ArtSlant - Recently added en-us 40 Cara Barer - Bau-Xi Photo - September 13th - September 27th <p style="text-align: justify;">Cara Barer is renowned for her unique approach to creating abstract imagery using recycled books. In her latest series, <em>Origins,</em> Barer contemplates the nature of books as organic objects in flux. Each book is manipulated beyond recognition using various techniques; the pages are curled into sculptural effect and the flat edges are dyed in vibrant hues. The resulting abstract images reference objects in nature, through subtle allusions to imagery of flowers in bloom and butterflies in flight. Barer&rsquo;s dynamic compositions invite the viewer to consider the evolution of each book in its transformation, and the ephemerality of all objects whether organic or man-made. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</p> Mon, 25 Aug 2014 13:40:25 +0000 Andre Petterson - Bau-Xi Gallery - Toronto - September 13th - September 27th <p style="text-align: justify;">Bau-Xi Gallery will be exhibiting new work by internationally recognized Vancouver based artist, Andre Petterson. As a painter, sculptor, photographer and musician, Petterson draws on his varied talents to create the stunning mixed-media panels shown in this exhibition.<br /> <br /> Signature imagery from Petterson&rsquo;s oeuvre, such as pianos and typewriters, will re-appear in this exhibition, along with striking compositions with zebras and elephants, inspired from recent travels to South Africa. These images are representations of past and present; stillness and movement; push and pull &ndash; themes that continue to emerge throughout Andre Petterson&rsquo;s impressive career.</p> Mon, 25 Aug 2014 13:36:26 +0000 Shelagh Keeley - Paul Petro Contemporary Art - September 5th - October 4th <p style="text-align: justify;">Paul Petro Contemporary Art is pleased to present new work by Toronto-based artists Morley Shayuk and Shelagh Keeley.</p> <p style="text-align: justify;">In her first exhibition at PPCA Shelagh Keeley presents works in acrylic on mylar that come out of "german notes / after lucretius / de rerum nature," an on-site commissioned wall drawing installation at the Museum Abteiberg, Monchengladbach, Germany (2013).<br /> <br /> "the new drawings deal with lucretius: de rerum natura / on the nature of things.<br /> ( first century B.C.) a classical poem / epicurean philosophy.<br /> the sweep of his observations of life...a poem about the universe.<br /> i make sense of the world around me...a philosophy of the ordinary / everyday.<br /> objects of daily use...stillness...<br /> the banal, the in the moment.<br /> the politics of this&hellip;" - Shelagh Keeley</p> Mon, 25 Aug 2014 07:50:55 +0000 Rob Zeer - Roberts Gallery - August 26th - September 13th Mon, 25 Aug 2014 06:08:56 +0000 Morley Shayuk - Paul Petro Contemporary Art - September 5th - October 4th <p style="text-align: justify;">Paul Petro Contemporary Art is pleased to present new work by Toronto-based artists Morley Shayuk and Shelagh Keeley.<br /> <br /> In his third solo exhibition at PPCA Shayuk's recent works present a formula for renewal. The subject of energy informs allegorical wall relief panels that depict meaning within apparent functionality. Shayuk borrows motifs and materials from contemporary constructed landscape such as plastic window frames and stucco used to create facades for houses and big box stores. His subversion of these ubiquitous materials suggest the fundamental contradictions enacted within contemporary landscape. By attempting to "rebuild" in the image of a prospective new energy, Shayuk's initiative is challenged by the process and paradox of art making; producing sculpture and painting that are both reflective and assertive.<br /> <br /> Morley Shayuk's work was most recently exhibited in "Imaging Disaster", Museum London, 2013 and published in Canadian Art Magazine, "The Case for a New Canadian Abstraction" by Adam Lauder, Summer 2013. Shayuk lives and works in Toronto.</p> Mon, 25 Aug 2014 07:46:17 +0000 Lauchie Reid - NARWHAL - September 6th - October 2nd <p style="text-align: justify;">Narwhal is pleased to present Lauchie Reid&rsquo;s third solo exhibition,&nbsp;<strong>Hyacinths and Thistles</strong>.