See below for quotes and c.v.


The fullness of Vivian Reiss' life is reflected in the vibrancy of her paintings. Her work is large scale, luminously colorful, and endowed with a vibrant sense of joie-de-vivre. The vitality of her life is channelled in her vivid portraits, still-lifes, and landscapes. Reiss' work is a passionate exploration of form and color, thriving off the interplay and tension between both. Her large scale oil-on-canvas works, developed over a 35 year career, reflect deep aesthetic concerns, as well as a sophistication in the expression of the joyous and the beautiful. Her compositions brim with movement, thriving off the tension between a sense of perspective and flatness; and multiple compositional concepts thematically replayed in numerous guises throughout the canvas. Her works concentrate not on technique but on expression. Form and perspective are expressed by color which is both intense and employed with a intensively detailed eye towards hue and the mixing of multiple shades. The impression is of movement expressed on the static surface of the canvas, as compositional dialogues within the paintings are always in flux. Reiss' work has been put in context with Alice Neel, Florine Stettheimer, Daivd Hockney and Matisse and she lists influences as varied as Pop Art, Dutch & Flemish paintings from the Renaissance, Expressionism, The Spanish School and Persian miniatures as her influences. Reiss also has the energy of the abstract expressionists, reflecting the influences of her New York youth.

Reiss was born in New York in 1952 to Hungarian immigrants. At the age of nine she visited the Prado Museum in Madrid. As closing time approached, her reluctance to leave became a declaration to become an artist. Reiss went on to pursue fine art studies at The School of the Museum of Fine Art in Boston and The Art Institute in Boston. Her work gained the support of Marilyn Powers and Jason Berger and she continued her apprenticeship under their guidance at The Direct Vision Atelier in Brookline, Massachusetts. Reiss currently lives and works in Toronto, Canada and spends time regularly in New York City.

Reiss has traveled widely, and her wanderlust is an important element in her work. She has lived in yurts with nomadic herders in the mountains of Kyrgyzstan, painted elephants in Africa, and studied dance in Bali. Reiss' background in numerous art forms, from dance to sculpture to the culinary arts suffuses her art with multiple visions of artistry, including the art of living which she paints with wide strokes. Her collection of ethno-cultural artifacts, ranging from miniature kitchens to Central Asian silk caftans, are reflected in her work and showcased in her larger-than-life home.

Her long career as an artist includes more than 50 shows, both in Canada and around the world, over 30 of which were one-woman shows. She is in numerous collections, including in the collections of heads of state; the Canadian Embassies in Washington and Paris; and in private and corporate collections in more than 15 countries. Reiss was invited to create work for the Echigo-Tsumari Triennial, the Echigo-Tsumari Triennial, the largest international art exhibition in Japan, considered the Japanese equivalent of the Venice Biennale. (see Satoyama Storehouse in Info+Products section)

In addition to the Triennial, Reiss had a concurrent show at The Canadian Embassy in Tokyo of Reiss' portraits of prominent Canadians in the arts. Her portraits are known for their intimacy between subject, artist and art. A catalogue of Reiss'’ portraits has been published, including a wide range of subjects – portraits of friends, acquaintances, as well as portrait commissions.

Reiss’ work is known for its vibrancy and the intriguing interplay between her sense of joy and her deep understanding of elemental aesthetic concerns, played out with psychological depth and passion for the creation of the sublime. Reiss' series of Kewpie dolls exemplifies the artists long term interest in still-lives, which provide a platform for understanding the complexity of her compositional ideas. Each of her Kewpie Series works embody a separate compositional concept, reflecting the way that color and form interact in a constantly changing myriad of relationships within the painting. Reiss has completed several series of work, including the Henhouse Series, monumental garden triptychs, and a series of paintings of snow monkeys from Japan.

The V Reiss Gallery in downtown Toronto was founded as a multifaceted exhibition space for Reiss artistic projects and collaborations. A unique inspirational space, the V. Reiss Gallery was designed by Reiss herself. It is meant to be a personal showcase for her work, and therefore is a unique encompassing aesthetic experience. It is one of the only opportunities in Canada to view a body of work in an environment designed by the artist themselves, offering an intimate viewpoint and environment for understanding one artist's vision of the world and of art.

