ArtSlant - Openings & events en-us 40 Barbara Astman - Corkin Gallery - September 2nd 6:00 PM - 8:00 PM <p style="text-align: justify;">Please join us on Wednesday September 2, from 6-8 pm to celebrate the opening of Barbara Astman's exhibition.</p> <p style="text-align: justify;">Refreshments will be provided, and the artist will be in attendance. In "I as artifact", Barbara Astman presents a collection of haunting, mask-like representations of the artist, evocative of other cultures. Another type of Barbara Astman's self-portraits.</p> Tue, 25 Aug 2015 18:34:27 +0000 - Olga Korper Gallery - September 10th 6:00 PM - 9:00 PM Tue, 25 Aug 2015 17:13:51 +0000 Napoleon Brousseau - Angell Gallery - September 11th 6:00 PM - 9:00 PM <p style="text-align: justify;">Shadow catcher &mdash; in the case of a lesser artist, that phrase could describe the facile products of a New Age dabbler. But Napoleon Brousseau stalks his netherworld prey with a razor sharp edge, peeling back the skin of respectability to reveal the primal spirit at the core.</p> <p style="text-align: justify;">Brousseau has worked in painting, sculpture, installation, electronics, video and digital media over the course of his thirty-year plus career. But drawing holds a special place within his practice, as it is the most direct route to the unconscious. Acting as conduit rather than composer, Brousseau sometimes uses both hands to draw, recalling the Surrealists&rsquo; &lsquo;psychic automatism&rsquo; and their desire to circumvent reason in order to find the irrational, that place where the Shadow resides.</p> <p style="text-align: justify;">In Jungian terms, the Shadow represents the dark, primordial, and often unacknowledged, side of the self. Yet the Shadow is also associated with creativity. As suppressing or projecting the Shadow only serves to make it nastier, Brousseau, the artist/shaman, seeks instead to uncover its secrets.</p> <p style="text-align: justify;">Sometimes its missives are surprising and mysterious, even to the artist, as when the knees of the deer/woman in <em>Goddess of the Ways</em> morphed into sperm whales. But Brousseau goes with what comes. In <em>Labrys Angels,</em> the space between the mirror image goddesses emerged as a blood-red labrys, the double-headed axe that freed goddess Athena from her father Zeus&rsquo;s forehead.</p> <p style="text-align: justify;">Liberating the female within the male is among the psychic exorcisms that Brousseau performs as he navigates through territory rife with chimeras, multiple identities and opposing forces. Yet while his drawings are black and white, literally and metaphorically, Brousseau also pries opens the door to the grey area, the Shadow&rsquo;s haunt, a place free from the censoring mind. Suspend judgment, all ye who enter here.</p> <p style="text-align: justify;">Beauty and beast, pleasure and pain, attraction and repulsion, each are equal partners in Brousseau&rsquo;s picture of the teetertotter of life. Bound figures, such as the woman/animal in <em>Rabbit Sadhu</em> (a sādhu is a Hindu ascetic) suggest repression but also the necessary, and ultimately beneficial, trials that are part of the self&rsquo;s journey. <em>The Tower</em>, with its tumbling man, is inspired by a tarot card that can signify either destruction or liberation. Brousseau&rsquo;s tower encompasses a high heel shoe (one of his recurring motifs) vaginal lips and an animal&rsquo;s hind legs, revealed as a result of his mission to expose those libidinous impulses lurking beneath the propriety surface.</p> <p style="text-align: justify;">Brousseau&rsquo;s depth of vision is matched by his deep space black, achieved through a canny combination of material and method. Using the evocatively named Siberian Fir charcoal, Brousseau applies a layer, vacuums it, then applies another, repeating this process until he reaches the desired saturation. Gazing into the dead black eye sockets of the ghastly vamp in <em>Death Tube</em> is akin to looking into a black hole &mdash; you just might not come back.