ArtSlant - Openings & events en-us 40 Bonnie Devine, Dylan Miner - The Power Plant - February 13th, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><strong>FREE</strong> Members, $12 Non-Members</p> <p style="text-align: justify;"><br /> In conjunction with our current exhibition <a href=",-Hip-Hop-and-Aboriginal-Culture.aspx?&amp;utm_campaign=PPenews&amp;utm_medium=email&amp;utm_source=nonmembers&amp;utm_content=beatnation" target="_blank"><b><i>Beat Nation</i></b></a>, Bonnie Devine and Dylan Miner will discuss the emergence and significance of the artist/activist in historic and contemporary Indigenous aesthetic practice. <strong>Devine </strong>is a member of the Serpent River First Nation of Northern Ontario (Anishinaabe/Ojibwa), and the Founding Chair of OCAD University’s Aboriginal Visual Culture Program. <strong>Miner </strong>(Métis) is a border-crossing artist, activist, historian, curator, and professor whose work <i>Anishinaabensag Biimskowebshkigewag</i> is included in <em>Beat Nation</em>.</p> <p> </p> Sun, 10 Feb 2013 06:41:48 +0000 Risa Horowitz - MKG127 - February 16th, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;">For her third solo exhibition at <b>MKG127</b>, <b>Risa Horowitz </b>presents her ongoing research as a novice amateur astronomer and astro-photographer, and her first collection of drawings. The work arose from her experience of seeing Saturn through a telescope for the first time in May 2010 - a profound and sublime personal experience that raised questions about the incomprehensible scale of the universe and our ability to make sense of that scale in concrete or intuitive ways. </p> <p style="text-align: justify;">Horowitz will capture one photograph of Saturn through a telescope for each year of the planet's orbit around the sun: 29.42 years, with images from 2011 and 2012 included in the exhibition. The suite of 29 drawings depicts Saturn at three fields of view, at midnight on the day of its opposition – its nearest annual approach to earth, directly opposite the sun – from 2011 to 2040.<br /> <br /> <b>Risa Horowitz </b>recently relocated to Saskatchewan where she is assistant professor in the visual arts department at the University of Regina. Her work has been exhibited across Canada in a variety of public galleries and artist-run-centres, as well as internationally in Australia, the United Kingdom, and the Ukraine. Horowitz has received numerous grants from the Canada Council for the Arts and several provincial funding bodies, and was the 2006 recipient of the K.M. Hunter award for excellence in Visual Arts.. Work from the Imaging Saturn project is also currently being exhibited at the MacKenzie Art Gallery in Regina (until April 2013).</p> Sun, 10 Feb 2013 05:55:36 +0000 Ryan Park - MKG127 - February 16th, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;">In <b>MKG127</b>'s front space, <b>Ryan Park </b>presents <b>Twins</b> which includes new photographs and a video that continue <b>Ryan Park</b>'s interest in variations in form, states of being, and the passage of time as evoked through common-place objects and actions. The works in the show present pairs of what began as identical objects but have accumulated the marks of different histories. Two cardboard boxes photographed in a cardboard setting reflect evidence of repeated use, their ideal cubic forms bearing marks of function, wear, and decay. In the video, two fans alternate between periods of idleness and activity, turning on to exhaust smoke out of a window.<br /> <br /> Toronto based artist,<b> Ryan Park </b>starts from a commitment to art making in close communication with moments encountered in everyday life. He approaches each project open to the material, contextual and poetic possibilities suggested by specific subjects. The pared-down elements in the works are simultaneously matter-of-fact and suggestive, oscillating between serious and playful, clinical and poetic, analytical and emotional. His interdisciplinary practice results in a variety of media including videos, photographs, and manipulations of found materials that suggest presences and absences, urges and constraints. He has exhibited across Canada and internationally and currently has work in exhibitions at the Justina M. Barnicke Gallery (Toronto), Foyle Arts Centre (Northern Ireland), and the Urban Institute for Contemporary Arts (USA). Ryan previously exhibited at <b>MKG127</b> in the exhibition A to B in 2010.