Reiss’ design for the gallery is intriguing. The exterior of the building is clad in carved wooden monkeys, and on the West end of the façade Reiss has superimposed an enormous, 20 foot stained Plexiglas palette along with an oversized wooden paint brush onto the exterior of the building, creating an undulating window on the inside of the gallery. The interior is equally remarkable, covered in cut ceramic plates with tiled portals flanked by curved walls, curved baseboards, and curved moldings - an architectural work of art where everything seems to be folding in on itself; molding into Reiss' own sense of geometry; and flowing into her artwork in both abstract and figurative ways.

Reiss' talents go beyond the canvas. She has designed numerous architectural projects (over 60 projects in Toronto), created integrated multimedia performance events, created installations, has facilitated numerous social events and salons, and designed costumes, clothing, gardens, and furniture; and is currently working on a cook book.

Reiss has always rejected rigid or dogmatic approaches to art. "My modus operandi does not restrict itself to a rigid field of artistic tenets. My tenet is merely 'the art shall speak for itself'. I advocate a freedom to express and interpret. I don't believe that for something to be good, really good, it has to be arcane, or painful. That is a myth that is outdated. Joy is a vastly underrated artistic expression"


Quotes about Reiss


Excerpts From Martin Arnold essay regarding: Reiss' Portraits
(full version included in catalogue)

Vivian Reiss' portraits are active, vibrating parts of a set of ongoing conversations between Reiss and her subjects; no, let's make that between Reiss and her friend, between Reiss and her beloved, between Reiss and her fascinating acquaintance.

These paintings are radiation. They flow from Reiss' interactions, with all of their flux, variability, and shared unstable synergies. They feel as if they are a part of an ongoing history. They feel as if they are full of stories to which I am not privy. I wonder about their relationship, their "relationship" in every sense of that word -the interpersonal, historical, spatial, temporal. I wonder about their relationship, not just between each other, but between them and every possible aspect of the painting, the person of the artist is intimately present. There is great affection in these paintings. The fecundity of their invention is inviting and openly engaging. It is just that this work seems happily unconcerned with elucidating or analyzing its mysteries and potentials. I feel like a welcome eavesdropper to half of this conversation: Reiss asserting and responding, expressed with the inflections, accents, modulations, ebb-and-flow, gestures and postures of a language I do not, at least not literally, understand. But this leaves me free, free and active. I am able to make my own associations, assign, then re-assign, my own significances, form my own reactions and relationships.

How can this be? How can something as static an object as a painting not eventually project a stable apprehension, at least to each individual viewer? How can a painting stay in flux, never looking the same each time one comes to it? I think that this is possible in Reiss' portraits because of what she relinquishes and because of what she celebrates. Most significantly, these paintings relinquish set hierarchies.

Each painting radiates a very different conversation. And yet, all this does not come off as some master plan evincing the aesthetic strategies of the painter;. These portraits are a locus of human intercourse between all of the people and stuff inside and all of the people and stuff outside the canvas. They spill out into the room, into the temporalities and motions of countless back-and-forths.

What Reiss celebrates is availability and openness and allowance. This work does not give off the aura that there is a "correct" meaning that the viewer has to strive for; there is no right way to look at any of these paintings and "get it." Clearly, for me, they are not to be "got" - I would hope that they would never relinquish their changeability and their ability to suggest new relationships.

But this is just tangential to a conversation -- not only the conversation between the painter and the painted, but also the one between myself and these portraits. All of this is made available, and Reiss allows it all in the most loving way. There is affection in these portraits. And it is not only between the painter and the painted.

