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The exhibition Booster Club is a continuation of Vancouver-based artist Kim Kennedy Austin’s exploration of the capitalist and expansionist endeavours underpinning Western life. Booster Clubs are popular in some schools, and support the activities of various groups and teams. The exhibition is made up of three main series, or chapters, each extracting imagery from a cultural referent that points to the entanglements of consumerism, religion, lifestyle, and self-improvement.
The first chapter, located in this gallery and titled Chamber of Commerce, references Babbitt, a 1926 satirical novel by Sinclair Lewis that follows a middle-aged real-estate broker in the fictional city of Zenith. Since its beginnings in sixteenth-century Europe, the Chamber of Commerce has acted as a regional business network that promotes itself and its members. The slogans and mottos of these financial clubs echo a form of boosterism that was heavily influenced by the project of colonization and its need to recruit, influence, and normalize expansion. Austin’s research into the visual history of business informs her critiques of the methods by which capitalism itself is advertised, and how human labour is exploited for the profit of a few.
The second chapter, located in the adjacent gallery, is titled House of Refuge & Industry, referencing a poorhouse established in 1869 in Austin’s hometown. The works make use of a number of materials to critique the exploitation of class through religion. In this chapter a series of hand-painted tile works with pastel red and blue stripes mimics the aesthetics of tent revivalism. Emerging in the 1800s, tent revivals sought to bring religion to the “new frontiers” of states like Kentucky and Ohio prior to the establishment of formal churches there. In Austin’s work, they provide a backdrop to excerpts from Elmer Gantry, another book by Sinclair Lewis, and its film adaptation, echoing the desperation on which religion as business often relies.
The final chapter of Booster Club, displayed in the upper floor gallery, is Futurecorp©. This chapter synthesizes anxieties of how power will look in the future, citing a variety of reference materials from ‘80s and ‘90s science fiction films. Science fiction has played an important role as a space to explore forward-looking social tensions, but with its confusion between eras and retro-futurism, Futurecorp© asks the timely question, what happens when the future is now? In Austin’s words, Booster Club envisions “the end case of business and religion left unchecked, whereby mega-corporations have been given ultimate power.”
With the support of The City of Burnaby and The BC Arts Council
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The exhibition Booster Club is a continuation of Vancouver-based artist Kim Kennedy Austin’s exploration of the capitalist and expansionist endeavours underpinning Western life. Booster Clubs are popular in some schools, and support the activities of various groups and teams. The exhibition is made up of three main series, or chapters, each extracting imagery from a cultural referent that points to the entanglements of consumerism, religion, lifestyle, and self-improvement.
The first chapter, located in this gallery and titled Chamber of Commerce, references Babbitt, a 1926 satirical novel by Sinclair Lewis that follows a middle-aged real-estate broker in the fictional city of Zenith. Since its beginnings in sixteenth-century Europe, the Chamber of Commerce has acted as a regional business network that promotes itself and its members. The slogans and mottos of these financial clubs echo a form of boosterism that was heavily influenced by the project of colonization and its need to recruit, influence, and normalize expansion. Austin’s research into the visual history of business informs her critiques of the methods by which capitalism itself is advertised, and how human labour is exploited for the profit of a few.
The second chapter, located in the adjacent gallery, is titled House of Refuge & Industry, referencing a poorhouse established in 1869 in Austin’s hometown. The works make use of a number of materials to critique the exploitation of class through religion. In this chapter a series of hand-painted tile works with pastel red and blue stripes mimics the aesthetics of tent revivalism. Emerging in the 1800s, tent revivals sought to bring religion to the “new frontiers” of states like Kentucky and Ohio prior to the establishment of formal churches there. In Austin’s work, they provide a backdrop to excerpts from Elmer Gantry, another book by Sinclair Lewis, and its film adaptation, echoing the desperation on which religion as business often relies.
The final chapter of Booster Club, displayed in the upper floor gallery, is Futurecorp©. This chapter synthesizes anxieties of how power will look in the future, citing a variety of reference materials from ‘80s and ‘90s science fiction films. Science fiction has played an important role as a space to explore forward-looking social tensions, but with its confusion between eras and retro-futurism, Futurecorp© asks the timely question, what happens when the future is now? In Austin’s words, Booster Club envisions “the end case of business and religion left unchecked, whereby mega-corporations have been given ultimate power.”