&nbsp;Lauchie Reid is a Toronto-based painter and illustrator. As a founding member of Canadian art collective Team Macho, Reid developed a multi-faceted and diverse approach to image making that expresses a love for outmoded techniques and aesthetics, a bizarre sense of humour, and a sadly sweet view of childhood, family and personality. He has exhibited his work as a part of Team Macho in New York, Los Angeles, Berlin, Bordeaux, San Francisco, Amsterdam and most recently at the OPTICA Centre for Contemporary Art in Montreal, Canada (April 2013).</p> Mon, 25 Aug 2014 05:50:28 +0000 Group Show - Loch Gallery - Toronto - August 20th - September 3rd <p style="text-align: justify;">The Loch Gallery is pleased to present a&nbsp;<strong>Summer selection</strong>&nbsp;of paintings &amp; sculpture in Toronto. This group show will feature paintings by Ron Bolt, Ivan Eyre, Michael Forster, John Hansen, Jacques Payette, Tyson Grumm, Ciba Karisik, Barry McCarthy, David Thauberger, and two new still lifes by Roberto Rosenman. We are also delighted to showcase a sculptural timepiece by Phil Abernethy, the most recent addition to the Loch Gallery roster of contemporary artists.</p> Mon, 25 Aug 2014 05:46:05 +0000 Jennifer Marman & Daniel Borins, John Baldessari, John Boyle-Singfield, John Marriott, John Wood & Paul Harrison, Jon Sasaki, Ken Nicol, Tammi Campbell, Liza Eurich - Justina M. Barnicke Gallery - September 3rd - October 19th <p style="text-align: justify;">Why Can&rsquo;t Minimal addresses the humorous side of minimal art by embracing its humanity and latent absurdity. The exhibition rejects the assumption that minimal art requires solemn, unmoving contemplation, and instead embraces the more intuitive, jovial, and personal pleasures that occur when one has fun with the comically utopian ambitions of unitary forms. Playing with the forms, traditions and incongruities of multiple minimalisms, the presented works elude rational thought, repositioning conceptual value away from cognitive labour, towards the instinctual recognition offered through levity, play, humour and sentiment.</p> <p style="text-align: justify;">Produced as part of the requirements of the Master of Visual Studies&mdash;Curatorial Studies program at the University of Toronto.</p> Mon, 25 Aug 2014 05:35:20 +0000 Maria Sewcz - Goethe-Institut Toronto - September 3rd - October 10th <p style="text-align: justify;"><strong>Presented by the Goethe-Institut</strong></p> <p style="text-align: justify;">As a young photographer, Maria Sewcz created a series of radical photographs of Berlin&rsquo;s east side in the 1980s. The Reichstag, Rathaus, Alexanderplatz, Th&auml;lmann Monument and the border with the west marked the limits of her urban topography.&nbsp;</p> <p style="text-align: justify;">We will show one seminal photo from her acclaimed series inter esse II (1987-89), framed by responses by artists, curators and scholars, among others:</p> <ul> <li>political scientist Prof. Wilhelm Bleek (DE/CA),</li> <li>media artist Vera Frenkel (CA),</li> <li>artist Iris H&auml;ussler (DE/CA),</li> <li>policy analyst Carsten Quell (CA/DE),</li> <li>philosopher Wolfram Eilenberger (DE),</li> <li>photo curator Paul Roth (USA/CA</li> </ul> <p><strong>Maria Sewcz</strong>&nbsp;was born in 1960 in Schwerin, East Germany. She studied photography at the Leipzig Academy of Visual Arts in a climate of increasing cultural exchange between East and West. The first series of "inter esse" was her thesis project that documented East Berlin between 1985 and 1987. From 2005 to 2007, Sewcz was a lecturer at the Academy of Fine Arts in Braunschweig. She has most recently held the Villa Massimo as well as Berlin Academy of the Arts stipends / residencies. Sewcz lives in Berlin.</p> <p><br />Part of the Goethe-Institut's focus&nbsp;<em>Grenzfall - Tearing Down Walls 25 Years</em></p> Mon, 25 Aug 2014 05:25:09 +0000 Rosa Aiello, Harold Batista, Nikki Woolsey - Erin Stump Projects (ESP) - August 28th - September 6th <p style="text-align: justify;">"It&rsquo;s possible for individual subjects (any one of us) to have fantasies of Living-Together. We set about elaborating a fantasmatic form of Living-Together, selecting our would-be companions from ournetwork of acquaintances. Now, what&rsquo;s interesting about that fan-tasmatic elaboration is not who we choose, but who we exclude: the criteria for exclusion don&rsquo;t necessarily overlap with the imperatives of affect...