ArtSlant - Closing soon en-us 40 Miriam Unger Ben-Ze'ev - Joseph D. Carrier Gallery - January 9th, 2013 - February 4th, 2013 Fri, 11 Jan 2013 00:39:15 +0000 Xiaojing Yan - Art Gallery of Mississauga - November 15th, 2012 - February 5th, 2013 Sat, 08 Dec 2012 17:08:38 +0000 Mischa Kuball - Goethe-Institut Toronto - January 25th, 2013 - February 9th, 2013 <p style="text-align: justify;">"An amateur film from the late 1960s that shows holiday scenes. Whether the local dogs, the Mediterranean landscape or cheerful people enjoying leisure pastimes: the filmmaker captured everything that passed by his lens with his Super 8 camera. The images appear not to have been subjected to any directorial strategy; their seemingly random selection obeys no narrative structure in the classic sense. Mischa Kuball ruminates here on the popular attempt to preserve irreclaimable experiences in order to relive them later in home movies/amateur films (Heimkino (Amateurfilm)). But the effort to make memories come to life at will using technical means is doomed to fail: the past cannot be brought back to life again, even with the help of home movies. The ad absurdum repetition of the images in a loop manifests the impossibility of this undertaking. Like a veil of forgetting, a black shadow looms over the private footage in Kuball's video. It belongs to the projector, whose presence physically demonstrates the temporal and personal distance of the viewer from the images shown. Heimkino (Amateurfilm) is about the technical processes of recording and playback. Filming the film as an artistic act creates a meta-level and offers a complex reflection on the cinematic medium." (CZ, Videonale in the Art Museum Bonn)</p> <p style="text-align: justify;"><b>Mischa Kuball </b>(*1959) lives in Düsseldorf and holds the Chair of Media Art: Holography and light art at the Academy of Media Arts Cologne. Since 1984, he has been working in public and institutional spaces, has received notable awards and scholarships and has been teaching at various universities and art schools. Using mainly the medium of light – in installations and photography – he explores architectural spaces and contributes to social and political discourses.</p> Sun, 03 Feb 2013 08:31:28 +0000 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 Marc Bagus, Michael Bouchier, Tim Drake, Jenny Davis, Dino Mamone, Dave Snoddy, Sabine Noack-Haley, Daniel Waller - Art Gallery of Hamilton - October 20th, 2012 - February 10th, 2013 <p>While studying the History of Architecture, the students of Mohawk College's Architectural Technician, Technology and Building Renovation programmes went across Ontario to draw homes, churches, civic and commercial buildings that illustrate the diversity of architectural styles. Instructor Shannon Kyles asked her students to submit their drawings to a competition judged by local architecture and art experts Anthony Butler, Graham Crawford, Robert Hamilton, Craig Simms, and Drew Skuce. The winning drawings, produced in traditional and electronic methods, will be displayed.</p> Mon, 22 Oct 2012 18:26:02 +0000 Bob Bozak - Museum London - November 3rd, 2012 - February 10th, 2013 <p><em>Realignment</em> features a variety of new sculptures by well-known London artist Bob Bozak. Each work is inspired by and underscores the importance of automobile culture in North American life. All reference the aesthetic concepts and social values surrounding cars, riffing on ideas of status, power and opulence.</p> <p>By combining shiny powder-coat paint and polished chrome with projected images, assemblage, and mixed media, Bozak adds further nuance to his career-long interest in popular culture and the ethics that lie beneath its manifestations. In Realignment, he scrutinizes the mystique of car names, exotic logos and design, and other elements of lifestyle “branding.” By tweaking consumer language and highlighting processes of fabrication (of the individual artist and industry) Bozak turns iconography upside down to reveal pervasive desires, hopes and anxieties in modern life.</p> <p>Bozak studied at the Alberta College of Art in the 1960s and received his MFA from York University in the mid-1980s. Always an experimenter, his practice has involved painting and drawing, installation and ceramics. Realignment, which will be accompanied by an exhibition catalogue, is Bozak’s first solo exhibition at Museum London in over twenty years.</p> <p>____________________</p> <p>The Museum will be closed: <br />Monday, December 24 2012 <br />Tuesday, December 25 2012 <br />Wednesday, December 26 2012 <br />Monday, December 31 2012 <br />Tuesday, January 1 2013</p> Mon, 24 Dec 2012 11:13:41 +0000 Laurence Nerbonne - Thompson Landry Gallery - The Cooperage - January 17th, 2013 - February 10th, 2013 <p class="texte-reg-tor">"The face carries the mark of the soul that it hides." This is the inspiration of young painter, Laurence Nerbonne, in her works of a touching humanity. Born in the Outaouais, and now living in Montreal, the 24 year old artist is recognized by her sharp brushstrokes of a maturity that greatly exceed her age. Nerbonne discovered the power of paintings in expositions and museums while growing up in a family with a great appreciation for the arts. This self-taught artist has always had the human face as her inspiration; it is now the central point of her work. Laurence creates this figurative artwork by using acrylic paints to bring to life portraits of large dimension; carefully choosing colors to express the emotional landscape of the characters. She uses shadows to etch the faces up close, and make us intimate with the characters; having us understand them better.