ArtSlant - Closing soon en-us 40 Sara Graham - MKG127 - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;">The exhibition is comprised  of 11 large-scale photographs of altered Rand McNally Streetfinder mapbooks, that were originally transformed 15 year ago by the artist. Each photograph depicts the first page of the book, in which all of the information of the map had been removed except the expressways, highways and major roads. What remains was a complex, abstract latticework of road networks that are layered on top of each other.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>Sara Graham</b> has been primarily concerned with the issues and ideas of the contemporary city. One of her central engagements in her practice is in the mapping of systems and networks and how their <br /> interconnectivity effects everyday lives. StreetFinder diagrams a space of possibilities, one that lies between interpretation and reality. By manipulating the map itself, Graham has intervened in the logic of the city, constructing an alternative geography as well as a providing a different perspective of the city.</p> <p style="text-align: justify;">Now based in Port Moody, BC, <b>Sara Graham</b> holds a BFA from the Nova Scotia College of Art and Design and an MFA from the University of Guelph. Her works have been exhibited widely across Canada with upcoming exhibitions at the Prairie Art Gallery, Grand Prairie and Art Souterrain/ Nuit Blanche, Montreal as well as a public art commission through the City of Richmond. Graham has recently exhibited at the Museum London, London, Ontario, Museum of Contemporary Canadian Art, Toronto, the Kenderdine Art Gallery, Saskatoon, Dalhousie Art Gallery, Halifax, Nuit Blanche, Toronto, Kitchener Waterloo Art Gallery and The Rooms Provincial Art Gallery, St John’s</p> <p>StreetFinder raises questions about the “literal” nature of the map. Do maps create or represent reality? And what is the reality that they purport to either create or represent? Is reality truth or is it perception? And, how much does perception affect what one knows to be the truth? Do maps lie or do they make the truth visible? The StreetFinder series provoke new ways of seeing a city and provide new insight into the urban landscape.</p> Sat, 12 Jan 2013 07:23:22 +0000 Monica Tap - MKG127 - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;">In <b>Monica Tap</b>’s first appearance at <b>MKG127</b>, she exhibits two new paintings, just back from a solo exhibition at the String Room Gallery in Aurora, New York. These paintings originate from low-res cell phone video captured on road trips. </p> <p style="text-align: justify;">Tap explores the forensics of time made possible by digital video. Slow frame rate, fast motion, high contrast, and low light push the camera past normal limits and challenge the construct of a realistic image. There is no better place than the edge of failure to expose how something really works. Tap is interested in what is revealed when systems—of technology, of perception—break down and, consequently, open up to other realms. </p> <p style="text-align: justify;">In a recent review on ArtFagCity, writer Sally McKay observed; “Tap’s paintings bring vision itself into awareness. Engaging directly with the materiality of digital aesthetics, she offers viewers the chance to experience physical properties of video compression as translated into richly painted, spatial planes. As landscapes, the paintings are thoroughly satisfying, engaging viewers cognitively with the visual conditions of their world.”<br /> <br /> <b>Monica Tap </b>is an artist whose many activities involve exploring questions of time and representation in painting. Her practice opens up a space between landscape and abstraction, and navigates the terrain between painting and digital video. Her canvases, which are conceptual and systematic investigations into the codes of pictorial illusionism and perception, have been exhibited in Canada, England and the USA. She is the recipient of many grants and awards, including the Social Sciences and Humanities Research Council of Canada for her project, “Translation as a Strategy of Renewal in Painting.” Tap's work is represented in private, corporate and public collections in Canada and the U.S. Originally from Alberta, she completed both her BFA and MFA degrees at the Nova Scotia College of Art and Design. She lives in Toronto and is an Associate Professor at the School of Fine Art and Music at the University of Guelph. She is currently working in Berlin on her sabbatical research.<br /> </p> Sat, 12 Jan 2013 07:26:51 +0000 T. Pica - TeodoraART Gallery (T-ART) - January 16th, 2013 - February 9th, 2013 <p>T-ART is exhibiting a series of water landscapes by artist T. Pica executed in a variety of techniques.