SEPTEMBER 1989

FREE

Nancy Shaw
Feature: Mary Kelly, BetweenSignifiers
Patrick Ready: Rain and Art

SEPTEMBER1989

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CONTENTS
page 4

FRONT EVENTS:
Nancy Shaw Video Artist in Residence.
Gordon Payne Exhibition. Opening Tues., SepL 12 8 p.m.

page 5

Yat-Ah:Chilcotin Sky Theatre. SepL 12-16 8:30 p.m. $5.
Poets on Video Thurs. Sept 21 9 p.m. $2.

page 8

FEATURE ARTICLE:
Between Signifiers A report by the participants on 'The Critical
Practice of Art", a Summer Intensive held at the Simon Fraser University
Centre for the Arts.

page 12

..A.·

Patrick Readys column, Provincial Affairs, begins with this issue.

FRONT is published nine times a year by the Western Front Society, Vancouver. Designed by Charles Cousins; cover photographs by Chick Rice;
edited and produced by Henry 0. Bull,Jane Ellison, Elspeth Sage and Ron Twanow. Submissions and correspondence ace encouraged.
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Western Front office hours: Tuesday-Friday, 1-5 p.m. Front Gallery: Tuesday-Saturday, 1-5 p.m.

September 1989

FRONT 3

FrontEvents

NANCY

SHAW

FrontEvents

GORDON

PAYNE

VAT-AH:

CHILCOTIN

SKY

VIDEOARTIST IN RESIDENCE

EXHIBITION:UNDERSATURN

THEATRE

September

September 12-0ctober 7

September 12- 16, 8:30 p.m. $5.

Nancy Shaw is a Vancouver artist and writer. She is also
director of the OR Gallery and on the board of Writing Magazine. This is her first video production.

Opening: Tuesday, September 12, 8 p.m.
Artist's Talk: Gordon Payne will discuss this work on
Thursday, September 14 at 8 p.m. FREE
Gordon Payne is a resident of Vancouver. Over the past
few years he has received acclaim for his painting. His large
scale abstract canvasses were exhibited in 1986 in a solo exhibition at the Charles H. Scott Gallery. UNDER SATURN is a
departure from his usual practice. This installation entails a
number of "mirror" portraits produced during the past
several years. These self-portraits present only the head and
neck with the face consistently contorted. The motif reappears in various two dimensional genres and media (photo
images, drawings, egg tempera paintings) as well as in threedimensional forms such as cast lead. Without corpus or context, the cause of the grimace is unclear but the unrelenting
repetition actualizes the nature of obsession. Component
titles extend meaning and direct the viewer by alluding to
psychological states and ontological issues. The installation
also constitutes an investigation into the relationship between
work and texL Some elements of this project have been previously presented in the Capilano Revi.ew.Each element has an
adjunct "story" which Payne will present and discuss at his
Artist's Talk.

In YAT-AH: CHILCOTIN SKY, an ensemble of Indigenous and European Clowns, an old storytelling couple,
and several musicians take a journey through Canada's past
and tum Cultus History upside-<lown. In a series of fourteen
scenes, YAT-AH recreates the arrival of the European and his
legacy: the fur-trade, the coming of disease, the Missionaries,
the industry of lumber, the Hollywood of Cowboys and Indians, the judicial scales of History, and the isolation and imaginings of the North and its storytelling traditions. With an
intercultural ensemble of Clowns and Storytellers, with a vocal
percussive score, with the use of Indigenous languages--Cree,
Salish, Kayuga-YAT-AH expresses images and rhythms of
Canadian history.
Written and directed by Alison McAlpine, with Sam
Bob, Oona McOuat, Kelly Moyah, Debbie Danbrook, Vern
Clair, Troy Awassis, Jimy Sidlar, Ronnie Sauve, Tina Louise
Bomberry, Ahmed Hassan, Sam Miller, Tina Farmilo.
Special thanks to THE UNITED NATIVE NATIONS,
Jani Lauzon, Ronnie Sauve and THE INSTITUTIONAL
THEATRE PRODUCTIONS
SOCIETY. Sponsored
by
Canada Manpower, Leon & Thea Koerner Foundation, Laidlaw Foundation, The National Film Board of Canada, Simon
Fraser Institute for the Humanities, Eastside Educational Enrichment Society.