[...]" - Roland Barthes, How to live together.<br /><br />HOW TO LIVE TOGETHER is a self regulating residency and lecture series inspired by and derived from Roland Barthes text by the same name. It commenced at Videofag in July 2014, and is now nomadic. It is organized by Danielle St. Amour and Xenia Benivolski.<br /><br />This entry of HOW TO LIVE TOGETHER features work by Rosa Aiello, Harold Batista and Nikki Woolsey.<br /><br />Video works will be displayed between 7 and 8 pm for a total duration of 1 hour. Visitors will be invited to respond to the series in an informal discussion, mediated by process TBA.</p> Mon, 25 Aug 2014 05:15:26 +0000 Bill Philipovich - The Red Head Gallery - August 25th - August 30th <p style="text-align: justify;">The Red Head Gallery is pleased to present guest artist&nbsp;Bill Philipovich&rsquo;s first gallery exhibition of his new series of paintings entitled&nbsp;<em>Frameworks</em>.</p> <p style="text-align: justify;">Working intuitively through a subtractive process, elements resembling both natural and fabricated support structures emerge.&nbsp;<em>Frameworks</em>exemplifies how the artist appears to be caught between two worlds; his immediate urban construction zone surroundings and the relief offered by the connection to nature.</p> <p style="text-align: justify;">Bill Philipovich&nbsp;is a Toronto based artist who actively exhibits his work in galleries, group and solo shows as well as in many of Toronto&rsquo;s most popular art events.</p> Mon, 25 Aug 2014 04:36:44 +0000 Shelagh Keeley - The Power Plant - September 20th - May 17th, 2015 <p style="text-align: justify;">The Power Plant is pleased to present a commissioned project by Toronto-based artist Shelagh Keeley.<br /><br />In the late 1970s, Keeley began employing drawing as both a response to and exploration of Conceptual Art where the gesture of her hand and physicality of her body were integral to her mark making. As such, Keeley&rsquo;s work involves a high degree of physical effort where the concrete resistance of the wall is juxtaposed with the fluidity of her hand and the extensions of her body. By working with the limits of the wall and the constraints of its architecture, Keeley defines a confined space within which she works within. These boundaries provide the artist with a counterpoint to the openness and improvisation of her physical action. More, the architecture coupled with her movement allows Keeley to re-think the space of her installation in relation to her body. Each of her wall drawings are created in situ, marking a moment in space and time when the work&mdash;a visual document of her movement&mdash;is created.&nbsp;<br /><br />For her installation at The Power Plant, Keeley will create a new wall drawing that will envelop the clerestory walls. Her drawings on these grand canvases are the remnants of her corporeal action and articulate the moment and gestures of her body. Keeley&rsquo;s drawings act as performative objects. They emerge from choreographed gestures as they relate to the limits and conditions of a bound space.&nbsp;<br /><br />Shelagh Keeley (born Oakville, Ontario) lives now in Toronto after spending 23 years in New York City and Paris. She received her Honours BFA in art history / anthropology from York University, Toronto. Keeley has an extensive international exhibition history over the last 30 years and has travelled across the globe. She recently created an on-site commissioned wall drawing installation at Stadtisches Museum Abteiberg, Monchengladbach, Germany for the exhibition&nbsp;<em>In Order to Join</em>(2013), which will travel to Dr. Bhau Daji Lad Mumbai City Museum, India (2014). Keeley has had exhibitions at Devi Art Foundation, Gurgaon, India (2013), Ryerson Image Centre,Toronto (2013), Nuit Blanche, Paris, France (2012), Vancouver Art Gallery, Vancouver (2010), Caoyang Village Public Art Project, Shanghai,China (2009), National Gallery of Canada travelling exhibition (2008), RAM Foundation, Rotterdam (2008), Nature Morte Gallery, New Delhi (2004), Printed Matter, NYC (1998), Indianapolis Museum of Art (1995), John Gibson Gallery, NYC (1994), Exit Art, NYC (1993), MOMA P.S.1 Museum, NY (1992), DIA Art Foundation, NYC (1989). Her work is in the collection of major international public institutions including: The Museum of Modern Art, NYC, Walker Art Center, Minneapolis,Van Abbe Museum, Eindhoven, Stedelijk Museum, Amsterdam, National Gallery of Canada, Ottawa, Fonds National d'Art Contemporain, Paris, Vancouver Art Gallery, Vancouver, Les Muses de la Ville de Paris, Paris, The Getty Museum, Santa Monica, Harvard Art Museum, Boston, The Mattress Factory, Pittsburgh, Yale University Art Gallery, CT, San Francisco Museum of Modern Art, CA.</p> Mon, 25 Aug 2014 04:33:14 +0000 Pedro Cabrita Reis - The Power Plant - September 20th - January 4th, 2015 <p style="text-align: justify;">The Power Plant is pleased to present the first Canadian solo exhibition of work&nbsp;by Portuguese artist Pedro Cabrita Reis. The exhibition continues the artist&rsquo;s&nbsp;investigation into the perceived boundaries of architecture, sculpture and&nbsp;painting. Presenting an all-encompassing intervention at The Power Plant,&nbsp;Cabrita Reis creates and produces this new project with the space of the gallery<br />in mind.<br /><br />Throughout his practice, Cabrita Reis at once examines and challenges the ways&nbsp;in which sculpture and painting might alter, define or question the limits of space.&nbsp;In order to do so, his work is often site-specific and created in situ thus&nbsp;embodying the process of art making. Various materials are used throughout the&nbsp;artist&rsquo;s work. He combines everyday objects such as chairs, tables or doors with&nbsp;industrial materials such as neon lights, steel girders and bricks. In so doing,&nbsp;Cabrita Reis turns the familiar into new and abstract compositions. For instance,&nbsp;his project<em>&nbsp;A remote whisper</em>&nbsp;(2013), produced on the occasion of the 55th&nbsp;International Art Exhibition &ndash; la Biennale di Venezia, took over the interior of a&nbsp;domestic space, flowing throughout the rooms and overtaking its walls, doorways&nbsp;and floors. The immersive environment was created using aluminum bars,&nbsp;fluorescent lighting and free-hanging black electrical cords combined with&nbsp;fragments of the artist&rsquo;s earlier works, material culled from his personal archive&nbsp;and detritus found throughout the city. By uniting each of these elements, Cabrita&nbsp;Reis created a truly complex visual narrative that overtakes and occupies the&nbsp;space in which it was installed.<br /><br />Although many of the artist&rsquo;s works are three-dimensional in character, Cabrita&nbsp;Reis sees his pieces as both informed by painting and functioning aesthetically&nbsp;within the pictorial register. Despite the industrial material used in his projects,&nbsp;the artist creates his work in line with the vernacular ascribed to painting, thereby&nbsp;broadening the scope of contemporary practices. CabritaReis&rsquo; construction at&nbsp;The Power Plant continues this possibility and offers an alternate view on&nbsp;contemporary modes of art making.<br /><br />Pedro Cabrita Reis was born Lisbon, Portugal, 1956, where he lives and works. In&nbsp;2013, he created a site-specific work&nbsp;<em>A remote whisper</em>&nbsp;at the 55th Venice&nbsp;Biennale and in 2003 he represented Portugal at the 50th Venice Biennale. Reis&nbsp;has exhibited extensively across the globe, including exhibitions at the Tate&nbsp;Modern, London (2013), Museu Colec&ccedil;&atilde;o Berardo, Lisbon (2011), M - Museum&nbsp;for Contemporary Art, Leuven (2011), Carr&eacute; d&rsquo;Art, N&icirc;mes, (2010), Hamburger&nbsp;Kunsthalle (2009), Museo Tamayo, Mexico City (2009), Biennale de Lyon,&nbsp;France (2009), Fondazione Merz, Torino (2008), Kunsthaus Graz, Austria (2008),&nbsp;Museo d'Arte Contemporanea, Rome (2006), Modern Art Center, Gulbenkian&nbsp;Foundation, Lisbon (2006), Kunsthalle Bern (2004), Camden Arts Centre,&nbsp;London (2004), 24th S&atilde;o Paulo Biennale (1998), 21st S&atilde;o Paulo Biennale&nbsp;(1994), and Documenta IX, Kassel (1992).