</p> <p>The exhibition will be open until February 9, 2013.</p> Mon, 14 Jan 2013 01:44:00 +0000 Robert Youds - Diaz Contemporary - January 17th, 2013 - February 16th, 2013 <p style="text-align: justify;"><em>Time is long. Time is short. Things begin. Things recede. Some things repeat, over and over again. And as nearness becomes more difficult to perceive and everything once distant is brought closer through technologies – the self may be the only remaining site by which to measure ourselves. </em><br />  <br /> <em>I think of these artworks as pictorial constructs, a rustic modernism, encoded with an urban patina of longing for a self once imagined and enabled within nature. They are also synthetically versicoloured abstractions that task us with their intimate and perceptual imbeddedness.</em><br />  <br /> <em>Malcolm Lowry’s shack</em><br /> <em>Emily Carr’s retreat</em><br /> <em>Lauren Harris’ shelter</em><br /> <em>Erickson’s Smith house</em><br /> <em>Pollock’s studio</em><br /> <em>Tom’s cabin</em><br />  <br /> <em>Your constant waterfall, Bowen</em><br /> <em>Your constant waterfall, Hornby</em><br /> <em>Your constant waterfall, Denman</em><br /> <em>Your constant waterfall, Galiano</em><br />  <br /> - Robert Youds, 2012<br />  <br />  <br /> Diaz Contemporary is pleased to present an exhibition by Victoria-based artist, Robert Youds. <em>handmade ultramarine mantra</em> is a body of new paintings that continue to explore Youds’ interest in light, colour and existential concerns of the urban condition.<br />  <br /> Youds’ paintings suggest empirical paradoxes of how time passes and repeats. His mark-making, humanistic and instantaneous, becomes meditative through repetition and gradual transformation. Tenuous relationships between the natural and urban environment are reflected in Youds’ use of 2x4 lumber as a stamping tool. Further, these new works also contrast monochromatic imprints (which recall ancient cave paintings) and their almost-neon coloured glowing auras. <br />  <br /> Robert Youds holds an MFA from York University and a BFA from the University of Victoria. He is currently the University of Victoria’s Faculty of Fine Arts Lansdowne Chair. Previous solo exhibitions include: Art Gallery of Greater Victoria, Victoria, BC, Sable-Castelli Gallery in Toronto, ON, Post Gallery in Los Angeles, CA, Southern Alberta Art Gallery in Lethbridge, AB and Charles H. Scott Gallery in Vancouver, BC. Youds’ work can be found in private and public collections, including the National Gallery of Canada, Ottawa, ON, Vancouver Art Gallery, BC, Art Gallery of Greater Victoria, BC, Art Gallery of Nova Scotia, Halifax, NS, Museum London, ON, Art Gallery of Hamilton, ON, Canada Council Art Bank, Ottawa, ON, Macdonald Stewart Art Centre, Guelph, ON, and the Art Gallery of Ontario, Toronto, ON, as well as the collections of Toronto Dominion Bank and Bank of Montreal.</p> Sat, 12 Jan 2013 06:19:36 +0000 Matt Rogalsky - Mercer Union - A Centre for Contemporary Art - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;">For twelve self-resonating Fender Stratocaster guitars shadowing a classic rock radio station</p> <p style="text-align: justify;"><i>Discipline</i> focuses on the electric guitar as the iconic musical instrument of the 20th century and an object of obsession. The model of guitar used in the installation—twelve of them in bright colors, brand name hardly needing to be mentioned—was designed in 1954 and remains essentially unchanged as a staple of rock and pop musicians worldwide.</p> <p style="text-align: justify;">In this installation, each guitar is tuned to a single pitch class, so the twelve together represent the 12 tone equal tempered scale. The guitars are invisibly played by wiring their pickups in reverse, so that external signal sources can resonate the strings through the pickups’ fluctuating magnetic field.</p> <p style="text-align: justify;">The driving signal for the guitars is a live classic rock radio station. Via original software written in the SuperCollider music programming language, each guitar responds only to the presence of its pitch class in the radio signal, so the twelve together create a shifting, spatialized resonance which shadows the songs being played live on air. The radio station is not heard directly—only through the guitars’ shimmering response.</p> <p style="text-align: justify;">The piece has several reference points both sincere and ironic, including the “boy culture” of guitar-store shredding and ubiquitous all-too-familiar riffs, Robert Fripp’s “guitar craft” approach to mastering the instrument (<i>Discipline</i> is also the title of a King Crimson album and song), and the apostle-like devotion often accorded the electric guitar and the canon of classic rock.