NANCY COLE
ROBERT
DUNCAN
GEORGE
OPPEN
MARY OPPEN
POETSON VIDEO

Scoptocratic
( One of several scenarios)
Under one roof you can observe a lot when given
to an old time hero. I meant nothing by this remark but
was surprised when the witness kept quieL In doubt a
rose is a grotesque thing. Scars, scissors and lips; tar
paper, and paper, wooden windows. It is simply names
that work today and this has nothing to do with windows. The home owner and his helper. I watched from
a room I knew too well with a partial view of the neighbour's lawn on a slender, riotous island.
-Nancy Shaw

4 FRONT

September 1989

September 1989

Thursday, September 21, 9 p.m. $2.

The first in a monthly series drawing on the formidable
video collections of the American Poetry Archive and the
Western FronL Curated by Charles Watts, these screenings
take place in an informal context, with refreshments, and
book table courtesy of Proprioception Books.
Charles Oppen reads Seascape: Needks Eye and Robert
Duncan reads from Dante Etudes and other poems. 42 min.
Feb. 23, 1973. American Poetry Archive.
Mary Oppen reads a selection of prose works including
Meaning A Life, her autobiography. 45 min. Nov. 29, 1978.
J\rnerican Poetry Archive.
Nancy Cole performs The World is Round by Gertrude
Stein. This solo performance is a collection of works for children. There is considerable audience participation, with the
children singing and playing word games inspired by Stein's
'1essons". Excerpts. Nov. 16, 1975. Western FrontArchives.

FRONT5

F A L L
Terry

C.A.G.

1 9 8 9
Ewasiuk

September

5-23

Joanne

Tod

October

3-21

Rodney

NANCY SPERO

October

31-November

Mark

Lewis

September 13 - October 7

OR

ROBERT KEZIERE

L---

__.

18
16

LAWRENCE WEINER

GALLERY

314 W. HASTINGS,
MAIN FLOOR
V A N C O U V E R B . C . V 6 C 2 T •2
(604)

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Graham

November 28-December

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MORTAR STONE AND SUCH

683-7395

■ HRS: 12·5

TUES TO SAT

FUNDED BY THE CANADA COUNCIL THE CITY OF VANCOUVER
AND THE VANCOUVER FOUNDATION

Gallery T.O.O.
660- Kingsway,
Vancouver B.C.
CANADA
Hours: Wed. to Sat. 1 -5 p.m.

September 8 - 30, 1989

October 13 - November 11

368PowellSt.
Vancouver,B.C.

687-8006

PerelGallery
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ALLlSON KENDAIL: SENTINELS
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OCTOBER
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KEITHHIGGINS: A FICTIONALIZED ACCOUNT
OCTOBER25-NOVEMBER4
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Hours: Wednesday-Friday, 2 to 6 pm;
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Openings:8-l0pm
We gratefully acknowledge the financial support of the City of
Vancouver, the B.C. Government through the Ministry of Municipal
Affairs, Recreation and Culture, and the Canada Council.

112WestHastings
St.,Vancouver
September 1989

6 FRONT

September 1989

FRONT7

B E T

w E E N s I G N I F I E R s

Mary Kel}y conducted "The CriticalPracticeof Art, • in June 1989, a Summer Intensive organized byAnne Ramsden (AR) of the CentreFur
the Arts, Simon Fraser University. Gu.estlecturerswereJoanne Isaak and Victur Burgin The Summer Intensive was designedfur artists,
writers, critics and curators in the visual arts community. It compriseda seriesof lectureson psychoanafysis, seminar sessions and critical
engagements with the wm1tof participating artists. Further, thefirst wedc of the Intensive coincided with a course by art histurian Griselda
Pollock, organized b-yjudith Mastai at the Vancouver Art Gallery.
The participants in the Intensive were: &nee Baert (RB), Marion Penner-&ncroft (MPB), Claudia Beck (CB),Jessica Bradley (IB), Luma
Brown (LB), Ma,got Butler (MB), Kati Campbell (KC), Anne-Marie Cosgrove(AC), Sara Diamond (SDi), Stan Douglas (SDo), Nancy
Frohlick (NF), Don Gill (DC), Annette Hurtig (AH), Judi Lederman (IL), Phillip McCrum (PM), Joanne Rnss (JR), Nancy Shaw (NS),
Kathleen Slade (KS),jin-me Yoon (JY). Donna Clarie(DC) was lntensiveAssistanL
Kati Campbelland Donna Clarieinvited participants (though not all wereable to respond) to write a brief 100 to 150 words:

