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Carl Taçon’s Sculpture
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Throughout the month of April Carl Taçon will be installing his publicly commissioned sculpture "Shift" at the corner of Charles St. West and St. Thomas Street, near Bay and Bloor. The sculpture will be composed of 20 sections of hand carved white marble, with each section weighing from 3000 lbs to 7000 lbs. The sections are to be placed end to end to form a 136 foot long wall. Each hand carved section depicts a distinct image of drapery. The image of drapery has been chosen as a poetic contrast of weightlessness against the actual weightiness of stone. Rather than rendering one long image of draped cloth in stone, the cloth imagery has been fragmented, moving it away from a literal reading to a sequenced sampling of cloth images, producing a cinematic effect. This approach balances classical imagery with contemporary experience.
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twenty+3 projects Excision |
twenty+3 projects is pleased to present Excision, an exhibition of text-inspired works by three visual artists from Canada - Michelle Bellemare, Robert Bean and Michael Maranda. This exhibition has been guest curated by Toronto artist/curator, Cheryl Sourkes. One may see Excision as a response to an era where words have become manipulative tools, a cynical era whose values are dominated by commercialism and fundamentalism. These artists have responded with language that dithers or else with blank spaces that mark the place where text once stood. Michelle Bellemare's Edit is a time-based work. It shows an email in the process of composition. This message seems to be in response to a previous one, possibly of an intimate nature. Bellemare writes, "Every word is measured, tentative - attempting some form of guarded warmth. Phrases are typed then deleted, only to be replaced with another phrase which reveals less." Robert Bean's Verbatim is in two parts, an eight-foot long image of a typewriter ribbon and a series of crumpled up typewriter études. These photographs are actually scans of found objects. Bean writes, "The prints are 'contact images' that remember and forget the earlier technological processes of photography and typewriting. As the unintended graffiti of a prior vocation, these marks register a presence and an absence." Michael Maranda's bookwork Un coup de dés jamais n'abolira le hasard: Livre takes erasure a step further. In this piece it's the negative space that has been inked, while the place where text once stood now lies empty. Maranda writes, "In 1914, Mallarmé's poem, Un coup de dés jamais n'abolira le hasard: Poème, was published by the Nouvelle Revue Français. The poem 'works' only as a typographical object. Then in 1969, Marcel Broodthaers re-published a version of the poem as Un coup de dés jamais n'abolira le hasard: Image. Here solid black bands stand in for the text of the poem." In Maranda's iteration language moves into complete oblivion. The spaces once occupied by Mallarmé's text and later by Broodthaer's black bands are now blank areas set off by blocks of cream-coloured ink. There will be a series of events connected with the exhibition. Please see website for details. twenty+3 projects is a contemporary art space, run by artist Heidi Schaefer, located in the converted front room of a terraced house in Manchester. It can be found at 23 Bury Avenue, Manchester, UK M16 0AT. |
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Toronto Star Feb 12, 2008 Christopher Hume - Urban Affairs Columnist |
Capturing Toronto's grimy past One chronicler's portraits of lakeside structures makes icons of eyesores, forming record of a smokestack city largely unaware of itself and its history Peter MacCallum doesn't claim to be the conscience of the city, but he might well be its memory. |
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Prefix Photo: Issue 16 Addressing the theme of "walking and consciousness," contributor Imre Szeman writes: "To champion walking today is to do what art has long sought to do: critique the imaginative and experiential vacuity of the existing state of things in the hope of bringing forth something different. Art and walking form a pair endowed with genuine critical power." The issue also features other contributors addressing a host of photo, media and installation artists, as follows: Warren Crichlow offers his perspective on Documenta 12. He discusses the potential of contemporary art for generating critical reflection on the exhibition as a medium and touches upon the work of artists Graciela Carnevale, Lotty Rosenfeld, Martha Rosler and others. Deborah Root writes about the paseos of Mexico-based artist Francis Alÿs. She explores the concepts of itinerancy, public space and social allegory that wend their way through his work. Lorraine Field, in her literary feature "Syrian Desert," relays a magical account of her Middle Eastern experience. Other contributors include Ai Weiwei, Francis Alÿs, Lorraine Field, Andrea Geyer/Sharon Hayes/Ashley Hunt/Katya Sander/David Thorne, Luis Jacob, Sanja Ivekovic, Amar Kanwar, M. Simon Levin & Laurie Long, Virginia Mak, Iñigo Manglano-Ovalle, Hugh Martin, Helen Verbanz, Andrew Wright and more. |
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| THE ALBRIGHT-KNOX ART GALLERY ACQUIRES LYN CARTER’S INSTALLATION |