</p> <p style="text-align: justify;"><b>Matt Rogalsky</b>’s activity as a performing and exhibiting composer and media artist often focuses on exploration of abject, invisible/inaudible, or ignored streams of information. Recent pieces includes <i>ANT/LIFE/ART/WORK</i>, a site-specific installation listening in to the sound world of thatching ants, and <i>Memory Like Water</i>, a series of installations and concert pieces exploring the "ow and malleability of memory. His work has been presented in galleries and concert venues throughout North America and Europe. Rogalsky teaches electroacoustic music composition at Queen’s University, plays guitar with Canadian alt-folk group The Gertrudes, and is also known for his audio engineering and production work, most recently with Polaris Prize-nominated noise-pop band PS I Love You. Matt Rogalsky lives in Kingston Ontario Canada.</p> Wed, 26 Dec 2012 14:07:11 +0000 Kyla Mallett - Mercer Union - A Centre for Contemporary Art - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;"><b>Kyla Mallett: <i>How to See and Read the Aura</i></b></p> <p style="text-align: justify;">These works began as a tangent to Mallett’s <i>Self-Help</i> work. In collecting second-hand self-help materials, she encountered a book entitled <i>How to See and Read the Aura</i> which fell under the category of parapsychology and new-age healing. This text became a key element to her research in self-help, which Mallett expanded on in this body of work centred around this book.</p> <p style="text-align: justify;">Mallett employs the use of UV-sensitive screenprinting inks in these multicoloured works, which fluctuate with UV exposure, causing the viewer to see more or less of the text depending on the lighting conditions, mimicking the practice of aura-reading. Here the artist explores ideas of belief, and metaphorically alludes to the practice of reading and interpreting works of art.</p> <p style="text-align: justify;"><b>Kyla Mallett</b> completed her MFA at UBC in 2004, and her BFA at Emily Carr in 2000. Working primarily in photography, text and print media, her practice engages with the intersection of culture and language, using archival and statistical research to examine transgressive activities in such cultural arenas such as adolescence, feminism, academia and art. Past works have examined schoolgirls' notes, girl bullying, gossip, marginalia in library books, hauntings and aura reading. Current projects involving parapsychology and self-help materials focus on marginal and devalued forms of language and communication. Mallett’s work has been exhibited widely, including the Contemporary Art Gallery (Vancouver), Vancouver Art Gallery, Art Gallery of Alberta (Edmonton), Modern Fuel (Kingston), Canadian Cultural Centre (Paris), and The Power Plant (Toronto), with solo exhibitions at Artspeak (Vancouver), Catriona Jeffries (Vancouver), Access (Vancouver), ThreeWalls (Chicago), Mount St. Vincent University Gallery (Halifax), and The Southern Alberta Art Gallery (Lethbridge). Mallett is Assistant Professor in Visual Art (Photography) and Graduate Studies at Emily Carr University.</p> <p></p> Wed, 26 Dec 2012 14:11:10 +0000 Andrew Harwood - Paul Petro Contemporary Art - January 18th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"A recent conversation with a closeted dyke who is a PHD Student in architecture at Western University in London, Ontario, prompted my queerie (sic) about modernism and queer identities. Her comments about the truth of materials in late modernist architectural practice led me to believe that the notion was a partial fallacy. For example, the use of wood in modernist buildings looks like wood but, in reality it is not actually truthful. Wood would look like a tree if it were to be even remotely representational. Yet, I was intrigued by the idea that any creative material could have inherent culturally specific meanings. Might glitter be the domain of children and drag queens?</span><br /> <br /><span style="font-size: small;"> "<i>Matte</i> is an exhibition that aims to reclaim the formalist elements of late modernisms – that of abstraction and that with postmodern and meta-modern twists – to reclaim abstraction for queers. I might be so inclined to believe that, at this juncture in history that as humans, and including queers, we might be completely over-represented. Figurative representation, conversely, has been absolutely necessary in forming queer identities over the past century and even more importantly during the height of the AIDS epidemic. We were here – we were and are alive. What though of our inner lives and those ideas that need a form but can only be expressed in formalist and abstract terms? I posit a Post-Identity framework for <i>Matte</i>.