DG: Coming to terms with my reactions to the intensive
is difficult. Its value is undeniable, the information dealt with
is timely and important, the input of the participants stimulating, and Mary Kelly's pedagogical delivery impressive. However, the primary value of the institute for me comes with the
process of determining my own position as a male artist in
relation to the historical conjuncture
of psychoanalytic
theory, feminism, and women's practice of art. A conscious
effort to become familiar with the material in a more comprehensive manner is now a requisite project.
JY: I wanted to be like Mary Kelly. The way she crosses
her legs, for example, angled 20 degrees from her poised
body, the shins perfectly parallel to each other. I could never
remember to do it exactly right. I would inevitably start to
slouch, and the top crossed leg would stick out awkwardly,
accentuating the fattest part of my calf. Perhaps if I looked in
the mirror long enough...
Mirror. Long(ing). (Never)
enough. No, it wasn't just how she looked. It was her mind
that I wanted. Subtle and sophisticated, generous but toughthoroughly articulate-no flabbiness there. It's that gracious
composure. . . She is lovely in all ways. Her apparent "seamlessness" unnerved me at first but gradually, her totality
delighted me. She was complete. And on the night before the
last day of the seminar I dreamt: "Was your mother a man?"
JL: A lot of smart, enthusiastic kids we were. Bounding
up that narrow staircase through the peculiar stale smell to
perch expectantly on the edge of chairs, pens alert and
curious. Oh, a little chitchatting, an occasional latecomer, but
mainly intent, intense. Not wanting to miss a word. (Maybe
even longing for a tape recorder.) And then, Mary. That
quietly eloquent, small abundant voice. Precise. Clearing her
throat. The surprise laugh, bemused at the next idea. Riches.
Very serious and joyous. Freud and Lacan. It was going to
make sense.
JR: It was definitely a Vancouver affair for someone (of
the six) from out of province, the vitality of the artistic and
theoretical community was exhilarating. A month later, my
mind is still electrified and assaulted by the intensity of Mary's
presentation and of our participation. Mary's evident pleasure

8 FRONT

in the elegant working through of theory prevailed to focus
group discussion more on theoretical intricacies and less on
current or historical issues surrounding the intersection of
feminism and psychoanalysis. The moments - in discussions
following lectures, in critiques, in Mary's public lecture at the
VAG - when theory and practice coalesced, were tantalizing
highlights. After the fact, I wish there had been more.
AC: I'm drawn to writing to you about my current news!
Since I've been back I've done a lot of dishes and changed a
lot of diapers, made some dinners, and generally been quite
busy. Immediately, I missed being there, having the opportunity to speak and have others listen and to listen to others.
The level of intensity that I enjoyed in that group is uncommon and seemed to be fuelled by the variety of interests that
were represented by the participants and the speakers. I am
very enthused by the range of feminist activity that presents
itself in Vancouver. As you may know, there is no single
feminist art gallery in Toronto. Today I'm off to look at
possible sites to continue my art practice away from my home
September 1989

which has become, happily, a source of constant distractions.
RB: I was able to attend only two weeks of the three-week
intensive. Mary Kelly was concerned: "You'll miss the castration complex!" The castration complex was the subject of
Kelly's third lecture, the topic toward which her other tutorials led. My understanding of the castration complex - and
the pleasure of the workshop was its amplification, development, reworking of my understanding - is that it is precisely
the turn that inaugurates desire and object relations. For
men, the recognition of inadequacy: for women, the nothaving, missing. But I missed the castration complex. What is

missing, irretrievably not-there, and what persists as object of
desire and fantasy of plenitude, is that forever foregone
lecture.
CB: Dear Gang: I'm at art camp at the BanffCentre. I'm
writing. Critical fictions is my critical practice. I'm writing
aboutAmerica, the Americans, and Robert Frank, sort of. You
wanted me to write about Mary Kelly and my fabulous three
weeks, night and day with all of you and Griselda, Victor,
Joanna, Freud, Lacan, etc. Mostly I remember you, I hear your
words and laughter, emphatic and questioning. Mostly I remember you and your pictures, while we talked. Mostly I remember you, while we ate and drank and joked. I dream
about our words and pictures while I sweat it out with something else on the computer. Being here is different. They say
I'm elusive. I can hardly wait to pick up with you again. I think
you help me write. Love and Kisses, Claudia. PS I will write our
workshop, but I need time to let your words and pictures sink
in and spin out.
SDi: Mary Kelly's witty and lucid instruction required
September 1989

