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Lauren Hall at University of Waterloo Art Gallery | review
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Ana Rewakowicz in Rome working on the bridge project Ponto Rotto
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LYN CARTER: Beacon 12.2011 – 10.2012 + PUBLICATION LAUNCH + ARTIST TALK Saturday, December 10 at 2:30 pm
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MOON CIRCLE VOID LYN CARTER, SUSAN WARNER KEENE, DON MAYNARD, LOIS SCHKLAR Curated by Kai Chan at Harbourfront Toronto |
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“The Spaces in Between” & “Invoice: End of Road” 9.2 – 10.2 2011 curated by Adriane Little LCCM is proud to announce The Spaces in Between; a group show curated by Adriane Little, Assistant Professor of Photography and Intermedia at Western Michigan University. The Spaces in Between focuses on our common humanness and the spaces we inhabit and share: public, private, internal and external.
www.lostcoastculturemachine.org/?p=1368
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Viva Voce. Guest curated by Shannon Anderson. Dorian FitzGerald, Alison S.M. Kobayashi, Richie Mehta, Johnson Ngo, Denyse Thomasos, Carolyn Tripp, Jessica Vallentin, Rhonda Weppler/Trevor Mahovsky, Andrew Wright, Robert Zingone. Sep 14-Oct 23, opening reception Wed 14 Sep, 5-9pm (FREE shuttle bus will depart at 6:30pm from OCADU, 100 McCaul Street, Toronto, and will return for 9pm): This exhibition marks the 40th anniversary of the Art and Art History Program (University of Toronto Mississauga and Sheridan Institute). The participating alumni were selected through anonymous recommendations from past and present faculty members, transforming the curatorial process into a collective effort that underscores the complex relationships between students and professors. Blackwood Gallery
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Mel Day at Pieces-of-you-topia Residency & Performance Series The Lab Beyond materialistic, Pieces-of-you-topia, featuring Mel Day, Miriam Dym, Lucas Murgida, Kelly Lynn Jones, Natasha Wheat and WWAWUT, is a collaborative exhibition and residency project, exploring a new kind of materialism, one that reconsiders the economic, ecological, physical and spiritual relationship we all have with objects and our material world. On Saturday August 13th WWAWUT will host the first of 3 public events. Please join us for the west coast premier of Pieces-of-you-topia, an interdisciplinary dance performance about the evolution of an object. Start time: 6:30. |
ANDREW WRIGHT’S CORONAE WINS BMW EXHIBITION PRIZE Scotiabank CONTACT Photography Festival 2011. Peak Gallery is proud to announce Andrew Wright’s exhibition Coronae as the inaugural winner of the 2011 BMW Exhibition Prize at Contact festival. Chosen from over 1000 national and international artists and 209 venues, AndrewWright's show has been named the most outstanding exhibition in CONTACT 2011. Scotiabank CONTACT Photography Festival is the largest photography event in the world, attracting an audience of over 1.5 million. The annual Toronto festival is devoted to celebrating and fostering the art and profession of photography, stimulating excitement and discussion among diverse audiences.
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Interview with Andrew Wright about his exhibition "Coronae" on at Peak Gallery through June 4 |
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Ilona Staples
(winner of Wall Project) Euromaze, 2011 The installation Euromaze shows the member states of the European Union* as geopolitical outlines, interpenetrating and propping each other up in fragile and chaotic relationships. The difficulty of journeying physically or visually through the mazelike structure is meant to evoke the movement of migrating and transient populations as they negotiate their way through the political, economic and cultural complexity of Europe in search of higher wages and a better standard of life. The artist Ilona Staples lives and works in Toronto. Using the overall theme Leaky Margins, her work frequently uses maps and cartography to represent forces, especially globalization, that cause geopolitical borders to shift or dissipate.She is a graduate of OCAD (Ontario College of Art and Design) and Concordia University, Montreal. Her work has been exhibited in Canada, the US, England and Hungary. She is the recipient of grants from the Toronto Arts Council and the Ontario Arts Council. More examples of her work can be seen at www.ilonastaples.com. * current installation includes 20 of 27 member states
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Dan Brault at the Sharjah Biennial 10: Plot for a Biennial Curated by Suzanne Cotter, Curator, Guggenheim Abu Dhabi Project and Rasha Salti, Creative Director, ArteEast with Associate Curator Haig Aivazian.
