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There’s no better way to get inside the mind of a person than to study the objects that that person holds close, either through (legal or illegal) acquisition or through influences so potent that they amount to the same. I began to wonder about the kind of art collection I could amass if I was a billionaire (and had on-hand a crackerjack team of international art thieves). This wish list was assembled quickly: mostly specific objects, tendencies,… events, and points of view that when combined provide details to a self-portrait spanning 457 years. These were objects that influenced me directly during my developmental process. Even though I was an art student when conceptualism ruled supreme art history was given primacy - because you cannot begin to break the rules without understanding them first. Gaps began to appear, obvious candidates were deemed irrelevant and large chunks of history simply ignored as trivial wastes of time. This is where the arguments should commence . . .
Bruce Eves was the recipient of the Governor-General’s Award for Outstanding Achievement in the Visual and Media Arts in 2018 and was the subject of Peter Dudar’s feature-length documentary “Bruce Eves in Polari” that premiered at The Power Plant. Eves was ranked 26th on the Alt-Power100 list compiled by ArtLyst (UK). In the past he was assistant-programming director at the Centre for Experimental Art and Communication (CEAC) in the late 1970s; and throughout the 1980s was the co-founder and chief archivist of the International Gay History Archive (now housed in the Rare Book and Manuscript division of the New York Public Library). Eves continues an active practice of exhibiting and curating on the cutting-edge, and in recent years has pushed the envelope further by expanding his work to include spoken-word projects performed monthly at the Black Eagle bar’s Dirty Queer Poetry Nights. Eves lives and works in Toronto and seeks representation. His CV can be viewed at www.bruceeves.net