deep entry into the intricacies of pure theory. It was a luxurious bath of ideas, amplified for many of us by the rarity of
intensive engagement of this duration in reading, discussing,
applying theory and collectively critiquing work. The questions that haunted me throughout the seminar remain: to
what extent is psychoanalysis an historically situated, but viable map of a specific social and cultural structure, one which
revolves around a profoundly inegalitarian patriarchal construct where women lack and men have? To what extent is it a
dialectical methodology which allows for a transformation of
its own conditions? To what extent does it delineate certain
unshakable "truths" about the nature of human functioning
crosS<ulturally which condemn us to a dualistic structure of
oppositions based on who has or hasn't got "the phallus" at a
given moment. And what does it mean, at this moment in
history to enter into or embrace another metadiscourse? The
jury may remain out, but the seminar provided a beginning
from which to examine the value of this theory to our own
practice and to do this with members of our own community.
MB: Over-determined and going-too-far are two terms
which Mary Kelly used, and which we participants came to
use, during the crits. They are especially useful tools both for
producing and interpreting artwork. We used over-determined
in the sense of 'more than one determining psychological
factor', and also for 'excessively determined' (as well, there
are many other interesting permutations based on the word
'determine').
The going-too-far tool stops the viewer from
transgressing the codes which are in the work itself, therefore
warding off the tendency to take the work in directions which
it doesn't want to go. I think that these two terms/tools go a
long way toward understanding the internal machinations of
an artwork from both the producers' and the viewers' points
of view, therefore toward an integration between those levels
of art practice. This course was quite a magical mix of art and
psychoanalytic theory, discussion of specific artworks through
clear and measured crit process (a rare and truly wonderful
experience!), with an integrated feminist analysis - including
attention to social change - implicit in the entire process.
SDo: Lacan's "return to Freud" has provided feminists
with a precise vocabulary for describing sexual difference and
its precipitates - but for men who share their interests, a
parallel return to Soplwcl£s might be more provocative.
Throughout the first play of the cycle, Oedipus is well aware of
his fate and does all he can to evade it, even though he
half-knows that he already inhabits the "unnatural" relations
foretold. When he is finally made to recognize his situation,
his response is repentant self-mutilation, "the pain of spikes
where I once had sight, the flooding pain of memory, never to
be gouged ouL" He blinds himself. But while feelings of guilt
prove a good conscience, they change nothing, and Oedipus

FRONT.9

asks for exile, for an elsewhere:"Drive me out of this co~try as
quickly as may be, to a place where no human voice may meet
me." Male sexuality and masculine desire are supposedly obvious because they are two of the more significant determinants of our culture, but one of their favourite deceptions is,
precisely, abdication. (During the seminar we heard a particularly fine example of this.) It is easy enough to make ourselves invisible (because we are not). What is more difficult is
to place ourselves at risk.
KC: It's crucial to understand that phallocentricism is a
linguistic term and is not to be confused with the term patriarchy. After considerable study in psychoanalysis I can consider
now working with the idea that the phallus as signifier structures the unconscious--but only with this provision: that men
also be able to move out of the notion that this linguistic
condition fixes privilege. I despair that a mis-recognition of
the stakes will continue. Women can know that the signifier
circulates, in a sense, because we know we don't have it. The
task then becomes not so much women reconciling themselves to a condition of the symbolic which revolves around a
signifier so apparently indexed to the biological, but rather
that men need to divest themselves of just this apparency-to
comprehend what it means when Lacan says, "no one has it
and no one is it". Montrelay speaks of woman being "too close
to her own body". Perhaps the crux is, rather, that man is too
close to his own body-too retinally fixed there to recognize
the detached, distanced, circulatory condition of the signifier.
AR: June 16, 1989: It was Friday night and fifty people
were gathered on the fourth floor of the Vancouver Art Gallery to witness and to participate in a "conversation" between
Griselda Pollock and Mary Kelly. Framing their discussion by
an initial emphasis on the notion of practice, Pollock and
Kelly spoke of the importance of the pleasure in the process
of making and the need to identify the audience one is "desiring to please"; the advantage of conceiving of one's work as
"feminist interventions in art/historical practice" rather than
"feminist art/history"; the political distinction between academic institutions and the entertainment industry (galleries,
etc) and the different meanings that can be constructed
within these two sites; the complex and contradictory relationship between feminism and modernism; the use of psychoanalysis as a tool to construct and/ or discern the construction
of the subject in arL During their exchanges, Kelly and Pollock failed to agree on a number of issues, but generally, the
disagreements turned around matters of strategy rather than
fundamental politics. What was instructive-at
times exciting- was to observe how Kelly and Pollock were stimulated by
their differences within feminism itself.
DC: Mostly I/We am/are left with questions: How can
I/We take a ~sition in what seems, at times, to be overwhelming theory? What is my /your stake? How can psychoanalysis be
used in a way which undermines, to some extent (to what
extent?) its own mastery? How can it be used with a historical/ socialist analysis? Whose psyche analysed? Is the unconscious a universal truth? Can I/We work with it to move
beyond binarisms?
10 FRONT