</p> <p style="text-align: justify;">While we may at first shy away from the more uninhibited expressions of Brousseau&rsquo;s psyche (<em>Gorilla Pussygasm</em>, anyone?), braving the challenges of his no holds barred attack offers the possibility of cathartic release, one that will leave us, as the title of this body of work promises, <em>In the Black</em>.</p> Tue, 25 Aug 2015 16:53:50 +0000 Morley Shayuk - Paul Petro Contemporary Art - September 11th 7:00 PM - 10:00 PM <p style="text-align: justify;">Working within the mediums of painting and sculpture Morley Shayuk and Amy Bowles individually engage and challenge consumptive behaviours by offering ambiguous strategies for transformation and personal growth. Together, Shayuk and Bowles redress transatlantic post-colonial themes through the wisdom, power and persistence of Nature. <br /> <br /> A series of small abstract oil paintings by Morley Shayuk observe the virtues of the organic shape. Compositions are disturbed by rigorous reshaping of surface and form, which explore the garden and facilitate creative renewal. Themes of nature become ornamental, objectified and controlled through experimental working methods. Morley Shayuk lives and works in Toronto.<br /> <br /> New ceramic works by Amy Bowles signal an earthly invitation. Terracotta and white earthenware clay renderings of garden dwellers harken back to Bowles's rural English childhood. Thatched and cobbled motifs deny the bucolic chocolate box environs of rural south west England for the fearful potential of the calling of the underworld. Amy Bowles studied ceramic design in Cardiff, Wales, and lives and works in Toronto.</p> Tue, 25 Aug 2015 17:11:59 +0000 Abbas Akhavan - Mercer Union - A Centre for Contemporary Art - September 12th 5:00 PM - 7:00 PM <p style="text-align: justify;">Mercer Union is delighted to present a solo exhibition by Abbas Akhavan entitled&nbsp;<em>Variations on a Garden</em>&nbsp;opening on Saturday 12th September 2015.</p> <p style="text-align: justify;">Abbas Akhavan&rsquo;s practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in Abbas&rsquo; practice. Recent works have shifted focus, wandering onto spaces and species just outside the home &ndash; the garden, the backyard, and other domesticated landscapes. Akhavan is the recipient of Kunstpreis Berlin (2012), Abraaj Group Art Prize (2014) and is currently short listed for the Sobey Award (2015).</p> <p style="text-align: justify;">This exhibition is presented with leading support from Partners In Art</p> Mon, 27 Jul 2015 17:50:16 +0000 Stephen Appleby-Barr - Nicholas Metivier Gallery - September 17th 6:00 PM - 8:00 PM <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present <em>Sigillum</em>, an exhibition of new paintings by Stephen Appleby-Barr. The exhibition will open on September 17 and will be on view through October 10 with a reception for the artist on Thursday, September 17 from 6 &ndash; 8 PM. The exhibition is accompanied by Mark Kingwell&rsquo;s essay, &ldquo;<em>I See for Miles: Stephen Appleby-Barr&rsquo;s Fantastic Vistas</em>&rdquo;.<br /> <br /> Over the last seven years, Stephen Appleby-Barr has quickly developed his mastery of oil paint, mimicking a wide array of classical techniques while simultaneously subverting them. Appleby-Barr inserts elements of personal reference &ndash; his acquaintances and collection of artifacts &ndash; into historical tableaus to create new narratives that bounce between past and present, reality and fantasy. The paintings comprising <em>Sigillum</em> explore a wide range of themes such as death, joy and journey. This is Appleby-Barr&rsquo;s third solo exhibition at the gallery and marks the next chapter in an ongoing conversation with art history. Goya, Bosch, Vel&aacute;zquez, Rembrandt and Sargent are just a few of the artists he invokes in these latest paintings.<br /> <br /> In preparation for this exhibition, Appleby-Barr made studies from several international museums including the Metropolitan Museum in New York, Rijksmuseum in Amsterdam, Victoria and Albert Museum in London and Les Invalides in Paris. His drawings of Napoleonic military uniforms from Les Invalides provide an armature for his portraits of his artist friends including Sophie Blumenthal, Chloe Wise, Derrick Guerin and Rob Weir. While the colour and detail in Appleby-Barr&rsquo;s renderings is awe inspiring, the connotations of the embellished ensembles - colonialism and conformity - are unsettling and contradict the ideals of the tattooed and pierced subjects that don them. With this juxtaposition, Appleby-Barr displaces the historical reference point to which many of his images owe their origins.