</span><br /> <br /><span style="font-size: small;"> "I have had the distinct pleasure of working on a queer archive for the History Department at the University of Manitoba of artists of all descriptions whose practice took place in the 1950’s and 1960’s. The archive is an examination of creative queers who left North America, pre-Stonewall, to essentially be freer in Europe and maintain their artistic practices. Many gay men working in abstraction in this time period were basically forced out of America and specifically the New York cliques of hetero-male dominated abstraction, minimalism, op art, pop art (except Andy of course) and early conceptualism. <i>Matte</i> is for these artists excluded and perhaps even expelled for their sexuality. I am profoundly grateful to the work of Winnipeg painter Derek Dunlop who has been working on reclaiming abstract painting as an inherently queer artistic endeavor and to Dr. David Churchill at the University of Manitoba. I have also been inspired by the writings of Los Angeles-based art historian Tom Folland, whose research is along similar lines to the archive – looking at queer artists in North America of this time period. Folland aims to reclaim the late modern as profoundly queer in aesthetic and meaning.</span><br /> <br /><span style="font-size: small;"> "<i>Matte</i> is a playful look at the queer codification of materials and a hearty nod to our predecessors. This exhibition is also meant to revere some of those in the contemporary art community as well as historical figures who have shaped the cultural aspects of queer. I have created Marsden Hartely-styled portraiture to honour some of these people.</span><br /> <br /><span style="font-size: small;"> "I will always believe that 'all that glitters is gold'. <i>Matte</i> is an examination and a continuation of playing with aesthetics that are beyond my own accepted practice yet remain true to my own history, identity and style."</span><br /> <br /><span style="font-size: small;"> Andrew Harwood</span><br /><span style="font-size: small;"> January 2013</span><br /> <br /> <br /> <br /><span style="font-size: small;"> Andrew Harwood is a Winnipeg-based artist and a graduate of the Nova Scotia College of Art and Design. Over the years he has held a variety of positions in artist-run centres including A Space, Toronto and is a past general manager of C Magazine. His recent exhibitions include <i>Séancé</i> at Platform Centre for Digital and Media Arts and <i>The Bob McLobster Show</i> at The Edge, both in Winnipeg. Harwood is currently running a new gallery venture in Manitoba called Zsa Zsa West located in Winnipeg's Chinatown district. He is working on his Master’s Degree in Fine Arts at the University of Manitoba and will graduate in 2014 with his thesis exhibition <i>Funeral Camp</i>.</span><br /> <br /><span style="font-size: small;"> Permanent collections include the Bank of Montréal, Toronto, the University of Guelph, Guelph, ON and Queen’s University, Kingston, ON. His work is collected privately in Canada and the United States.</span><br /> <br /><span style="font-size: small;"> <i>Matte</i> is Andrew Harwood's ninth solo exhibition at Paul Petro Contemporary Art since 2001.</span></p> Sat, 05 Jan 2013 16:39:08 +0000 Leigh Bridges - Paul Petro Contemporary Art - January 18th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"With this recent body of work, I have been experimenting more specifically with creating optical resonances within the paintings, by manipulating colour and tone. I’ve been interested in the idea of delaying the perception of painterly space, in which the eye takes a moment to adjust; these works push this further by creating something akin to a blind spot through optical intensity. When one views the light portions, it is sometimes difficult to peripherally interpret the details in the dark portions, and visa versa.</span><br /> <br /><span style="font-size: small;"> "An atmospheric and optical phenomenon is created. The title of the show, <i>Temperature Inversion</i>, is a term for a natural phenomenon in which the higher one travels, the warmer it gets – a reverse of the natural order of things. The inversion traps the heat in a layer, and often results in the trapping of particles, creating a hazy atmosphere. Temperature also refers to colour, which pushes and pulls for optical affect.</span><br /> <br /><span style="font-size: small;"> "I’m interested in manipulating material and employing collage-like construction in which conflicting visual languages collide. Image parts are chopped up and re-constructed, simulated wood textures are inserted next to painterly passages.</span><br /><span style="font-size: small;"> Lastly, these works continue to explore the motif of the tree house, implying provisional architecture for children, recreational campouts or survivalist shelters. In this case, I discovered a two level structure on Vancouver Island which provided a reference point and way to experience the subject firsthand."