</p> Mon, 25 Aug 2014 04:29:02 +0000 Julia Dault - The Power Plant - September 20th - January 4th, 2015 <p style="text-align: justify;">The Power Plant presents a major solo exhibition by New York&ndash;based artist Julia Dault. Contextualizing new projects through a selection of past works, the exhibition&nbsp;<em>Color Me Badd</em>&nbsp;reveals the importance to Dault of balancing spontaneous gesture with responsiveness to rules, logic, and the constraints of materials. Physical negotiations are central to Dault&rsquo;s textured paintings and improvised sculptures; both are exhibited in&nbsp;<em>Color Me Badd</em>.&nbsp;<br /><br />Dault&rsquo;s rule-based painting process involves responding to mass-produced elements&mdash;vinyl, patterned silks, pleather, unmixed paint straight from the tube&mdash;with unconventional tools, such as squeegees and rubber combs. These tools create quasi-standardized gestures that allow Dault to skirt the line between expressive abstraction and cool, machine-like facture. Erasure, with its ability to allow viewers to &ldquo;see into&rdquo; the painting process, is as important as application.<br /><br />The idea of the artwork as an index of the artist&rsquo;s labor recurs in Dault&rsquo;s sculptures. Always improvising on site and working alone, the artist manipulates and coerces Plexiglas, Formica, and other industrially produced materials into imposing curved forms, and then affixes them to the gallery wall using straps and cords. Dault&rsquo;s efforts can be understood as &ldquo;private performances&rdquo; in which her physical capabilities are juxtaposed with the properties of the materials she employs. Each sculpture is titled with a time stamp that reflects the duration it took to complete the piece. In this gesture, as with her paintings, she hopes to underline the temporal nature of the art-making process.<br /><br />Dault&rsquo;s work fuses the emphasis on process found in both Abstract Expressionist painting and post-Minimal sculpture. She is interested in &ldquo;embodied knowledge&rdquo;&mdash;how making is thinking&mdash;by reinserting the artist&rsquo;s hand into a minimal aesthetic primarily interpreted as distanced and industrial.<br /><br />Julia Dault (born Toronto, 1977) lives and works in Brooklyn, New York. She received her MFA in Fine Arts from Parsons The New School for Design, New York, and studied Art History at McGill University, Montr&eacute;al. Dault has exhibited extensively across the globe, including solo exhibitions at Marianne Boesky Gallery, New York (2014), China Art Objects, Los Angeles (2014), Galerie Bob van Orsouw, Zurich (2013), Jessica Bradley Gallery, Toronto (2013), White Cube Bermondsey, London (2012), and Blackston Gallery, New York (2010). She has also participated in numerous group shows, including exhibitions at P&eacute;rez Art Museum, Miami (2013), Contemporary Arts Museum, Houston (2013), Museum of Modern Art, Warsaw (2013), Maison Particuli&egrave;re, Brussels (2013), lumber room, Portland (2013), New Museum, New York (2012), Galer&iacute;a Casado Santapau, Madrid (2012), and Harris Lieberman, New York (2012). Her work is in the collection of several public institutions, including the Art Gallery of Ontario, Toronto, Museum of Modern Art, Warsaw, P&eacute;rez Art Museum, Miami, Saatchi Gallery, London and Solomon R. Guggenheim Museum, New York.&nbsp;</p> Mon, 25 Aug 2014 04:24:23 +0000 - Textile Museum of Canada - October 8th - April 19th, 2015 <p style="text-align: justify;">This exhibition will showcase Canadian society&rsquo;s profound appreciation of different cultural traditions and its deep-rooted interest in faraway countries and cultures. Through the display of rugs from 30 private collections from Ontario, Quebec, Alberta and British Columbia, and a selection of rugs from the TMC and other museums, the exhibition will explore the history of rug collecting in Canada as well as the relationship between the country&rsquo;s private collectors and museums.