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Laura Moore Kernel Memory - Stride Gallery - Calgary |
Lauren Hall
Solo Exhibition, YYZ |
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Artist: Ulysses Castellanos
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New Material World: Rethreading Technology Oct. 8, 2010 - Jan. 2, 2011 This survey exhibition highlights ten contemporary artists from Canada, Denmark, Japan and the US, who are using new material and manipulating old material in new ways through the use or rejection of modern technology. |
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Patrick Cull Gravity Paintings Nov 11 Dec 18, 2010 opening Nov 11 5pm-8pm curated by Ivan Jurakic University of Waterloo Art Gallery - East Campus Hall 1239 |
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Alexander Pilis I decided to be a coceptual, model architect November 5-27, 2010 WhiteBox@Michael Gibson Gallery opening - Sturday Nov. 6 2-4pm 157 Carling St., London, Ontario, Canada |
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| Image:Alexander Pilis,The Blind Architect Meets Rembrandt, 2004, film duration 4:04 min. Courtesy of the artist.
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The McMaster Museum of Art Alexander Pilis Co-curated by Alexander Pilis and Ihor Holubizky + http://www.theblindarchitect.com
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Link to the oficial site http://gallery.tmpp.org/gallery/en/artists/index.jsp Peak Gallery artist Mel Day in the ishow The Missing Peace - Artists Consider the Dalai Lama among Participating Artists Laurie Anderson • Richard Avedon • Christo and Jeanne-Claude • Chuck Close • Mel Day • Anish Kapoor • Bill Viola MEL DAY
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Untitled 2010 fabric & chair H 31” x W 45.5” x D 206.25” installed at Shaw Street School for the exhibition Art School (Dismissed), Toronto, Ontario, Canada |
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Toronto-based artist Susy Oliveira creates sculptures, paintings and installations that examine human’s preoccupation with controlling and re-producing elements of nature through artificial fabrication. Often using digital images that attempt to capture or reproduce elements of nature, the artist repurposes the images to give new life and form to artificial versions of natural and organic material. As humans continue to manipulate and impose unnatural systems onto otherwise natural elements of the world for personal pleasure and consumption, Oliveira’s work underscores our perpetuated distance from a world that is undisturbed by our existence. Susy Oliveira is currently presenting an exhibition of new works titled Your Face, like a lone nocturnal garden in Worlds where Suns spin round! is currently on view at Platform centre for Photographic and Digital Arts in Winnipeg, Canada. The artist is a graduate of the University of Waterloo and Ontario College of Art and Design. Recent exhibitions include, The Girl and the Bear at Peak Gallery, Toronto, and fOR yOUR pLEASURE at the University of Waterloo. Click here to read a previous feature of Susy Oliveira’s work on DailyServing.com. |
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ART in AMERICA Center Stage in Toronto
Of late the art world has been lured to the potential for mainstream outreach offered hesitantly by the medium of television; witness Work of Art, the Project Runway for competition-inclined artists soon to premiere on the Bravo network. With a mind to undoing the telegenic (or at least tele-ready) face of the art world, each week the confrontational Toronto-based vlog ArtStars* bring their gonzo art criticism to computer screens worldwide. The project belongs to digital artist Jeremy Bailey, who remains behind the scenes as reporter-provocateur, and Nadja Sayej, whose outfits include a cozy blue snuggie and a Wonder Bread-sponsored NASCAR top, and reports like some kind of deranged newscaster on gallery openings and the local art scene. Each webisode begins as Sayej explodes onto the screen with a cartwheel, or swimming on the ground, or stomping like a self-parody of a diva, pausing to deliver her cliché campy tagline, "SNAP." A line of percussion summons the show's 3-D digital logo, which mimics Sayej's movements, rains down on her umbrella, or once causes her head to explode. The duo then hit opening night guest lists with a hand-held camera, an a/v closet microphone, and contentious attitude. Much of the ethic of the show is Oedipal: the artists confront artists and professionals they have decided represent the lackluster nepotism of an old guard, and a younger generation they accuse of complicity. In 1984, critic Philip Monk panned an exhibition by General Idea, only to see them rise in the