</span><br /> <br /><span style="font-size: small;"> Leigh Bridges, November 2012</span><br /> <br /> <br /><span style="font-size: small;"> Leigh Bridges is a Canadian artist originally from Edmonton. She was granted her MFA in 2005 from the University of Victoria, lived in Berlin and Vancouver, and then recently moved to Winnipeg to teach art at the University of Manitoba. She has shown internationally in Montreal, Berlin, Toronto, Vancouver, Melbourne, Seattle and Skien, Norway.</span></p> Sat, 05 Jan 2013 16:40:45 +0000 Pablo Picasso - Art Gallery of Ontario - April 14th, 2012 - February 17th, 2013 <p>Take a look back to 1964 — when the Art Gallery of Toronto (as the AGO was then called) thrilled Toronto audiences with the first-ever Canadian retrospective of Pablo Picasso’s artworks. The month-long visual extravaganza showcased 270 artworks on loan from all over the world. By 1960s standards, the numbers are astounding: 107,214 visitors and 23,736 copies of the catalogue sold.</p> <p><em>Picasso and Man: The 1964 Exhibition</em> is the first in the AGO’s new program of Look Again exhibitions devoted exclusively to celebrating the Gallery’s history.</p> Mon, 28 Jan 2013 23:16:15 +0000 Emmy Skensved - Erin Stump Projects (ESP) - January 10th, 2013 - February 17th, 2013 <p>ESP is pleased to present Berlin based artist Emmy Skensved's solo show <em>Vis-à-Vis.</em></p> <p style="text-align: justify;">For this series of work, Skensved mines her own materials for the subject matter. The textured acrylic paint used to produce the work is photographed and digitally altered to make graphic designs, which are traced back onto the paint before finally being cut and collaged onto the support. The actual brush marks and the illusionistic representations thereof make reference to one another, creating a self-referential loop. The digital process also leaves a distinctive mark on the end product.</p> <p style="text-align: justify;">Her work is produced through a laborious process of cutting and adhering handmade decals onto stretched canvases. The decals are made by brushing acrylic paint onto a temporary plastic support. As the painted surface is produced using a brush, it retains the ridged, directional marks of the bristles. The imagery is then cut from the sheets of paint, the crisp, knife-cut edges of the motifs, truncating the flowing brush marks.</p> <p style="text-align: justify;">The exhibition also includes sculptural pieces that are comprised of rectangular frame-like structures, corresponding in scale to paintings in the show. Just as the paintings' imagery and materials refer to one another, the sculptural forms refer to the paintings' wooden stretchers, creating links between the different works and again highlighting the materials as subject.</p> <p style="text-align: justify;">Seen from afar, the paintings seem predominantly black and white. When viewed from up close, it becomes apparent that every black shape is encircled by yellow and purple halos. These create vivid optical vibrations and imply a sense spatial depth as the colours look like shadows, suggesting that the black forms are floating above a solid white plane. As these shadows appear both above and below the black shapes, two different light sources are implied. The light from above is yellow, and thus casts a complementary purple shadow, and the light source from below is purple, casting a yellow shadow.</p> <p style="text-align: justify;">This theme of doubling is carried throughout the exhibition. Every work has a corresponding twin piece that shares similarities in imagery and scale. The composition of one painting for example, is identical to that of another piece except that it is rotated 180 degrees. Despite the image being flipped around, the orientation of the shadows remains the same, with yellow on top and purple on the bottom, presenting both a commonality and a distinguishing feature between the two objects.</p> <p style="text-align: justify;">Text by Grégoire Blunt</p> <p style="text-align: justify;"><strong>Emmy Skensved </strong>(Canada, 1981) is a multidisciplinary artist. She received her MFA from the University of Waterloo in 2007. She has exhibited her work nationally and internationally including shows at the National Gallery of Canada (Ottawa), Greener Pastures Contemporary Art (Toronto), September Gallery (Berlin) and the Künstlerhaus Bethanien (Berlin). Her work is included in the collections of the Canada Council Art Bank and the Canadiana Foundation. She has been the recipient of numerous grants and awards including research and production grants from the Canada Council for the Arts and the Toronto Arts Council. She currently lives and works in Berlin, Germany.</p> Sat, 12 Jan 2013 06:40:21 +0000