<br /> <br /> Significant shifts have taken place in Appleby-Barr recent works. Firstly, his cast of animal-human hybrid characters, (Punchclaw the cat, Pantyhose the doll and Cuniculus the rabbit), are still present but portraits of Appleby-Barr&rsquo;s friends in purely human form take center stage.&nbsp; Secondly, Appleby-Barr worked collaboratively alongside artist Diana Lynn Vandermeulen for the first time to create collages, which helped inform the atmospheric backgrounds for many of the paintings. Lastly, Appleby-Barr&rsquo;s new repertoire of subjects and settings has inspired looser and more gestural brushwork. While his remarkable use of light and detail remains in full force, the physicality of the paintings is on display and reflects the qualities and potential of the medium itself.<br /> <br /> <em>There are elements of the uncanny in Appleby-Barr&rsquo;s now extended painterly universe, but I think he has achieved, especially with this most recent work, something much more unusual and interesting. The new work actually dwells in the suspended phenomenological pocket of the fantastic, refusing to resolve into either the relative safety of mere marvels or the dark valleys of the uncanny. Created with thaumaturgical wonder (hence &ldquo;sigillum,&rdquo; meaning both figurine and magic seal), they deploy mounted and standing bodies across a glowing plain of visual beauty.</em><br /> &ndash; <em>Mark Kingwell, excerpt from</em> &ldquo;<em>I See For Miles: Stephen Appleby-Barr&rsquo;s Fantastic Vistas</em>&rdquo;</p> <p style="text-align: justify;">For more information on this artist <a href="" target="_blank">click here</a>.<br /> To read Mark Kingwell's essay on the exhibition&nbsp;<a href="" target="_blank">click here</a>.</p> Tue, 25 Aug 2015 17:09:25 +0000 Anne Collier - Art Gallery of Ontario - September 23rd 6:30 PM - 8:30 PM <div class="col-right"> <p style="text-align: justify;">This first major solo exhibition of Anne Collier's work traces the photographer's career from 2002 to the present. Encompassing about 40 of her large, coolly elegant prints &mdash; including works from her signature <em>Woman with a Camera</em> series &mdash; &nbsp;the exhibition presents themes that have dominated her work, from pop psychology, to the clich&eacute;s and conventions of commercial photography, to the act of seeing.</p> <p style="text-align: justify;">Building upon the legacies of artists such as Cindy Sherman and Richard Prince, Collier recontextualizes images sourced from popular culture &mdash; including record-album sleeves, magazines, coffee-table books and Hollywood film stills &mdash; and reshoots these artifacts against neutral studio backdrops. Many works explore the role gender plays in photography, as in her ongoing <em>Woman with a Camera, </em>which often focuses on film heroines such as Marilyn Monroe who appear simultaneously empowered and objectified when a camera is placed in their hands.</p> <p style="text-align: justify;">Curated by MCA Chief Curator Michael Darling and with installation overseen by AGO Curator of Modern and Contemporary Art Kitty Scott, <em>Anne Collier</em> will be on view on Level 4 of the AGO's Contemporary Tower.</p> <p style="text-align: justify;">This exhibition is included with <a href="" target="_blank">general admission</a>.</p> <p style="text-align: justify;">Organized by the MCA Chicago.