Homes Not Games: Take Back Our City Protest Vancouver, British Columbia, February 12, 2010 @Sally Buck









Red Umbrella March Vancouver, British Columbia, June 11, 2016 @Sally Buck








March On, Vancouver Vancouver, British Columbia, January 20, 2018 @Sally Buck








Open City  – Sally Buck


The 1989 purchase of Barnett Newman’s Voice of Fire (1967) by the National Gallery in Ottawa for $1.76 million is the most public art controversy to have happened in Canada. Newman himself was political; he wrote of anarchists and created protest art, and ran for mayor of New York. Yet in his final interview he spoke of the intangible: “My work in terms of its social impact does denote the possibility of an open society, of an open world, not of a closed institutional world.” Feminist artists such as the Guerilla Girls would later question his position of power.

It’s with this two-toned interest in pragmatism and idealism that I exhibited photographs of Vancouver women in protest. The Vancouver Art Gallery’s 1995 display of Andres Serrano’s Piss Pope I and II (1987–88) saw demonstrations by Catholics. In 2010, Indigenous and civil liberties groups opposed the Winter Olympics. Occupy Vancouver rallied against global inequalities in 2011. When Bill C-51 granted government agencies access to individuals’ information in 2015, citizens protested. There are annual Red Umbrella marches for sex workers’ rights and Red Dress Day to honour missing and murdered Indigenous women. The 2017 and 2018 Women’s Marches saw pussy hats worn worldwide, in opposition to the US president’s stand on gender as well as racial inequities and sexual violence.

While protesting, women take possession of public space. Our bodies are sites of pragmatism and idealism, our decisions the constant measuring of perceived and varying safety levels and norms of acceptability. In mass numbers with shared missions, the signals we receive and transmit can be emboldened, or subsumed. There are risks, but there is a drive to be heard. Historical images share protesters’ varied resistances and their hopes about the possibility of an open society and an open world.


Sally Buck and Helen Marley, holding a photo of herself from the exhibition catalogue for Open City, Sally Buck and VanGalleries 



In a city of unhinged property values and taxes, emerging and unrepresented artists have a difficult task of finding galleries to show their work. In conjunction with an exhibition by Kent Lins Sally Buck showed in one of two rental vans.

The vans parked at ten different locations and times in Vancouver, which were posted online. See on Instagram, @vangalleries on Twitter, and @vangalleries on facebook.

These exhibitions in April 2018 were featured in Canadian Art Magazine, CBC Radio One national news, the Vancouver Sun, the Vancouver Courier, the Vancouver Province, the Vancouver Star, Galleries West Magazine, Sad Magazine, and Vancouver is Awesome.