-Martin Arnold


"Walking through the doors of Vivian Reiss' downtown Toronto home is like taking a dip into her multilayered imagination. It isn't a stretch to assume that the mind of this artist is an adventurous place, where anything is possible and where flavourfull emotions are the basis for life. Her paintings range from portraits to landscapes to still lives, but they all share the qualities of being remarkably vivid, expressive and heartfelt, expressing a joie-de-vivre evident in each canvas and in every aspect of Reiss' life. While her love of art came from within herself it was also nurtured by interests in all fields of art. Indeed, as a mature artist, her pan-cultural influences are evident... Reiss' works have captured the attention of the art world as a whole, inspiring critics and the public alike to experience her unique aesthetic"

-Perlita Ettedgui, Lifestyles Magazine

"Vivian Reiss doesn't just capture a face when she paints a portrait. Her work echoes the soul and culture of her subjects"

-Penelope Graham, Metro News

"Vivian has the charm of her paintings and they in turn are pervaded with that somewhat deceptive innocence and vivid presence. What you can see is a stream of consciousness turned visible thanks to a delightful and playful palette of bright strokes…

"However, the impulse light of Vivian's paintings hides something deeper that has to be discovered by every one of us. Just look at the paintings and take your time. There is more to them than seems at first glance. To discover their secret depth is what I wish you…"

-Paul Hassoun, attaché culturel de France

 "Vivian Reiss is the epitome of Bon Vivant, a New York expat who celebrates life in Toronto like few others. The painter, known for the mad-cap salons she hosts in her opulent Victorian home, talks about life in the Annex from her 12 foot tall garden to joining the ROM's royal patron circle"

-Zosia Bielski

" Looking at the luscious colours and eye-popping vibrancy of Vivian Reiss' work, you'd swear she was born with a paintbrush in her hand...

What is perhaps so spellbinding about Reiss' Satoyama Storehouse portraits is that she paints a whole person, not just their face. The traditional notion of a portrait gets turned -literally -onto its head, as Reiss portrays the entire subject, capturing their awkwardness, shyness, reserve, bravery, whatever the case may be for the person she paints....

Reiss' use of colour in the portrait is imaginative but never intrusive; her vibrancy and keen understanding of her subject are reflected in smooth, long brush strokes, serene and zen-like."

-Kate Kustanczy, arts writer

"In a highly anxious world, Vivian's art is an oasis for our souls. It reaches out and touches an inner part of us, which craves for a purer, more truthful existence. Her work is vibrant, yet soothing to what we are all really about. Vivian's work has taken the baton from the likes of the Fauvists and Impressionists and has gone well beyond to create its own unique and humanistic style, which simply put, makes us feel young again".

-Jack S. Nyman, art collector

 "Trained as an artist in New York, Reiss is prepared to break the rules, both as a painter, and a collector/creator. Designing installation or sets in which she plays with scale and normalcy, she aims in all cases to disarm the adult and give permission to play and enjoy a fictitious world."

-Kim Mckenzie Galvez, from Canadian Interiors Magazine

"In the paintings of Vivian Reiss, all the tin drums, dolls, masks, amusement parks…, all of it, is thematically exempt from "gravity". Her themes allow for the expression of lightness, airiness, and freedom from "weight"…

"Vivian's paintings are intended for those who, like children, know the joie de vivre… These paintings are not intended for bourgeois tastes, but very simply for all those who know what the joy of life is."

-Peter Simic, art historian

"Known for her vibrant colour palette and kinetic style, Vivian Reiss doesn't set out to create idealized images of her subjects. Her portraits are all about capturing the joy and positive energy of the sitter"

-Joan Harting Barham, contributing editor, FQ magazine

"Vivian Reiss' creative approach is clear the minute one enters her Victorian mansion. There is an explosion of colour and artworks and objects (always interesting, often eccentric) that she has accumulated over a lifetime, every piece underlying her more is more philosophy. Walking through the halls of her home is akin to visiting a relaxed and messy museum. And of course there is her art, lots of it, adorning every wall. Framed in gold, her paintings are technicolour fantasies, some depicting the natural world, others scenes of busy domestic interiors."

-Tabassum Siddiqui, arts reporter, National Post


"it's amazing to know how deeply you managed to understand the village people's minds and their society within the very limited time of two and a half months. It also seems to me that the villagers themselves came to have a new understanding of their own lives through the process of being subjects of portraits and of communicating with you. I imagine that most of the people hadn't expected to appear in a portrait and that experience must have been very peculiar and, at the same time, exciting. It's amazing that art has the power to make people think about their own world so differently.