</p> <h2 style="text-align: justify;"><span style="font-size: small;">Additional Information</span></h2> <p style="text-align: justify;">The history of Canadian collecting practices and cultural context of the Oriental rug production will be visualized in a beautiful display of over 70 distinctive rugs, horse and camel decorations, and tent bands and bags from Central and West Asia &ndash; regions well known for the richness of their rug weaving traditions developed by diverse cultures and peoples. With its rich cultural content,&nbsp;<em>From Ashgabat to Istanbul: Oriental Rugs from Canadian Collections</em>&nbsp;will be a window into their complex and ancient traditions, a meaningful access to the diverse and multifaceted Canadian heritage as well as a captivating journey and a rich learning experience for those interested in Canadian history and world cultures, for those familiar with Oriental rugs and those seeing them for the first time.</p> Mon, 25 Aug 2014 04:15:54 +0000 Sheila Ayearst, Jessica Craig, Scott Eunson, Shlomi Greenspan, Scott Norsworthy - Textile Museum of Canada - September 17th - January 11th, 2015 <p style="text-align: justify;">The term &lsquo;urban fabric&rsquo; often refers to qualities of the urban environment in terms of density; networks and exchanges both visible and invisible; the rhythm and patterns of streets, built form, and open spaces; and the movements of city dwellers. Urban fabric points to what is formal, tangible, hard or soft, but also to what is temporal and experiential &ndash; characteristics that cannot be seen. In this sense, fabric is almost always a stand-in for something else. A metaphor. A comparison with something unlike itself. Often, it points to matter and interactions. It conjures the &lsquo;stuff&rsquo; that makes up the city, but also aspects of its character. That is, fabric speaks to what a city is like. As recording devices and a means of communication that move through and inhabit the city, textiles also participate in life (urban or otherwise) as themselves.</p> <h2 style="text-align: justify;">Additional Information</h2> <p style="text-align: justify;">Through photographs, paintings, sculpture, film, and pattern-making, the artists in&nbsp;<em>Urban Fabric</em>&nbsp;explore what it means to live in, and know, a place. Each creates a portrait of a city, often taking Toronto as their subject. Both Scott Eunson and Jessica Craig examine the co-existence of the city grid and the natural landscape, acknowledging geographic oddities, holes within the urban fabric, and what has been built-up over time. Scott Norsworthy &ndash; drawn to seams, irregularities, and deviations &ndash; looks at the urban realm as a literal textile, photographing it in detail. Sheila Ayearst dwells on the material, the tangible, and the everyday, with her laborious paintings of concrete surfaces, each very specific, yet ubiquitous. Filmmaker Shlomi Greenspan takes us to a familiar &lsquo;non-place&rsquo;: the airport &ndash; a point of arrival and departure that disrupts ordinary patterns, and somehow escapes the specificities of place and time. Using the tactic of repetition, the Department of Unusual Certainties investigates the ways that technology transforms communication to generate a series of graphic patterns that appear in physical and digital realms through the museum and beyond.</p> <p style="text-align: justify;">Based in Toronto, Deborah Wang is an independent curator and designer. She completed her undergraduate degree in architecture at the University of Waterloo, and a Master of Fine Arts degree at OCAD University. Through her diverse practice, Deborah has curated and co-curated exhibitions for the Gladstone Hotel, XPACE Cultural Centre, the Art Gallery of Ontario, Women&rsquo;s College Hospital, and Katharine Mulherin Contemporary Art Projects; taught design studio at Ryerson University; and co-founded FEAST Toronto (a series of community dinners and micro-funding events supporting local art projects). Currently, she splits her time as Creative Director of the Toronto Design Offsite Festival, a designer for superkul inc |architect, and as a scholar/maker.</p> Mon, 25 Aug 2014 04:11:37 +0000