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| Angela Grauerholz Francine Perinet 1984 gelatin silver print Vancouver Art Gallery |
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| Angela Grauerholz Basel 1986 gelatin silver print Musée National des Beaux-Arts du Québec |
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| Angela Grauerholz Window 1988 C-Print Albright-Knox Art Gallery, Buffalo, New York |
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| Angela Grauerholz Pieds I 1989 C-Print private collection |
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| Angela Grauerholz The Library 1993 C-Print National Gallery of Canada, Ottawa |
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| Angela Grauerholz L'Opéra 1993 C-print private collection |
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| Angela Grauerholz Fountain no. 1 1998 gelatin silver print Musée National des Beaux-Arts du Québec |
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| Angela Grauerholz Flowered Carpet 2008 inkjet print Oakville Galleries, Ontario |
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| Angela Grauerholz Altar Restoration 2008 inkjet print Donavan Collection, University of St Michael's College, Toronto |
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| Angela Grauerholz Bus Shelter 2008 inkjet print private collection |
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| Angela Grauerholz Mirror 2008 inkjet print McMaster Museum of Art, Hamilton, Ontario |
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| Angela Grauerholz Red 2008 inkjet print Galerie de l'UQÀM, Montréal |
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| Angela Grauerholz Red Curtain 2008 inkjet print private collection |
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| Angela Grauerholz Tuileries Fountain (Homage to Atget) 2008 inkjet print private collection |
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| Angela Grauerholz Wallpaper 2008 inkjet print private collection |
L'amour, la folie – Love, madness
Order of the day, from Bonaparte, First Consul, to his guard: "Grenadier Gobain has committed suicide for love: moreover he was a very fine soldier. This is the second event of this kind which has occurred within the corps in a month. The First Consul orders the guard to be notified: that a soldier must conquer the pain and melancholy of the passions; that there is as much true courage in suffering steadfastly the pangs of the soul as in standing fast under the fire of a battery . . ."
From what language, one wonders, did the lovesick, melancholy grenadiers draw their passion (scarcely in accord with the image of their class and profession)? What books had they read – or what stories been told? Perspicacious of Bonaparte, identifying love with a battle, not – banally – because two partners confront one another, but because, cutting as rifle fire, the erotic explosion provokes bewilderment and fear: crisis, revulsion of the body, madness: a man who is in love in the romantic manner knows the experience of madness. Now, to such a madman, no modern word is given today, and it is ultimately for this reason that he feels himself to be mad: no language to usurp – except a very old one.
– Roland Barthes by Roland Barthes, translated by Richard Howard (Hill & Wang, 1977)