People in rural areas in Japan sometimes face economic hardships, but the most difficult thing for them is the loss of their self confidence- through this experience it seems to me that they regained their sense of self and of community. Thank you so much for helping both Canadian and Japanese people to rediscover the people of Japan. "

-Message to Reiss from Masayuki Suzuki, Director of the Japan Foundation, Toronto in regards to Reiss' project Satoyama Storehouse

"This exhibition is more than an exhibition, it is a lesson in art and humanity."

-Ervin Fenyves, Professor, University of Texas, about Satoyama Storehouse

"Reiss' works possess a refreshing sophistication – a sophistication that does not merely rely on the play between text and subtext. Rather, it is a sophistication that grows organically from her fundamental aesthetic; her vocabulary of vibrant brushstrokes and elemental inspiration. A sophistication of intimacy between artist and object, between artist and model, between artist and art"

Curriculum Vitae

Born 1952, New York City. Resides in Toronto, Canada since 1975. Educated at the School of the Museum of Fine Arts, Boston and with the Direct Vision Atelier, Jason Berger and Marilyn Powers.

One Woman Shows

Learning Resources Center, Toronto, 1977

Guildart Gallery, Toronto, 1978

Ohio State University, Columbus, Ohio, 1979

La Cantinetta, Toronto, 1979

Nancy Merril Studio, Hamilton, Ontario, 1982

Scandinavian Canadian Club, Toronto, 1983

Garten Mansion, Toronto May 1991

Alliance Francais, Toronto, 1992

Gallery Etienne de Causans, Paris, France, 1992

Fort York Museum, Toronto, 1992

Garten Mansion, Toronto 1993

Garten Mansion, Toronto 1994

Canadian Cultural Center, Paris, France, 1994

Gallery Herouet, Paris, France, 1994

Garten Mansion, Toronto, Canada, 1995

Teodora Gallery, Toronto, Canada 1995

JK ROM at the Royal Ontario Museum, 1996 "Still Life in Motion, Portraits of Food"

Garten Mansion, Toronto, 1997

Garten Mansion, Toronto, 1998

JK ROM at the Royal Ontario Museum, 1999 "You’re So Vane"

JK ROM at the Royal Ontario Museum, 1999 "Awesome Pop Adventure"

Catch 22 Midtown "Portraits" 2002

Garten Mansion "Unnatural Nature" 2002

Ambitious Compound Gallery "Space as Muse" 2003

Reiss Gallery "New work" November 2005

Reiss Gallery "Spring Show" April 2006

Echigo-Tsumari Triennial "Satoyama Storehouse" in Niigata Japan, Aug/Sep 2006

Prince Takamado Gallery, Canadian Embassy, Tokyo, Japan "Vivian Reiss: Portraits" Aug/Sep 2006

Gallery Concept 21, Omotesando, Tokyo, Japan "Works on Paper" Aug 2006

Reiss Gallery "Color in Motion: Portraits of Food" April 2007

Japan Foundation Toronto "Satoyama Story" August - October 2007

Reiss Gallery "Satoyama Story Continues" 2007

Two Person Shows

O’Keefe Center, Toronto, 1981

O’Keefe Center, Toronto, 1982

Art For Living Gallery, North Butler, New Jersey, 1983

Metcalfe Mansion, Toronto, 1983

Group Shows

Holy Blossom, Toronto, Canada 1977

York University, Toronto, Canada 1978

H.B. Starr Gallery, Palm Beach, Florida, 1992

ORT, Toronto, 1992

Espace Chapon, Paris, France, 1992

Alliance Francais, Toronto, 1994.

