Regina |
| 1978 |
Room 321: A Collective Work with the Students of the University of Ottawa _ _ _ _. Performance Festival, Montreal Museum of Fine Arts, Montreal |
| 1977 |
Two Hands for CAR, CAR Miniature Show, Fleet Gallery, Winnipeg Drawing Event, Winnipeg Art Gallery, Winnipeg Max Dean: A Work, Winnipeg Art Gallery, Winnipeg |
| 1975 |
ART (A Snow Sculpture), The Ottawa River Parkway, Ottawa To Be Read As It Is (Billboard), Georgia & Denman Intersection, Vancouver |
| 1973 | Large Yellow Duck, Stanley Park, Vancouver |
SELECTED BIBLIOGRAPHY
|
Canadian Art Online. See it- Max Dean: A Cutting Wit. Canadian Art Online, January 2009. Balzer, David. Galleries: Max Dean. Eye Weekly Magazine, January 2009. Gopnik, Blake. Here, the Seat Grabs You. The Washington Post, August 2008. Dault, Gary Michael. Alas , Dean’s saw works just don’t cut it. The Globe and Mail, January 2009. Baert, Renee, Max Dean: Catalogue of an exhibition held at the Ottawa Art Gallery, Essays by Renee Baert and Michelle Hirschhorn, 2005, 80 pages. Atkins, Gillian Yates. Max Dean: Enacting [Art]ificial Life. Parachute, 112, Fall 2003, p.74-80; Bradley, Jessica and Johnstone, Lesley, editors. Sightlines: Reading Contemporary Canadian Art. Montreal: Artexte Editions, 1994; ______. On James Carl and Building a Public Collection. Canadian Art, vol.18, no.4, Winter 2001; Carr-Harris, Ian. Max Dean and Cate Elwes. contemporary, January 2002, p.92; Dault, Gary Michael. Mixed Media. Canadian Art, vol.13, no.2, Summer 1996, p.77; Froelich, Peter. Blurbs: Performance Festival - The Montreal Museum of Fine Arts. Parachute, no.12, Autumn 1978; Fry, Philip. Max Dean. Parachute, no.14, Spring 1979; Greyson, John. Sound Sculpture. Vancouver: A.R.C. Press, 1975; Jordan, Betty Ann. Max Dean at Susan Hobbs Gallery. Toronto Life, July 2000; Love, Karen, editor. Facing History: Portraits from Vancouver. Vancouver: Arsenal Pulp Press, 2002; Mark, Lisa Gabrielle. Max Dean at Susan Hobbs Gallery. Artforum, November 2000; _____. Button Pusher. Canadian Art, vol.18, no.1, Spring 2001, p.54-59; Mason, Joyce. Selection Necessary. C Magazine, #51, October- December 1996, p.20-25; Miller, Earl. Max Dean. Parachute, Spring 1997, p.86; Nemeczek, Alfred. Und Noch Immer Erwweitert Sich der Kunstbegriff. Art das Kunstmagazin, 6/1997, p.48-50; Racine, Rober. Festival de Performances du M.B.A.M. Parachute, no.13, Winter 1978; Spring, Justin. Photo Finish. Art & Text, no.54, 1996, p.74-75; Storr, Robert. Prince of Tides ... ArtForum, May 1999, p.160-165; _____. Harry’s Last Call. ArtForum, September 2001, p.159; Triscott, Nicola. The Plateau: View from the high plains of art. Leonardo digital reviews, September 2001; Borràs, Maria Lluisa. La Bienal de Venecia refleja la vision del mundo actual que tienen los artistas. La Vanguardia, 10 June 2001; Dault, Gary Michael. Max Dean’s robots raise human questions. The Globe and Mail, 1 July 2000; _____. Max Dean at the Susan Hobbs Gallery. The Globe and Mail, 2 March 2002; Gopnik, Blake. Sacrificial Icons Led to the Shredder. The Globe and Mail, 27 July 1996; Moments of truth, traces of fiction. The Globe and Mail, 21 November 2000; Gordon, Daphne. Group of 5 reach world audience. The Toronto Star, 1 July 2001; Herholzier, Michael. Fotographie Als Hohe Kunst Der Inszenierung. Frankfurter Allgemeine, 10 March 1996; Hirschmann, Thomas. Susan Hobbs Gallery – Max Dean. The National Post, 8 July 2000; Hume, Christopher. Will photos live or die? It’s up to viewer. The Toronto Star, 22 May 1999; Kimmelman, Michael. The Art of the Moment. The New York Times, 1 August 1999; Levin, Kim. Navigating the Venice Biennale’s Sprawling Interzone Panic Attack. The Village Voice, 25 June 2001; Milroy, Sarah. What’s happened to Venice? The Globe and Mail, 26 June 2001; _____. We need artists to soldier on. The Globe and Mail, 2 October 2001, p.R1; _____. Strokes of genius. The Globe and Mail, 27 December 2001; _____. Human nature's lab tech. The Globe and Mail, 14 November 2002; Robinson, Walter. Venice Divertimondo. Artnet Magazine, 7 June 2001; Temin, Christine. At the Biennale, the art’s all over the map. The Boston Globe, 1 July 2001; |
EXHIBITION CATALOGUES
|
Andersson, Stefan. Umedalen Skulptur 2000. Umeå, Sweden: Galleri Stefan Andersson, 2000; Augaitis, Daina and Henry, Karen. Luminous Sites. Vancouver: Video Inn/The Western Front, 1986; Harten, Jürgen. The Fifth Element. Düsseldorf: Kunsthalle Düsseldorf, 2000; Holmes, Willard. Pluralities. Ottawa: National Gallery of Canada, 1980; Latour, Bruno and Weibel, Peter. Iconoclash: Beyond the Image Wars in Science, Religion, and Art. Karlsruhe: ZKM, 2003; McKibbon, Millie. Form and Performance. Winnipeg: Winnipeg Art Gallery, 1979; Pontbriand, Chantal, editor. Performance Text(e)s & Documents. Montreal: Parachute, 1981; Théberge, Pierre. O'Kanada. Berlin: Akademie der Künste, 1982; Shaw, Jeffrey and Weibel, Peter. Future Cinema: The Cinematic Imaginary after Film. Karlsruhe: ZKM, 2002; Szeemann, Harald. 48. Esposizione Internazionale d'Arte, la Biennale di Venezia. Venice: Electa, 1999; _____. 49. Esposizione Internazionale d'Arte, la Biennale di Venezia. Venice: Electa, 2001; Weiermair, Peter. Prospect 96. Frankfurt: Frankfurter Kunstverein, 1996. |