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| Peak Gallery is proud to announce the major purchase of Lyn Carter’s installation entitled, Courting Entasis, by the Albright-Knox Art Gallery in Buffalo, New York. Courting Entasis, is a large site-specific work that plays off the classical columns of the Albright-Knox’s architecture. The piece consists of three 14 foot high fabric structures, held under tension between the floor and the ceiling. In each structure the form collapses and swells thereby animating the entasis feature of the surrounding marble columns, with the striped fabric chosen to reflect the verticals of the carved fluting. The work was created, at the request of Albright-Knox Curatorial Assistant Anna Kaplan, for the recent exhibition Beyond/ In Western New York 2007, held throughout Buffalo from August through October. Due to the unprecedented enthusiasm for the work by the curators and museum visitors alike, it was decided by the acquisitions committee, on O! ctober 30th, that the work should become part of the gallery’s collection. |
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| Lyn Carter’s oeuvre consists of sculptural works that toy with our expectations for sculpture. In her work weight is not experienced through mass, though gravity is felt. The monumental is undone both by the materials used and in the forms suggested, yet the work still probes our understanding of the physical world through sculptural means: weight and lightness, fall, suspension, gravity and elevation. Scale and the sensation of gravity’s pull on soft skin viscerally connects the viewer to these organic forms, but often the harsh patterns and bright colouring of the different fabrics used in the works complicate those associations. Her work is dually playful and intellectual. As Anna Kaplan explains in her catalogue essay for Beyond/ In Western, "Carter's work melts corners, defies gravity, and takes you on a ride, altering your sense of perspective and breaking all the rules." Beyond/In Western New York 2007 Friday, August 17 - Sunday, October 28 in collaboration with local arts institutions Following a successful debut in 2005, Beyond/In Western New York continues in its second incarnation in 2007 showcasing fifty new artists. Working in painting, video, sculpture, drawing, installation, photography, and a myriad of hybrid forms, the artists selected for this unique project represent the best of new and established talent in the expanded Western New York region. After an extensive process that involved the review of 955 submissions (almost half from Canada) and 107 visits to artists’ studios, twelve art venues in the region enthusiastically present the best emerging art |
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to this area from the Eastern Great Lakes region, which includes Toronto, Syracuse, and Cleveland. Buffalo is fortunate to have such numerous and diverse art spaces, and the work selected by each reflects this diversity. Be sure to venture to these fantastic institutions to experience the scope of this ambitious project and to familiarize yourself with Buffalo’s rich art scene. Albright-Knox
Art Gallery | Lois Andison Toronto, ON | Jeremy Bailey Toronto, ON | Chris Barr Buffalo, NY | Amanda Besl Buffalo, NY | Lyn Carter Orton, ON | Shayne Dark Hartington, ON | Artemis Herber Cleveland, OH | Ani Hoover Orchard Park, NY | Kristan Horton Toronto, ON | Simone Mantellassi New Berlin, NY | Nathan W. Naetzker Buffalo, NY | Kathryn| Ruppert-Dazai Toronto, ON | Michael Snow Toronto, ON | Alfonso Volo Eden, NY |
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CHELSEA ART MUSEUM August 11 – September 7, 2007 |
[PAM] is proud to present our New York museum premiere at the Chelsea Art Museum. Originally created in December 2005 as a collaboration and research project by the artists Chris Borkowski, Aaron Miller, Raphaele Shirley and Lee Wells. [PAM] allows the artist and viewer to become a more active participant in the curatorial process and has grown into an important archive and presenter of 21st century video art. As the convergence of new media continues to expand the creative possibilities for the international video artist, [PAM] seeks to facilitate and promote the artists dedicated to the medium through its free community web portal, custom designed interactive installation and special curated programs. Along side of the [PAM] installation the exhibition will be featuring single and multi-channel video projects from 42 of the most innovative artists in the [PAM] community including: 3 Channel Synchronized Program Single Channel Program |
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Adriane Little |  |
WOODLOT: The 3rd KW|AG Biennial Ruth Abernethy, Red Armstrong, Kelly Borgers, Jefferson Campbell-Cooper, Susan Detwiler, Niall Donaghy, Andrika Dubeckyj, Annie Dunning, Fatima Garzan, Lauren Hall, Arnold Jacobs, Janet Morton, Marinko Pipunic, Andrew Wright Guest curator: Sally McKay |
As humans, we have come to a point when our responsibility for climate change simply cannot be ignored. In this context, the concept of "regional artist" carries much more importance than a postal code. Woodlot is not an overtly political exhibition, and yet all of the artists, in their own way, are deeply engaged with the reciprocal relationship between humans and the natural world. Some of the works are joyful, some are scientific, some are angry, some are funny, some are sad, and some are telling stories. Together, the artists in this diverse exhibition probe at the role of art in expressing an historic, cultural, and spiritual sense of place. – Sally McKay An online publication featuring a curator’s essay and images of the works in the exhibition will be available at www.kwag.on.ca |