AH:
ATIRACTED by the work of this woman/ these
women
who speak(s) to my memory
of my desire
when with infant
to produce work too
turning to words
text the body
sexual politics and parenting
now
my child is woman grown/ growing
RESISTED the father
fundamental
Freud
(certainly seminal
my god! yet another
boy's story
SEDUCED by the rigour
intensity of
engagement with text(s)
PLEASURED by the exercise
critical eyes
the concert
minds voices
pain/play
and strain
passionate inquiry
the gift
of
to unravel
gender
DREAMED
vivid deep
despite
NEED now to sustain the brave bonds
vigilance
and laughter

OBORO presents

Trio pour Samuel Beckett
a collective work by

Raymond Gervais, Rober Racine and Irene F. Whittome

This edition includes a sepia print of L'imprimerie by Irene F. Whittome, a tape featuring Rober Racine's
music and voice from La derniere bande, and Raymond Gervais' album cover of Samuel Beckett-

piano solo.

Forty-nine copies of this work, signed and numbered in Montreal in September 1989, have been issued.

Trio pour Samuel Beckett follows Storyville Portraits - Le Petit Prince by Genevieve Cadieux,
The Temple of Modern Philosophy, Ermenonville

by Geoffrey James, and O Burrow by Betty Goodwin

OBORO, 3981 St-Laurent Blvd., #499, Montreal, H2W 1Y5, (514) 844-3250

#?09, 207 w. hastings
681-8199

s-t.

to

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0
0

p

September 1989

September 1989

FRONT 11

--ON the ocean.
Industry will take up the pace with water cars, communication systems based on laminar jets of water, water-filled
lenses for solar collectors that increase their light yield the
more it rains. And more.
People will try to imitate what will become known as "'Ibe
Vancouver Style" in Paris, L.A. and Rome but because they
don't have the rain it just won't work. 11-IEYwon't be happy.
They'll have to come here.

column

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12 FRONT

,

patrick
ready
We live in the middle of a great opportunity and the
time has come to take control of the situation! Winter shall
NO LONGER be remembered
as soggy foundations
supporting gritty floors, screaming children, and shorted circuits.
Do they sit huddled around fires in Quebec, cursing the
cold? They do not! They suck maple syrup out of trees, slam
sleds down on the snow and beat hell to Gran's. Polynesians
laugh merrily at the volcanos, and float on the sea. And so it
goes for the Inuit and the snow, the Yanomamo and the
mighty Amazon.
We on the other hand get depressed BECAUSE it rains.
Ask any Saudi if this is sane! This is water, the staff of all life,
falling on us all as equally as death itself will fall too soon. It
alone accounts for the lushness and resilience of our forests in
the face the chainsaws, fires and ANOTI-IER Social Credit
governmenL It purges the air. Moistens our morning coffee
and freezes for the ice cubes in our after-dinner drinks.
Socially responsible artists have at this time a great duty to
perform for the people of this province. It is time to USE the
rain I And incorporate it into our West Coast culture I No one
need be reminded that the foundation upon which culture
reclines is its arL And so I put it to you that the art which we
create from now on will not only celebrate but depend upon
the rain.
Sculptors must use precipitation. Throw out your soluble
plaster busts and sundials and erect thrusting water clocks,
musical fountains, pissing permanent statues that weep and
sweat real water. From now on painters will only use colors
that work against grey skies and wetted surfaces. They shall
invent ways that the rain itself can create the picture.
And likewise for the music of this New Era! It will incorporate the percussive beats and melodies of rain falling on
sidewalks, car roofs, streaming down windows and alleys.
There shall be water dances and performances where everyone goes home if it DOESN'T rain. All the sprinklers in the
Vancouver Art Gallery will be spraying permanently from this
point on.
Soon fashion will follow as it does and there will be hats
that grow grasses out in the winter, rubber dresses that accentuate and flatter when they glisten, amazing parasols and
paraphernalia: coats that come alive with colours when
they've been wetted, inflatable shoes for quiet evening strolls
September 1989

