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Karl Beveridge (born November 7, 1945) is a Canadian artist. His practice responds to critical contemporary cultural, social, and political issues through the use of collaboration and dialogue.[1] Beveridge and long-time collaborator and partner Carole Conde challenge concepts of ideology, power, and control.[1][2]

Karl Beveridge
Born (1945-07-11) July 11, 1945 (age 74)
Ottawa, Ontario
Known forPhotography

In their career, which spans over thirty years, Condé and Beveridge have had over fifty solo exhibitions at major museums and art spaces across four continents, including: the Institute of Contemporary Arts in London, UK; Museum Folkswang in Germany; the George Meany Centre in Washington; Dazibao Gallery in Montréal; Centro Cultural Recoleta in Buenos Aires; the Art Gallery of Edmonton; and the Australian Centre for Photography in Sydney.[3]



In 1969, Condé and Beveridge, then working as independent conceptual artists, left Toronto for the burgeoning conceptual art world in New York City, where they found their overtly politicized voice.[4] In 1975, they picketed at the Museum of Modern Art, protesting its lack of inclusion of women artists.[3] The couple returned to Toronto in 1977.[3]

Artistic careerEdit

Condé and Beveridge have worked on social issues including the working conditions of migrant farm labourers, the histories of auto workers, women in the workplace, projects relating to labour education and labour arts, national and global "free trade" agreements, police brutality and systemic racism, environmental issues, nuclear power, the decline of the fishing industry, struggles against neoconservative government policies, healthcare issues, anti-globalization protests, and the transnational politics of water.[1] The artists use dialogical aesthetics as a way of breaking down the conventional distinctions between artist, artwork, and audience.[1]


Condé and Beveridge utilize actors, staged tableaux, montage, thematic slogans, captions, and the construction of emblematic props and non-naturalistic sets to generate an atmosphere of serious visual expression grounded in theoretical and ethical contexts.[1][5] Their work expresses the fundamental principal that art is a social transaction that becomes a participatory, collaborative process, communicating and articulating commonalities and differences shared by all.[1]


  • 1976 – It's Still a Privileged Art – This seminal artwork, their first key collaboration, initiated the development of the artists’ unique form of socially engaged art practice.[1][5]
  • 1982–1983 – Oshawa—A History of CAW Local 222 – A collaboration with members of the Canadian Auto Workers Local 222 (at the time still a part of the US-based United Auto Workers), which investigated the changing role of women in both the workplace and the union.[5] The 56-part photo narrative, divided into 5 sections, utilized oral and photo history to express the 1937 founding of the union, World War II changes, post-war growth and stability, gender tensions which resulted from the introduction of women into non-traditional jobs during the 1970s, and the looming threats of technology felt in 1984.[5]
  • 2012 – Public Matters 2012 - A photographic series that explores the reality of women's work over the last hundred years.[6]


  • Carole Condé and Karl Beveridge: Working Culture – Art Gallery of Windsor, Windsor, ON, 2009.[7]
  • Open Conversations: The Art Practice of Carole Condé and Karl Beveridge – Richmond Art Gallery, Richmond, BC, 2012.[8]
  • Carole Condé and Karl Beveridge: Scene Otherwise – Khyber Centre for the Arts/Anna Leonowens Gallery, Halifax, NS, 2015.[9]
  • I stood before the sourceBlackwood Gallery, Mississauga, ON, 2016.[10]
  • Winds of Change: Carole Condé and Karl Beveridge – Durham Art Gallery, Durham, ON, 2018.[11]


  • Women and the Fight to Unionize (1986) – Focusing on working women and how women, more than men, have been forced to confront the interconnection of work and life after work. Although originally conceived as true documentary, the project used fictionalized accounts and actors after fears of employer reprisals arose.[12]
  • Carole Condé & Karl Beveridge: Political Landscapes (1998) - Investigates the strategies employed in the artists’ tableau photographs, which centre around the collapse of the cod fishery, strikes by union workers and activism by students, teachers, etc.[13]


  • Portrait of Resistance: The Art and Activism of Carole Condé and Karl Beveridge (2011) - Intimately captures the artistic duo as they create their provocative and powerfully political staged photographs[14]




  1. ^ a b c d e f g Open conversations : the art practice of Carole Condé & Karl Beveridge. Marsden, Scott, 1956–,, Condé, Carole, 1940–,, Beveridge, Karl, 1945–,, Richmond Art Gallery. Richmond, B.C. ISBN 9781926594231. OCLC 971138313.CS1 maint: others (link)
  2. ^ Toronto, Point of View Magazine • 392–401 Richmond Street West •; email, ON • M5V 3A8 • Canada •639-0653 • Send us an. "Carole Condé + Karl Beveridge: Canada's Enfants Terribles of the Art World – Point of View Magazine". Retrieved March 10, 2019.
  3. ^ a b c d "Bio and CV | Carole Conde and Karl Beveridge". Retrieved March 10, 2019.
  4. ^ Cohen, Nicole S.; Peuter, Greig de (May 8, 2015). "The Art of Collective Bargaining: An Interview with Carole Condé and Karl Beveridge". Canadian Journal of Communication. 40 (2). doi:10.22230/cjc.2015v40n2a2994. ISSN 1499-6642.
  5. ^ a b c d Rogers, Kevin. "The Changing Picture". Fuse: Art, Culture, Politics. 33. Number 3: 28–33.
  6. ^ Grodzinski, Natasha (April 27, 2018). "A Conversation with Carol Condé and Karl Beveridge". Novella. Retrieved March 10, 2019.
  7. ^ "Carole Condé and Karl Beveridge: Working Culture". Art Gallery of Windsor.
  8. ^ Retrieved March 10, 2019. Missing or empty |title= (help)
  9. ^ "Exhibition: Carole Condé and Karl Beveridge: Scene Otherwise | The Khyber Centre For The Arts". Retrieved March 10, 2019.
  10. ^ "Blackwood Gallery | I stood before the source". Retrieved March 10, 2019.
  11. ^ "Carole Condé & Karl Beveridge, in Winds of Change". Retrieved March 10, 2019.
  12. ^ Carole., Condé, (1986). First contract : women and the fight to unionize. Beveridge, Karl. Toronto: Between the Lines. ISBN 0919946704. OCLC 16055588.
  13. ^ Robertson, Clive; Macleod, Catherine (1998). Carole Condé and Karl Beveridge : Political Landscapes. Clive Robertson, Catherine Macleod. Toronto, Ont.: Gallery TPW. ISBN 9780969475545.
  14. ^ "Portrait of Resistance: The Art and Activism of Carole Condé & Karl Beveridge". cinema politica. Retrieved March 10, 2019.
  15. ^ 134851139863553; 134851139863553 (December 20, 2013). "OCAD to confer honorary doctorates on Carole Condé, Karl Beveridge, Anita Kunz and Buffy Sainte-Marie". OCAD UNIVERSITY. Retrieved March 10, 2019.
  16. ^ "NSCAD Announces Honorary Degree Recipients for Conovocation Spring 2018, to Recognise them for their Support of the Arts". NSCAD. April 24, 2015. Retrieved March 10, 2019.
  17. ^ "Conde, Carole – Beveridge, Carole Bernice Condé Carole Conde". Retrieved March 10, 2019.

Further readingEdit

  • Condé and Beveridge: Class Works. Barber, Bruce, Agnes Etherington Art Centre. Halifax, N.S.: Press of the Nova Scotia College of Art and Design. 2008. ISBN 9780919616486.

External linksEdit