coming years to international notoriety; to make amends, Monk restages the exhibition at the Art Gallery of York University. The ArtStars* are compelled to call boisterous bullshit towards the flip-flop. ArtStars* mimic primetime (or even daytime) TV's of misleading fight-dirty mechanics, namely jump-cuts and post-production editing. Clocking in at under three minutes per webisode, they can fashion their particular agendas whether it's a fully plausible critique or not. For instance, when asked if she could explain her work on the next, more complicated level Kriistina Lahde attempts to defend her cut newspaper kaleidoscopes, her words are speed-up beyond recognition, while the word "ArSpeak" digitally flashes before her mouth. The result produces a dilemma: Sayej might be correct in her assessment, but comes off as a tyrant. Sayej is a former contributor to the Toronto Globe and Mail. But with her theatrically intimidating air, she exudes the bluster of a Greenberg-ian era evaluator willing to throw down rather than allow the repercussions of arts writing that's mostly provincial boosterism. The series takes place in a Toronto that national and municipal stakeholders have advertised as undergoing a Creative City Renaissance. Over the past decade significant investments have strengthened the major institutions: the Royal Ontario Museum, the Art Gallery of Ontario among them, in an attempt to foster a national cultural capital. Canadian Council on the Arts grants have been primarily allocated to art making, which has benefitted the careers of a minority. Very little of this national money goes to the few monthly glossies, which often produce safe profiles because bluntness burns bridges. Weary of hospitable generalities the ArtStars* direct themselves to the responsibility of the critic, hoping to overcome stereotypical politeness. ArtStars* is a descendent of GalleryBeat, the pioneer of gotcha arts journalism who took swipes at the Soho gallery landscape in the 1990s. Hosts Paul H-O and Walter Robinson crashed seminal shows (the 1993 Whitney Biennial; Cady Noland at Paula Cooper Gallery in 1994; Tracy Emin at the 1995 Gramercy Hotel Art Fair) and clunkers alike (Beth B.'s "Pussy Pictures" at Deitch Projects), asking strange, simple questions to serious minded people. The series also recalls of New York City's public-access glory days of offbeat productions. Some artists, like Joseph Drapel or conceptualist Christian Giroux, appear content to play the patsy, happy for any and all recognition. Others offer professional facades, exchanging curt pleasantries with the interviewer. In one recently shot at Mercer Union, the venerable artist-run center, Sayej begins by immediately announcing her distaste for the audience, and then finds some spectators literally running in the opposite direction upon her screaming out their names. Choosing not to hide behind quasi-anonymity, as is a real possibility on the Internet, the ArtStars*make a potentially anti-careerist gesture against the white cube.
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Photography by Mike Ford |
YorkU Magazine - page 28 Carl Tacon What weighs about 50 tons, is 42 metres long and is made up of 20 individually hand-carved, 133-centimetre-high sections of Vermont Mountain White marble? Answer: Carl Tacon’s public sculpture, Shift, an imposingly beautiful work sited at 1 St. Thomas St. in downtown Toronto near Bay and Bloor. The sculpture’s marble drapery makes reference to classical imagery while balancing that backward glance with a form-meets-function contemporary experience (the sculpture acts as the property line of its host, One St. Thomas Residences, a luxury condominium building). Public sculpture hasn’t had a very happy existence in Canada, or in Toronto for that matter, so how did Tacon (BFA Spec. Hons. ’88, MFA ’96) get commissioned to create Shift? “When the city gives developers concessions in the municipal zoning bylaws, the developer gives something beneficial back to the city in exchange. So one per cent of the project’s total building budget goes to funding public art,” says Tacon. Shift’s drapery imagery stems from the idea of a building’s facade or surface being merely a perceptual skin, he says. “That skin empowers a building with a sense of authority and stature. It has an elusive quality that can be used to suggest the transitional space between the interior and exterior facades of a building.” Tacon says a large part of his work is about “how surfaces, any surface, can be deceptive.”
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January 7 to February 13, 2010 Susy Oliveira at The New Gallery, Calgary | review ‘Your face, like a lone nocturnal garden in Worlds where Suns spin round!’ |
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