</p> <p class="texte-reg-tor">Nerbonne’s work is focused on the human being. Her paintings are inhabited by her characters which occupy most of the space on the canvas, usually surrounded by a darkened environment. This is the way the painter shows that the human landscape is far more profound than any other landscape. The closeness with these faces let us feel the pure emotion they exude; almost letting us taste their sensuality. The subjects, male, female, or child, carry a raw humanity that transpires from their intense look and the feline energy they release. It is in the stripping down of their identity that Nerbonne paints these characters for all the beauty they have. The painter tries to stop for a moment, to tear down the masks and reveal the hidden sensibility of modern man. She makes visible the time that passes, and the necessity to live life fully and truthfully for oneself.</p> Sun, 09 Dec 2012 07:49:11 +0000 Lumir Hladik - John B. Aird Gallery - February 6th, 2013 - February 13th, 2013 Sat, 17 Aug 2013 08:01:26 +0000 Group Show - Gallery Gevik - January 25th, 2013 - February 15th, 2013 <p style="text-align: justify;">Celebrating the start of the brand new year, Gallery Gevik's current exhibition, <i>Canadian Historical Works: Paintings and Drawings</i>, will showcase works by pioneers of Canadian art: A.Y. Jackson, Arthur Lismer, Frank Johnston, and J.W. Beatty. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">The exhibition will also feature works by Manly MacDonald, F.M. Bell-Smith, F.S. Coburn, Albert Franck, Rita Mount, Daniel Fowler, L.A.C. Panton, Mary Wrinch, Goodridge Roberts, Homer Watson, Jack Nichols, Bertram Brooker, J.W. Morrice and others. </p> <p> </p> Sun, 03 Feb 2013 10:44:09 +0000 Group Exhibition - John B. Aird Gallery - January 8th, 2013 - February 15th, 2013 Fri, 15 Feb 2013 02:06:56 +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 Nadine Bariteau, Regan Golden, Letha Wilson - Gallery 44 Centre for Contemporary Photography - January 11th, 2013 - February 16th, 2013 <p style="text-align: justify;">Though landscape photography has a varied and rich history, the exhibition <em>Clear Cut</em> at Gallery 44 proves that there is room for innovation within this venerated tradition. Artists Letha Wilson, Regan Golden and Nadine Bariteau represent a new, exciting school of artists engaging landscape, who are applying a tactile, sculptural approach to their practice with the aim of both reasserting the artist’s hand in the digital age and bringing attention to environmental issues. These artists, in particular, punch, cut, perform and sculpt their way forward to bring us original critiques on our culture of consumerism.</p> <p style="text-align: justify;">Bariteau’s single-channel video, <em>Crown</em>, follows the journey of an oversized pack of water bottles from purchase to disposal.</p> <p style="text-align: justify;">Golden’s diptychs consisting of photographic prints and graphite transfer drawings, trace and cut the contours of a forest that was cut down to make way for a subdivision.</p> <p style="text-align: justify;">Wilson’s photo-sculptural artworks involve cutting, punching, pouring and other physical acts in relating the experience of a natural landscape.</p> <h3 style="text-align: justify;">Artist Biography</h3> <p style="text-align: justify;"><strong>Nadine Bariteau</strong> is a Toronto-based multi-disciplinary artist who specializes in printmaking, sculpture, installation and video. She obtained her Bachelor of Fine Arts at Concordia University in Montréal and completed her MFA at Toronto's York University. </p> <p style="text-align: justify;"><strong>Regan Golden</strong> is an artist and writer based in Iowa City, Indiana. Golden earned an MFA from the University of Wisconsin, Milwaukee and a BA from Grinnell College in Grinnell, Indiana. </p> <div style="text-align: justify;"><strong>Letha Wilson </strong>was born in Honolulu, Hawaii and raised in Greeley, Colorado. She currently lives and works in Brooklyn, New York.  Wilson received her MFA from Hunter College in New York City, and her BFA from Syracuse University.</div> Tue, 11 Dec 2012 00:17:41 +0000 Tanya Busse - Gallery 44 Centre for Contemporary Photography - January 11th, 2013 - February 16th, 2013 <p style="text-align: justify;"><i>Vernacular Bricology</i> is a series of images that examines the concept of bricolage through the lens of roadside garden culture. Busse’s subject is the network of community garden plots that have existed along Newfoundland’s Route 460 since its construction in 1967. Busse’s photographs bear witness to a long-standing vibrant, community practice that’s now at risk of disappearing thanks to disinterested youth, globalized agriculture and other debilitating factors. For her exhibition in the Gallery 44 vitrines, Tanya will be showing a selection from this series.</p> <p style="text-align: justify;"><b>Tanya Busse</b> has studied in Berlin and Halifax at the Nova Scotia College of Art and Design, where she received her BFA in 2007. She is currently undertaking a thematic Masters degree in <i>Capitalism, Sustainability and Art </i>at the Art Academy of Tromsø, Northern Norway. </p> Sat, 22 Dec 2012 22:42:21 +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