With the support of The City of Burnaby and The BC Arts Council
htmlText_3B2F3D17_44DC_5C21_41BE_14EC7DFFA70A.html =
The exhibition Booster Club is a continuation of Vancouver-based artist Kim Kennedy Austin’s exploration of the capitalist and expansionist endeavours underpinning Western life. Booster Clubs are popular in some schools, and support the activities of various groups and teams. The exhibition is made up of three main series, or chapters, each extracting imagery from a cultural referent that points to the entanglements of consumerism, religion, lifestyle, and self-improvement.
The first chapter, located in this gallery and titled Chamber of Commerce, references Babbitt, a 1926 satirical novel by Sinclair Lewis that follows a middle-aged real-estate broker in the fictional city of Zenith. Since its beginnings in sixteenth-century Europe, the Chamber of Commerce has acted as a regional business network that promotes itself and its members. The slogans and mottos of these financial clubs echo a form of boosterism that was heavily influenced by the project of colonization and its need to recruit, influence, and normalize expansion. Austin’s research into the visual history of business informs her critiques of the methods by which capitalism itself is advertised, and how human labour is exploited for the profit of a few.
The second chapter, located in the adjacent gallery, is titled House of Refuge & Industry, referencing a poorhouse established in 1869 in Austin’s hometown. The works make use of a number of materials to critique the exploitation of class through religion. In this chapter a series of hand-painted tile works with pastel red and blue stripes mimics the aesthetics of tent revivalism. Emerging in the 1800s, tent revivals sought to bring religion to the “new frontiers” of states like Kentucky and Ohio prior to the establishment of formal churches there. In Austin’s work, they provide a backdrop to excerpts from Elmer Gantry, another book by Sinclair Lewis, and its film adaptation, echoing the desperation on which religion as business often relies.
The final chapter of Booster Club, displayed in the upper floor gallery, is Futurecorp©. This chapter synthesizes anxieties of how power will look in the future, citing a variety of reference materials from ‘80s and ‘90s science fiction films. Science fiction has played an important role as a space to explore forward-looking social tensions, but with its confusion between eras and retro-futurism, Futurecorp© asks the timely question, what happens when the future is now? In Austin’s words, Booster Club envisions “the end case of business and religion left unchecked, whereby mega-corporations have been given ultimate power.”
With the support of The City of Burnaby and The BC Arts Council
htmlText_39FE7D41_44D4_5C21_41AA_560C48BD23FE.html =
The exhibition Booster Club is a continuation of Vancouver-based artist Kim Kennedy Austin’s exploration of the capitalist and expansionist endeavours underpinning Western life. Booster Clubs are popular in some schools, and support the activities of various groups and teams. The exhibition is made up of three main series, or chapters, each extracting imagery from a cultural referent that points to the entanglements of consumerism, religion, lifestyle, and self-improvement.
The first chapter, located in this gallery and titled Chamber of Commerce, references Babbitt, a 1926 satirical novel by Sinclair Lewis that follows a middle-aged real-estate broker in the fictional city of Zenith. Since its beginnings in sixteenth-century Europe, the Chamber of Commerce has acted as a regional business network that promotes itself and its members. The slogans and mottos of these financial clubs echo a form of boosterism that was heavily influenced by the project of colonization and its need to recruit, influence, and normalize expansion. Austin’s research into the visual history of business informs her critiques of the methods by which capitalism itself is advertised, and how human labour is exploited for the profit of a few.
The second chapter, located in the adjacent gallery, is titled House of Refuge & Industry, referencing a poorhouse established in 1869 in Austin’s hometown. The works make use of a number of materials to critique the exploitation of class through religion. In this chapter a series of hand-painted tile works with pastel red and blue stripes mimics the aesthetics of tent revivalism. Emerging in the 1800s, tent revivals sought to bring religion to the “new frontiers” of states like Kentucky and Ohio prior to the establishment of formal churches there. In Austin’s work, they provide a backdrop to excerpts from Elmer Gantry, another book by Sinclair Lewis, and its film adaptation, echoing the desperation on which religion as business often relies.
The final chapter of Booster Club, displayed in the upper floor gallery, is Futurecorp©. This chapter synthesizes anxieties of how power will look in the future, citing a variety of reference materials from ‘80s and ‘90s science fiction films. Science fiction has played an important role as a space to explore forward-looking social tensions, but with its confusion between eras and retro-futurism, Futurecorp© asks the timely question, what happens when the future is now? In Austin’s words, Booster Club envisions “the end case of business and religion left unchecked, whereby mega-corporations have been given ultimate power.”
With the support of The City of Burnaby and The BC Arts Council
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