The Internal Resource Development Centre, Ottawa, 1994

Visual AIDS, International Exhibition, 1994

Art Gallery of Ontario, Toronto, Canada, 1994

Design Exchange, Toronto, 1994

International Art Fair, Miami, Florida, 1996

Teodora Gallery, 1996

Catch 22 Gallery, Toronto, May 2000

Other Exhibitions

Bata Shoe Museum, Toronto 1995

Four Seasons Hotel, Toronto, Ongoing

Park Plaza Hotel, Toronto, 1996-7

Gardner Museum, Toronto, 1997


Canadian Embassy, Washington

Canadian Embassy, Paris

Four Seasons Hotel, Toronto

CANFAR Offices

Canadian Museum of Animal Art

Private Collection of the President of Hungary

Private Collection, Former Prime Minister of Canada

Numerous private collections in North America, South America, Europe and Asia

Collection of Greenwin Developers

Public Art Commissions

International AIDS Day Urban Art, 1991

Moose in the City, at the Four Seasons Hotel Toronto, 2000

Private Studio and Gallery Tours

Hadassah Art Tour 1992

Royal Saint Georges College, 1994

Hadassah Art Tour 1997

Art Gallery of Ontario 1998

Art Gallery of Hamilton 1999

Los Angeles County Museum 1999

Royal Ontario Musuem Curator's Tour 2007

International Charitable Campaign Posters And Invitations

Invitation for Premiere of Portrait of Raoul Wallenberg, 1990

Jewish Arts Foundation, Invitation, 1990

Gala de Alliance Francais, Program and Invitation, October, 1991

Invitation for Canadian for Aids Research Gala, 1991

Ontario Hostelry Institute, 1992

ORT Card Design, 1992

Fiftieth Anniversary of D-day Commemoration Poster 1994

Invitations to "We Remember Gala" to comm. the 50th Aniv. of D-Day, 1994

Jewish Arts Foundation Invitation, 1994

International AIDS Day, Year of the Family, 1994

Invitation and Poster for Canadian for Aids Research Gala, 1995

International Literacy Day Poster 1995

Canadian Booth Design, International AIDS Conference, Vancouver, 1996

UJA Federation Invitation, For One People Forever, 1997

UJA Federation Invitation, For Our Children Forever, 1997

Invitation to Jewish Arts Foundation Fundraiser 1997

Jewish Arts Foundation Purim Ball Invitation, 2000

UJA Campaign, 2000

Selected Articles

Palm Beach Daily News, March, 1990

Toronto Sun, Ingrid Hamilton, January 11, 1991

Toronto Star, Donna Jean Mackinnon, Jan 13 1991

Toronto Sun, Barbara Kingstone, July 7 1991

Eye Magazine, Johny Simone, October 10, 1991

Eye Magazine, Jonny Simone, November 7 1991

Now Magazine, Rosie Lavine, Feb 16 1992

Canadian Jewish News, July 30 1992

City & Country home, Kate Pocock, Nov. 1992

Now Magazine, Rosie Levine, April 15, 1993

Toronto Sun, Jim Slotek, April 1993

Eye Magazine, November 1993

Shiny Sheet March 1994

City and Country Home, Kate Pocock, June 1994

Rachel Rafelman, Globe And Mail, July 4 1994

Now Magazine, Rosie Lavine, April 9, 1995

Chatelein Renovates Magazine, Fall 1995

Toronto Star, Rita Zekas, September 1995

Toronto Life, Michael McGowen, January 1996

Now Magazine. Rosie Lavine, November 14, 1996

Extra Magazine, November 21 1996

Now Magazine, Rosie Lavine, December 26 1996

Now Magazine Nov 20 1997

Toronto Star, Rita Zekas, Nov. 20 1997

Toronto Star, Rita Zekas Jan 1, 1998

Toronto Star, Rita Zekas, Jan 15 1998

Toronto Star, Jennifer Bain, Feb 21 1998

Now Urban Living Feature Cover and Article, Spring 1998

House and Home, Nov. 1998

National Post, Rebecca Eckler, December 1, 1998

Toronto Star, Rita Zekas, December 6 1998

Cover, Feature Section for Globe and Mail, Spring 1999

Flare Magazine, Deborah Fulsang, May 1999

FQ Magazine "Portrait of Lady" by Joan Harting Barham. December 2007 Pg 72

Poiesis Magazine, Journal of Arts and Communication Vol 9 2007 pg 81

Expose Entertainment Magazine "Vivian Reiss in Japan, The Satoyama Story" by A Griffith Nov/Dec issue 2007

