Fall Winter Exhibitions 2018/19
The Sleeping Green: No Man’s Land 100 Years Later
Oct 19 - January 1, 2019
McMichael Canadian Art Collection, Kleinberg, Ontario
Before Digital: Post-1970 Photography
January 17 – March 16, 2019
Illingworth Kerr Gallery
ACAD campus, Calgary, Canada
Curator: Mary-Beth Laviolette
Exhibition catalogue
In this exciting group show of Albertan photographers I will be showing new cyanotype work.

Before Digital: Post-1970 Photography

Shadow Structures, 2018 Before Digital exhibition.
The Sleeping Green: No Man’s Land 100 Years Later
January 12 - March 3, 2019
Dunlop Sherwood Art Gallery, Regina
Regina Public Library
2311 12th Avenue
Regina, SK S4P 0N3
February 2 - March 2, 2019
Newzones Gallery of Contemporary Art
* I’ll be showing new b/w work from my Duchamp’s Kitchen series!
730 11 AVE SW
403 266 1972

Duchamp’s Kitchen 2018, Perception exhibition at Newzones Gallery

Duchamp’s Kitchen 2018, Perception exhibition at Newzones Gallery
Past Exhibitions
McMaster Museum of Art
1280 Main St W, Hamilton, ON L8S 4L6

Bos has created a new site specific work called Star Shed for the MMA to accompany the exhibition - The Midnight Sun Camera Obscura Project Star Shed is a multi aperture camera obscura room that projects views of the campus in the pattern of the stars in the southern sky if visible during the day.

Organized by the University of Lethbridge Art Gallery
Principal Investigator and Artist/Researcher: Donald Lawrence
Curator: Josephine Mills
Artists: Dianne Bos, Lea Bucknell, Ernie Kroeger, Holly Ward and Kevin Schmidt, Carsten Wirth, and Andrew Wright
May 10 - August 18, 2018



Dianne Bos: The Sleeping Green; No Man’s Land 100 Years Later.
April 7 - September 23, 2018
Art Gallery of Hamilton
123 King Street West Hamilton ON, L8P 4S8
T: (905) 527-6610
F: (905) 577-6940
E: info@artgalleryofhamilton.com


Kostiuk Gallery
Dianne Bos - The Sleeping Green. No man's land one hundred years later
From April 3 to September 8, 2017

Opening on Saturday April 1st from 4 pm to 8 pm - Free entrance International book launch of the publication Sleeping Green directed by Josephine Mills published by the University of Lethbridge Art Gallery in partnership with the Canadian Cultural Centre.

Meeting with the artist and the curator, and the author Harry Vandervlist presented by Catherine Bédard at 5 pm. Booking: reservation@canada-culture.org

Dianne Bos uses a line from British poet and soldier Isaac Rosenberg’s famous WWI poem Break of Day in the Trenches for the title of this exhibition. The Sleeping Green: no man’s land 100 years later consists of extraordinary photographs taken in ‘no-man’s land’ between the trenches on the Western Front.


Dianne Bos - The Sleeping Green. No man's land one hundred years later

For more images from The Sleeping Green exhibition please see "New Work" portfolio.

War Stories 1917
April 9 - August 25, 2017
The Military Museums

A selection from Dianne Bos’ black and white photo series looking at the WW1 landscapes of Vimy Ridge, Somme and Passchendaele are featured in this exhibition.

4520 Crowchild Trail SW, Calgary AB T2T 5J4


Poetics of Light: Pinhole Photography
17 March - 25 June 2017
National Media Museum, Bradford, West Yorkshire, England

Poetics of Light is the European premiere of an exhibition of original prints of pinhole photography from around the world. Collected by Eric Renner and Nancy Spencer over the last 30 years, the images reveal an alternate version of reality, creating a unique form of visual poetry.


An exhibition questioning how eyes, brains and robots see.
March 1st 2017 until 20th October 2017.

Patricia and Phillip Frost Museum of Science
1101 Biscayne Blvd, Miami

To Bury the Sun
Dianne Bos, Sarah Crawley, Steve Gouthro
January 19 - March 18, 2017
Art Gallery of Southwestern Manitoba. Brandon, Manitoba

In response to the exhibition Through the Lens, curated by Suyoko Tsukamoto. an exhibition of photographs drawn from local, private and public collections that illustrate the lives and time of Brandon and its soldiers during World War 1, To Bury the Sun addresses the gaps within the official retelling of war histories through archival images, family photographs, and works by Dianne Bos, Sarah Crawley, and Steve Gouthro. To Bury the Sun looks at the responsibility and burden of remembering, both collective and personal. Bos’ pinhole images of War War I sites are idyllic and haunted, sheep grazing on the landscape shaped by trenches and bombs. Crawley’s photographs of ‘dead albums’ contain only traces of absent photographs, while their original contents have been moved into archives. They are an archive of absences, images severed from their context. Meanwhile, Gouthro’s work in the scale of historical war painting subverts the expectation of a grand narrative, replacing it with the mundane.