Jeff Wall

For his retrospective at the Palais des Beaux Arts, Brussels in 2011, Wall chose some 130 works by his favorite artists, from 1900s photographer Eugène Atget to film excerpts (Fassbinder, Bergman, the Dardenne brothers) to pieces by contemporaries Thomas Struth and David Claerbout. They were shown alongside 25 of his own pictures.

Wall was among the names in Blake Gopnik's 2011 list "The 10 Most Important Artists of Today", with Gopnik arguing, "For three decades, Wall has been testing the full range of what pictures can still do and mean, after anti-art had 'proved' them dead." The artist has also gotten the following accolades:

A response to Manet's Un bar aux Folies Bergère, the Tate Modern wall text for Picture of Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:

Wall's work advances an argument for the need for pictorial art. Some of Wall's photographs are complicated productions involving cast, sets, crews and digital postproduction. They have been characterized as one-frame cinematic productions. Susan Sontag ended her last book, Regarding the Pain of Others (2003), with a long, laudatory discussion of one of them, Dead Troops Talk (A Vision After an Ambush of a Red Army Patrol near Moqor, Afghanistan, Winter 1986) (1992), calling Wall's Goya-influenced depiction of a made-up event "exemplary in its thoughtfulness and power."

First shown at documenta 11, After "Invisible Man" by Ralph Ellison, the Prologue (1999–2000) represents a well-known scene from Ellison's classic novel. Wall's version shows us the cellar room, "warm and full of light," in which Ellison's narrator lives, complete with its 1,369 lightbulbs.

While Wall is known for large-scale photographs of contemporary everyday genre scenes populated with figures, in the early 1990s he became interested in still lifes. He distinguishes between unstaged "documentary" pictures, like Still Creek, Vancouver, winter 2003, and "cinematographic" pictures, produced using a combination of actors, sets, and special effects, such as A Sudden Gust of Wind (after Hokusai), 1993. Based on Yejiri Station, Province of Suruga (ca. 1832) a woodblock print by Katsushika Hokusai, A Sudden Gust of Wind recreates the depicted 19th-century Japanese scene in contemporary British Columbia, using actors and took over a year to produce 100 photographs in order "to achieve a seamless montage that gives the illusion of capturing a real moment in time."

Since the early 1990s, Wall has used digital technology to create montages of different individual negatives, blending them into what appears as a single unified photograph. His signature works are large transparencies mounted on light boxes; he says he conceived this format when he saw back-lit advertisements at bus stops during a trip between Spain and London. In 1995, Wall began making traditional silver gelatine black and white photographs, and these have become an increasingly significant part of his work. Examples were exhibited at Kassel's documenta X.

Solo shows include ICA, London (1984), Irish Museum of Modern Art, Dublin, Ireland (1993), Whitechapel Gallery, London (2001), Kunstmuseum Wolfsburg, Wolfsburg, Germany (2001), Museum für Moderne Kunst Frankfurt (2001/2002), Hasselblad Center, Göteborg, Sweden (2002), Astrup Fearnley Museum, Oslo, Norway (2004) and retrospectives at Schaulager, Basel (2005), Tate Modern (2005) and MoMA, New York (2007), Art Institute of Chicago (2007), SFMoMA, San Francisco (2008), Tamayo Museum, Mexico City and Vancouver Art Gallery, Vancouver (2008), and Staatliche Kunstsammlungen, Dresden (2010). Wall was also included in documentas 10 and 11.

Mimic (1982) typifies Wall's cinematographic style and according to art historian Michael Fried is "characteristic of Wall's engagement in his art of the 1980s with social issues". A 198 × 226 cm colour transparency, it shows a white couple and an Asian man walking towards the camera. The sidewalk, flanked by parked cars and residential and light-industrial buildings, suggests a North American industrial suburb. The woman is wearing red shorts and a white top displaying her midriff; her bearded, unkempt boyfriend wears a denim vest. The Asian man is casual but well-dressed in comparison, in a collared shirt and slacks. As the couple overtake the man, the boyfriend makes an ambiguous but apparently obscene and racist gesture, holding his upraised middle finger close to the corner of his eye, "slanting" his eye in mockery of the Asian man's eyes. The picture resembles a candid shot that captures the moment and its implicit social tensions, but is actually a recreation of an exchange witnessed by the artist.

Presenting his first gallery exhibition in 1978 as an "installation" rather than as a photography show, Wall placed The Destroyed Room in the storefront window of the Nova Gallery, enclosing it in a plasterboard wall.

Wall experimented with conceptual art while an undergraduate at UBC. He then made no art until 1977, when he produced his first backlit photo-transparencies. Most of these are staged and refer to the history of art and philosophical problems of representation. Their compositions often allude to artists like Diego Velázquez, Hokusai, and Édouard Manet, or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison.

Wall received his MA from the University of British Columbia in 1970, with a thesis titled Berlin Dada and the Notion of Context. That same year, he stopped making art. With his English wife, Jeannette, whom he had met as a student in Vancouver, and their two young sons, he moved to London to do postgraduate work from 1970 to 1973 at the Courtauld Institute, where he studied with T.J. Clark. Wall was assistant professor at the Nova Scotia College of Art and Design (1974–75), associate professor at Simon Fraser University (1976–87), taught for many years at the University of British Columbia, and lectured at the European Graduate School. He has published essays on Dan Graham, Rodney Graham, Roy Arden, Ken Lum, Stephan Balkenhol, On Kawara, and other contemporary artists.

Wall's early group exhibitions include 1969 shows at the Seattle Art Museum, Washington, and Vancouver Art Gallery, and New Multiple Art at the Whitechapel Gallery, London in 1970. His first one-man show was held at Nova Gallery, Vancouver in 1978.

Jeffrey Wall, OC, RSA (born September 29, 1946) is a Canadian artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.