</p> <h3>ARTIST'S TALK</h3> <p class="dates"><strong>Wednesday, September 23<br /> 5:30 pm<br /> Jackman Hall</strong></p> <h3>PUBLIC OPENING</h3> <p class="dates"><strong>Wednesday, September 23<br /> 6:30 &ndash; 8:30 pm<br /> Walker Court</strong></p> </div> Sun, 02 Aug 2015 17:03:13 +0000 Joseph Mallord William Turner - Art Gallery of Ontario - October 31st 10:00 AM - 5:30 PM <h3 style="text-align: justify;"><strong><em>Critically acclaimed solo exhibition from the Tate Britain makes its only&nbsp;Canadian appearance in Toronto</em></strong></h3> <p style="text-align: justify;">This fall the Art Gallery of Ontario (AGO) will host a major exhibition celebrating the experimental and contemplative works of Joseph Mallord William Turner (1775&ndash;1851), a giant of British art. Opening on Oct. 31, 2015, <em><strong>J.M.W. Turner: Painting Set Free </strong></em>features more than 50 large-scale paintings and watercolours on loan from Tate Britain and makes the case that the radical works created in the final 15 years of Turner&rsquo;s career, with their arresting use of light, represent a fulfillment of the artist&rsquo;s upward trajectory.</p> <p style="text-align: justify;">&ldquo;By bringing an exhibition of this calibre to Toronto this fall, the AGO will offer an exceptional experience to its members and visitors, and we&rsquo;re delighted to be partnering with one of the world&rsquo;s most renowned art institutions to do so,&rdquo; says Stephanie Smith, the AGO&rsquo;s Chief Curator. &ldquo;Turner was a great artist who reimagined the medium of painting to create powerful and beautiful works. Through his art, he invites us to bear witness to the rapidly changing world of his time and to delight in the power of the artistic imagination."</p> <p style="text-align: justify;">Premiered at Tate Britain in September 2014 and heralded by critics across the U.K. as &ldquo;an exciting, entrancing show&rdquo; (The Guardian) and &ldquo;sensational&rdquo; (London Evening Standard), <em><strong>J.M.W. Turner: Painting Set Free</strong></em> focuses on the final and most experimental phase of the artist&rsquo;s career. Beginning in 1835 and closing with his last exhibitions at the Royal Academy in 1850, the exhibition sets out to show how Turner&rsquo;s final years were a time of exceptional energy and vigour, initiated by one of his most wide-ranging tours of Europe. The installation at the AGO will be coordinated by Lloyd DeWitt, AGO Curator of European Art.</p> <p style="text-align: justify;">Turner&rsquo;s late works, with their emphasis on atmosphere, are famous for their sublime colour palettes, textures and arresting use of light. Highlights of the exhibition include the large historical works <em>Ancient Rome: Agrippina Landing with the Ashes of Germanicus</em> (exhibited 1839); <em>Snow Storm - Steam Boat off a Harbour&rsquo;s Mouth</em> (exhibited 1842) and the iconic <em>Angel Standing in the Sun</em> (exhibited 1846); as well as numerous and magnificent watercolours, including <em>The Blue Rigi, Sunrise</em> (1842) and the haunting <em>Fire at the Grand Storehouse of the Tower of London</em> (1841).</p> <p style="text-align: justify;">&ldquo;J.M.W. Turner is a towering figure of British 19th-century art,&rdquo; says DeWitt. &ldquo;His innovative approach remains an ongoing inspiration to contemporary artists and audiences. And yet it was during this last, most fruitful period of his life that his art was most misunderstood. Mocked publicly, Turner baffled his critics with his radical approach. Nonetheless, he carried on experimenting with unusual subject matters and different canvas formats and mastering his free and spontaneous techniques in both oil and watercolour.&rdquo;</p> <p style="text-align: justify;"><em><strong>J.M.W. Turner: Painting Set Free</strong></em> runs at the AGO until Jan. 31, 2016. A 250-page, soft-cover catalogue will accompany the exhibition. Published by the Tate and edited by David Blayney Brown, Amy Concannon and Sam Smiles,<strong><em> J.M.W. Turner: Painting Set Free</em></strong> features more than 100 colour plates and will be available for sale in shopAGO for $63.</p> <p style="text-align: justify;">AGO members will be offered free admission to <strong><em>J.M.W. Turner: Painting Set Free</em></strong> and exclusive previews in the days leading up to the exhibition&rsquo;s public opening. More information on the benefits of AGO membership can be found at <a href="" target="_blank"></a>.</p> <p style="text-align: justify;"><strong><em>J.M.W.Turner: Painting Set Free</em></strong> is organized by Tate Britain.</p> <p style="text-align: justify;">Media Partner: <em>Globe and Mail</em></p> <p style="text-align: justify;">Official Hotel Partner: Chelsea Hotel</p> Sun, 02 Aug 2015 18:29:22 +0000