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The Museum OF Contemporary Canadian Art LoVe/HaTe: New Crowned Glory in the G.T.A. | review Curated by MOCCA partners in crime Camilla Singh and David Liss, the exhibition features over 30 of some of Toronto’s most loved and despised artistic icons, including those who we see and hear far too much from and others who deserve to be seen more often. This exhibition is full of contenders – and it’ll be up to audiences to decide who is who in that regard. |
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Bruno Billio | Ulysses Castellanos | DMT | Gonad, RONS & Sight
| Jason Gringler | Anitra Hamilton | Mike Hansen | Raffael
A. Iglesias | iMortified | Istvan Kantor | Harold Klunder |
Bruce LaBruce and the Scandelles | Steven Laurie | Los Cholos | Dyan
Marie | The Movement Movement | Mike Murphy | Lisa Neighbour | John
Nobrega | Susy Oliveira | DJ
OMBUDSMAN | Nick and Sheila Pye | Shelly Rahme | Fiona Smyth | Rashmi
Varma | Richard Vaughan | Margaux Williamson |
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twenty + 3 projects Common Threads twenty+3 projects is pleased to present Common Threads an exhibition by Canadian artist Kathryn Dain. Dain will be showing four works: Sphere, a floor based sculptural piece made from a wrapped half kilometre of paper, six heat transfered images on metal of yarn from the Yarn series, a collection of untitled black and white oil based drawings and a house wooden shaped, fabric wrapped, from the House Grid series. |
| Kathryn Dain | sphere (version4) 2007 | medium: 1/4 mile brown wrapping paper | ||
Dain’s works are journeys both personally and art historically
governed. Referencing Beuys, Duchamp and post Minimalist women artists
as Agnes Martin and Louise Bourgeois, she brings a contemporary use
to traditional and familiar everyday materials: fabrics, paper, found
objects and transforms them through a labour intensive meditative process
into evocative works. Dawn White Beatty in recent catalogue essay has
written “Her vocabulary of visual symbols is purposefully minimal
– spheres, squares, spirals, crosses and simple domestic forms
reduce distractions and focus the energy of the discourse – a
potent power is condensed into these shapes.” Kathryn Dain has exhibited widely in Canada and Europe. Her work is in numerous public and private collections. Common Threads is her first UK exhibition. |
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April 20 - October 21, 2007 Cheryl Sourkes Public Camera at the National Art Gallery of Canada The Exhibition organized by the Tom Thomson memorial Art Gallery, the Southern Alberta Art Gallery as well as the Canadian Museum of Contemporary Photography. |
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29 June to 26 August 2007 at Centennial Square Centennial Square:
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| Accumulated Outlook examines the way we look at the world through information that is both sourced and sampled. Like the companion exhibition Outlook Express(ed) at Oakville Galleries in Gairloch Gardens, this exhibition explores the way in which artists collect material. It shows how their creativity is evidenced through the act of collecting, as well as through the way they re-use the material. | |
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The Center
for Photography at Woodstock Death Bizarre Artists: Anita Alyn, Corinne May Botz, Lucinda Devlin, Talia Greene, Nadia Hironaka, Robert Hirsch, Nate Larson, Adriane Little, John Mann, Patrick Craig Manning, Brian Moss, Andrea Pickens, John Pinderhughes, Celia A. Shapiro, Karina Aguilera Skvirsky, Lauren Simonutti, Delmira Valladares, Matt Weed. |
The project “Death Bizarre: features eighteen artists, whose work examines people, places, and objects associated with death from a conceptual and metaphorical perspective. The artists’ work utilizes death as a catalyst to demystify human experience and the fascination with human mortality. The artists employ different strategies in order to access the theme; some use the trope of beauty; some use dark humor. All engage their work with seriousness befitting the subject matter. Adriane Little | Resuscitation by definition is to revive or be revived from an unconsciousness or apparent death. This project is about re-marking the landscape in ways that are inescapable in the present, while drawing attention to the location of each billboard that I have isolated within each photograph. In this way, each site has been marked by the photograph as a public space of loss and mourning or a site of trauma. During the process of collecting images for this project, I found that I have documented billboards that no longer exist. By photographing mainly where I live and then when I travel, eventually this will create a trail of mourning. |
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Adriane Little | Resuscitation #17 | 36"x24"
http://www.sobeyartaward.ca |
FOR IMMEDIATE RELEASE Five artists chosen as finalists for the 2007 Sobey Art Award, presented by Scotiabank Halifax, NS - The national curatorial panel has selected five finalists for the $50,000 Sobey Art Award, presented by Scotiabank. The five finalists, one from each of five regions, were chosen from a list of 25 Canadian artists. |
Sobey Art Foundation, Scotiabank and the Art Gallery of Nova Scotia
are pleased to announce the national shortlist for the 2007 Sobey Art
Award: BACKGROUND |
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Melissa Day |
