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Conspiracy theories about the government suppressing scientific information leads an amateur to conduct old-fashioned, empirical research. The consequences for his health may be severe; he accepts it as a martyr.
BIO: Tom Sherman was born in Michigan and received a BFA degree from Eastern Michigan University. In 1972 he immigrated to Toronto where he helped establish A Space’s video production and exhibition programs. He was also active with Art Metropole and numerous artist-run venues throughout the 1970s, publishing his conceptual/literary texts and developing his practice as a video performance artist. In 1980 he was one of the founding editors of Fuse magazine. That same year he represented Canada at the Venice Biennale in the groundbreaking “Canada Video” exhibition. In 1983 the National Gallery of Canada mounted “Cultural Engineering,” a ten-year survey of his video, installations and text works.
His interdisciplinary work has been featured in hundreds of international exhibitions, festivals, broadcast and Web venues, including the Vancouver Art Gallery, the Musee d’art contemporain and Festival International des Film sur l’Art (Montreal), Museum of Modern Art (New York), Musee d’art moderne de la ville de Paris, LUX Cinema (London), Montevideo (Amsterdam), In Video (Milan), Kunstradio and Wiener Konzerthaus (Vienna), Ars Electronica (Linz), Documenta X (Kassel) and Sender Freies Berlin. His published monographs include “3 Death Stories” (Art Metropole 1976), “1 Traditional Methodology for Processing Information” (Art Gallery of Ontario 1978), “The Banff Information Base,” co-authored with Jan Pottie (Walter Philips Gallery, Banff Centre 1981), “Cultural Engineering” (National Gallery of Canada 1983) and “Before and After the I-Bomb” (Banff Centre Press 2002).