Nikka Times, Article by Ray Hirayama, Sept 28 2007

The Canadian Jewish News "Torontonian's portraits of Japanese villagers on exhibit" by Kathryn Kates, Sept 26 2007

Annex Gaurdian, "Visit Japan right here on Bloor St." by Carne Burnet Sept 21 2007

Eye Weekly Magazine "Colour it Beautiful" by Damian Rogers Sept 20 2007

Bits Magazine "Interview: Vivian Reiss" by Yumi Nishio Pg 7-8 October 5 2007

Town Crier "A Look into an epicentre of creativity" by Lorianna De Giorgio July 2007 pg 19

Jewish Tribune "Food Cooking and Painting Spice up new Gallery Show" by Barbara Shainbaum June 28 2007 pg 11.

City Bites May/June 2007 Pg 7

National Post "My Toronto: Vivian Reiss 1" by Zosia Bielski April 24 2007 pg A8

National Post "My Toronto: Vivian Reiss 2" by Zosia Bielski April 25 2007 pg A13

Where Magazine "Portrait Storehouse" November 2006 pg 21

Kyodo News, Article by Kazuko Ide August 18 2006

Chugoku Shinbum Sept 14 2006.

Japan Times "Vivian Reiss Exhibition" July 1 2006

National Post "Home is Life's Canvas" by Jack Kahane May 10, 2003

Mainichi Daily News "Vivian Reiss: Portraits" review, July 2006

Canadian Interiors "Roosters on Display" by Kelly Rude January/Feb 2006 page 14

Metro News "Painters Work Encompases the World" by Penelope Graham, Nov 15 2006 page 21

Canadian Interiors "More Is Not Enough" by Kim Mckenzie Galvez May/June 2004 pg 30-31

Descant Literary Magazine, Cover Image (Nursing Diva) 2007.

The Varsity "Colourful Personality" by Tabassum Siddiqui March 15 2004, pg8-9

Lifestyles Magazine "Flavourfull Emotions" by Perlita Ettedgui Summer 2003 pg 34-36

Town Crier "Midtown Artist Still Enjoying Her Work" by Paul Hutchings April 2004 pg 9

National Post "Reiss' Pieces" By Tabassum Siddiqui June 7 2003 pg T05

Toronto Star "Joie De Vivian" by Donna Jean Mackinnon July 7 2002 Pg F1-2

National Post "Now Showing: My Kid's Messy bedroom" Jeanne Beker, March 29, 2003 SP7

Toronto Life "Vivian Reiss" by Betty Ann Jordan June 2003 Art Section pg 42

National Post "Art of the party" July 6 2002, City Life section.

Casa Gioia Magazine, "Tela Di Penelope" by Daniel Rey Jan/Feb 2002 pg 17-20


Echigo-Tsumari Triennial Catalogue 2006

Echigo-Tsumari Triennial Guide Book 2006

Mooseprints Catalogue, November 2000

Vivian Reiss: Portraits


CHCH TV - Profiles of Success, 1992

Homeworks with Lynette Jennings, 1992 with continuous plays

Marilyn Dennis Morning Show, City TV, ND,1992

Bravo News, 1995

CBC Arts And Entertainment Profile, 1995

CBC Midday, 1995

CityLine, Lunch TV Bud Pierce, 1995

City TV AM, October 3, 1995

CKVR TV October 1995

Bravo Television Special, ND 1996

CFTR News, ND 1996

Pilot for Vintage Vintage, 1998

Canadian House and Home, Janice Felsky, CTV, 1999

Canoe Live on SUN TV interview with Janine Yuu 2007

Omni TV interview with Yuki Nakamura, 2007

Omni TV WaiWai Wide, interview with Mari Osada 2007

NHK News, August 2006 (Japan)


CBC French Radio, June 2007

CBC French Radio, Les Art et Les Autres, Interview with Janine Messadie Sept 19 2007