DEADPAN EXCHANGE AT Super Bien! Melissa Day's page at |
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| Public Commission By Carl Taçon images from artist's studio Residential Project by Robert A.M. Stern architect's LLP, New York, At One St. Thomas, Toronto, Ont. (to be installed in 2007) |
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Passages: Lisa Klapstock and Andrew Wright May 12 - June 30, 2007 Saturday, May 12 at 2:30 pm Cambridge Galleries Queen's Square, 1 North Square Passages pairs recent photography and video by Lisa Klapstock and Andrew Wright. Their work neatly reframes the landscape to explore subtle perceptual shifts between natural, artificial, and managed environments. Klapstock’s Ambiguous Landscapes documents a series of discrete interventions; self-portraits of the artist captured in various evocative settings as she moves through each environment. |
| Wright is a conceptual problem solver, using artificial
lighting to document trees at night in Illuminated Landscapes, or a large
lens to transform his garage into a functioning pinhole camera for Skies,
which captures clouds above his home. Both artists investigate the landscape
as a formal, even abstract, phenomena, bridging the divide between the
sublime and the everyday. IMAGE: Videos shot from rocket-propelled cameras by Andrew Wright |
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Live Free Webcams Au 550, Côte d’Abraham, Québec |
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| FINALISTS NAMED FOR PREMIER’S AWARD FOR EXCELLENCE IN THE
ARTS Inaugural Event February 26 at The Royal Ontario Museum February 7, 2007, TORONTO — Judith Thompson, Peggy Baker, De-ba-jeh-mu-jig Theatre Group, Juan Geuer, Ottawa Chamber Music Society and Le Théâtre du Nouvel-Ontario are the six finalists for the very first Premier’s Award for Excellence in the Arts, Ontario Minister of Culture Caroline Di Cocco announced today. |
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July 2007 | Lyn Carter | www.object.com.au Making and Meaning: Craft in the 21st Century Making and Meaning: Craft in the 21st Century is the first in a series of three biennial exhibitions that seek to challenge certain distinctions between art and craft within our contemporary visual culture. Each exhibition will present outstanding and compelling work by artists and craft practitioners from a number of selected countries including Australia. Drawing deliberately on ‘Old World’ connections, the 2007 exhibition will showcase work from Australia, Canada, New Zealand and the United Kingdom and will focus on varied practices that play within the expanding border zones between visual art and the crafts. Object will produce a publication to accompany the exhibition. It will include essays by Carolyn Bell Farrell (Canada), Claire Regnault (New Zealand), Lesley Jackson (United Kingdom) and Brian Parkes (Australia) focusing on the issues within the specific contexts of each respective country, and how the selected practitioners fit within it. |
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February 1, 2007 Dr. Sarat Maharaj South African born, Dr. Sarat Maharaj is an internationally renowned art and culture theorist. He has written extensively on visual art as knowledge production, textile art, cultural translation, difference and diversity. He was Professor of History and Theory of Art, Goldsmiths College, University of London where he is now Visiting Research Professor. He is currently Professor of Visual Art and Knowledge Systems at Lund University, Sweden. He was the first Rudolf Arnheim Professor at Humboldt University, Berlin and Research Fellow at the Jan Van Eyck Akademie, Maastricht. Amongst exhibitions he has curated are: Optical.Retinal.Visual.Conceptual (Museum Boijmanns van Beuningen. Rotterdam. 2001). He was co-curator of Documenta11 (Kassel. 2002). His recent research investigates consciousness, convergence of art practices and science in the form of a series of international Knowledge Labs (Berlin 2005 & 2006). |
| Carolyn Bell Farrell As Senior Curator of The Koffler Gallery in Toronto, Carolyn Bell Farrell has been responsible for the contemporary program since 1994. She is currently a member of the City of Toronto's Art Committee for Public Places, responsible for public art on public land in the Greater Toronto Area, as well as an Adjunct Professor at York University, Department of Visual Arts. | |
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June 2006 | Andrew Wright The catalogue for Blind Man's Bluff, designed by Jay Wilson, just won
a 2006 OAAG |
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| June 2006
Blue Republic the winner of Peer Gynt competition (Løren, Oslo Norway) 2006 Three sculptures have already been commissioned. The
sculptures will be placed at Løren in Oslo during the commemoration
of Ibsen in 2006. |
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June 2006 | Kathryn Dain Kathryn Dain's "Flow" has been acquired by Cambridge Galleries for the
gallery permanent collection |
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May - July 2006 Lyn Carter at The Tom Thomson Memorial Art Gallery www.tomthomson.org/ |
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May- July 2006 Alexander Pilis at the Pinacoteca Do Estado de Sao Paulo |
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june 2006 | Melissa Day headlands center for the arts, sausalito, california www.headlands.org IMAGE: video installation shot | How Great Thou Art, 2005, TRT: 2 min. |
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