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JANE

EDAM School provides a comprehc. :\'c training ground
for the dancer interested in kinetic arts and the ideas
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information: 681 -2083

September 1989

FRONT 13

petits annonces
Use this space for your personal messages,
invitations and announcements. P/,ease
submit uymail. Rates are $2.50 per line,
prepaid only.

Wanted: moms writing (poetry,
journals, advice, diaries, etc) for
radio series. Box 105

Return of desire. Box 203
Prints by William Burroughs signed
and numbered edition.
Box 103
Love of pleasure. Box 210

Jane Ellison's exercise classes
resume Sept 5. Alignment course
starts Sept 27 They'll make you feel
better. For info: 681-2083. Box 104
Truth of Knowledge. Box 218
Call for Submissions 8thAnnual
Western Front Art Fair. Open to all
artisans. Nov. 25/26. Box 103
Call for Volunteers incl.
receptionist, assist recording
engineer, word processing. Western
Fron t-87~9343

The Western Front Society (esL 1973)
is an artist-run centre that focuses on the production and presentation of new art. It offers
programs of exhibition, performance art, video production, computer graphics,
telecommunications, poetry, dance and music. Through a unique residency program, local,
national, and international artists are invited to create new works in this interdisciplinary
environment.
Karen Henry, Administrator
Randy Anderson, Office Manager
Kate Craig, Curator, Video Production
Kye Goodwin, Curator, Computer Graphics
Ann Hepper, Accountant
Annette Hurtig, Curator, Front Gallery
Brice MacNeil, Archives
Iain Macanulty, Technician
Tess Mergens, Intern
Eric Metcalfe, Curator, Performance
Alex Varty, Curator, Music
Charles Watts, Curator, Poetry

WITH

JUNE
KATZ
ANDFRIEND)
September
1989
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TELEPHONE:
681-9161

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KenLister

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Membership policy: First time visitors to live events are asked to pay a $5 membership fee
included in the cost of admission. A Subscribing membership costs $20/year and includes a
subscription to FRONT Magazine, special invitations, and free use of the print and tape
archives.

§1[JR ([))MG
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BEST
WESTCO~S
f JAZZ

The Western Front gratefully acknowledges the support of the following agencies and
corporations: The Canada Council, Employment and Immigration Canada, the Government
of British Columbia through the Ministry of Municipal Affairs, Recreation and Culture, the
City of Vancouver, the Goethe Institute, the Leon and Thea Koerner Foundation, Atari
Canada, B.C.T.V., Custom Plastics, General Paint, Hemlock Printers, Northstar Mills, and
Strider Computers.
The trustees of the DOUGLAS JAMES BROWN MEMORIAL FUND wish to announce a
continued appeal for donations. The fund has been established to commemorate Doug's
dedication and spirit. It will be used to help deserving individuals during apprenticeship as
technicians at the Western Front. Cheques should be made payable to
DOUGLAS JAMES BROWN MEMORIAL FUND and sent to
The Western Front Society, 303 East 8th Avenue, Vancouver B.C. V5T 1S1

September 1989

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FraserMacPherson
OliverGannon

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FraserMacPherson
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RossTaggart
ReneWorst

PhilDwyer
Campbell
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PhilDwyer
JohnForrest

RussBotten
OliverGannon

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FraserMacPherson
RonJohnston

RossTaggart
ReneWorst

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AlanMatheson
ShaneFox

PhilDwyer
OliverGannon

FraserMacPherson
OliverGannon

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PattiHervey
OliverGannon

RonJohnston
KenLister

ChrisSigerson
KenLister

ChrisSigerson
KenLister

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JapaneseRestaurant
601 West Broadway
876-9267

Western Front Society
303 East 8th Avenue
• Vancouver B.C. Canada
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SECOND CLASS
POSTAGE PAID
PERMIT NUMBER
8229