Jazz FM Radio, Benurghi in the Morning, Sept 5 2007

CBC French Radio, Y'a Pas Deux Matins Pareils, interview with Mylene Grenier

CIUT interview May 11 2007

Awards and Residences

Artist in Residence, Segovia Spain 1984

Finalist, Ontario Renews Award, 1987

Best Restoration, Toronto Historical Board, 1987

Costume Design

Eve, Life is a Banquet 1996

Fides, Life is a Banquet & Summer Solstice & Dada Boom 1996, 1997

Message in a Bottle 1998

Message in a Bottle 1999

Fashion Cares, 1999

Message in a Bottle 2000

Unnatural Nature 2007

Other Design

Menu, Lanzeroni’s Lakeside, Cassadaga New York

Menu, Vincor International, Across Canada

Menu, Wildfire Grille, Toronto

Commissioned Painting of Alexus Condiminium

Hillebrande Estates Vinyard Collectors Edition, 1991

Architectural Projects

Renovation and Design:

39 Dupont Toronto, Single Family Residence, 1980

4 Herndale, Single Family Residence, 1980

37 Metcalfe St. Multiple Dwelling 1984

36 Roxborough St. Toronto

36 Lowther Ave. Toronto 1987

6, 8, 10, 12 Lowther Ave. Toronto 1988

Emerald Crescent 56, 52, 48, 44, 1 Eight St. Toronto 36 Unit Complex 1997

Palmerston, 311, 307 Toronto 1998

1170, 1172, 1176 Mount Pleasant Avenue Toronto Multiple Family Residence 1999

commercial and Residential building 87 Roncesvalles 2000

Commercial and Residentail building 89 Roncesvalles 2000

Commercial Renovations, 124 Merton St Toronto, ongoing

110, 114, 116 Lowther Ave. Toronto, 2002

51, 53, 55 Spadina Rd, Toronto, 2002

3 Commercial spaces, 500 College St Toronto

Reiss Gallery, 500 College St

Over 50 additional design projects in Toronto, too numerous to mention

International Travel

2007 Dubai, Oman, Egypt, Italy, Austria, Hungary, Poland

2006 India, Japan

2004 Isreal, Egypt, Czeck Rep. Slovakia, Hungary, Poland, Austria, Japan, Korea, China

2003 Japan, Cambodia, Myanmar (Burma), Thailand, Isreal, Jordan

2002 Mexico, Isreal, Egypt, Jordan, Hong Kong, Korea, Japan, China

2001 China, Hong Kong

2000 Uzbekistan, Kyrgyzstan, Turkey, China

1999 Belize, Barcelona, Venice, Road Trip to the Origin of American Pop Music (Nashville, Memphis, New Orleans, etc.)

1998 Zimbabwe, Botswana, Namibia, Zambia, London, Moose Factory Ontario

1997 Samoa, Tonga, New Zealand

1996 Tibet, Nepal, Thailand

1995 Bali & Java, Indonesia; Singapore

1994 France, Quebec

1993 Turkey, Russia, Czech Republic, France

1992 Mexico

1990 Hungary, Italy

1985 Spain, Switzerland, France

1984 Holland, Belgium, France

1978 Greece, Isreal

Integrated Multimedia Events

Life is A Banquet, 1996

Dada Boom, 1996

Nursing the Boom, 1997

Awesome Pop Adventure Opening, 1999

Unnatural Nature 2003

Reiss in the window of the Reiss gallery
Dress was designed and hand crocheted by Reiss

Painting elephants in the Okavango Delta, Botswana

Reiss in Japan, creating work for the Echigo Tsumari Trienial

Reiss painting snow monkeys in the mountains of Japan

Store front of the Reiss Gallery

Reiss in the Italian magazine Gioia Casa.
Dress was designed by Reiss

Reiss in her installation Unnatural Nature
Dress was designed by Reiss

Food Reiss created for her installation Unnatural Nature

Reiss in her installation Satoyama Storehouse at the Echigo Tsumari Trienial

Reiss painting in her kitchen

Reiss' front yard garden

Reiss painting in her garden

Reiss painting in her kitchen

Vivian Reiss
Photo by David Waldman