</p> Sun, 10 Feb 2013 05:58:45 +0000 T. Pica - TeodoraART Gallery (T-ART) - February 16th, 2013 2:00 PM - 5:00 PM Sun, 10 Feb 2013 00:28:56 +0000 Althea Thauberger - The Power Plant - February 17th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Sarah is a Toronto based actor, director, and producer, and she is the Artistic Director of Soup Can Theatre, a local independent theatre company. She holds an Honours - Bachelor of Arts degree in Theatre from York University, and received York’s Mira Friedlander Award for her achievements in theatre writing, criticism, world and Canadian theatre studies. For Soup Can Theatre, she has directed <em>Marat/Sade</em> (Nominee – Best Direction of a Musical, 2011 Broadway World Toronto Awards), <em>Love is a Poverty You Can Sell</em> (2012 Next Stage Festival, 2010 Toronto Fringe Festival &amp; Best of Fringe), and produced <em>Antigone</em> (2012 Toronto Fringe Festival). Thorpe will speak about our current exhibition <em>Marat Sade Bohnice</em>.</p> <p style="text-align: justify;">She will discuss our current exhibition <a href="" target="_blank"><em><b>Marat Sade Bohnice</b></em></a>. </p> Sat, 16 Feb 2013 04:13:03 +0000 Carol Wainio - Paul Petro Contemporary Art - February 22nd, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">Many of the paintings make use of anthropomorphized animals or hybrid figures, derived from a number of different sources and references such as early fairy tale illustration, early advertising which relied on fairy tale, and 19th century illustrators like J.J. Grandville (admired by Walter Benjamin), whose use of dressed animals allowed him to skirt censorship restrictions and comment on current affairs. The works also draw on archival and contemporary photographs, and these references sometimes interact – as in the case of an archival photo of Albert Henry George Grey, 4th Earl Grey and former Governor General of Canada, dressed in a Puss in Boots costume, apparently derived from a specific illustration by Gustave Doré.<br /> <br /> <br /> "As they have done for centuries, these kinds of hybrid figures may suggest questions about our hopes and aspirations, past and future, the changing relations of social classes, dress and consumption as display or camouflage, and the relation of humans to the environment, both historically and today."<br /> <br /> Carol Wainio, December 2012<br /> <br /> <br /> Carol Wainio was born in Sarnia, Ontario in 1955. After studies at the Nova Scotia College of Art and Design and the University of Toronto, she earned an M.F.A. from Concordia University in 1985. She taught in the Visual Arts Department at the University of Ottawa from 1987 to 1989 and was an assistant professor in the Department of Visual Arts at Concordia from 1989 to 1998. She lives and works in Ottawa, where she is an adjunct professor at the University of Ottawa. Her exhibition <i>The Book</i>, curated by Diana Nemiroff for Carleton University Art Gallery, contains works from 2002-2010 and is currently touring in Canada. A comprehensive hardcover catalogue is available. An exhibition of new work, <i>Old Masters</i>, also appears at the Kitchener Waterloo Art Gallery, March 8 - April 28, 2013.</p> Wed, 06 Feb 2013 12:26:15 +0000 Jill Henderson - Paul Petro Contemporary Art - February 22nd, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><i>Paintings from the 1990s and 2012</i><br /> <br /> <br /> Jill Henderson is a Scottish and Canadian artist who lives and works in Vancouver, she received her BFA and MFA from Glasgow School of Art, Scotland.<br /> <br /> From 1991 to 1994 Henderson lived in Glasgow and exhibited widely in Europe including, <i>The National Review of Live Art</i>, ICA, London (1993); Transmission Gallery, Tramway, Centre for Contemporary Art (CCA), all Glasgow, Scotland (1992/93) and <i>Ung Skotsk Kunst</i>, Overgaden Gallery, Copenhagen, Denmark (1994). In 1994 she relocated to Toronto where she was a member of the artist group Brown Spot and a co-­‐founder of Free Parking Gallery, an artist run gallery located in downtown Toronto. In 1996 to 1997 Free Parking exhibited 107 artists in one year including, Luis Jacob, FASTWURMS, Kristin Lucas, Alan Belcher, Susan Kealey, David Shrigley, Martin Boyce, Sue Tompkins and many more. Henderson’s Curatorial projects also include <i>30 seconds plus title</i>, Art Gallery of Ontario, <i>Malevolent Spirits</i>, Genereux Grunwald Gallery, Toronto, (both 1995) and more recently <i>ABC with Love (too cool for school)</i>, Art Metropole, Toronto (2008).<br /> <br /> Some notable exhibitions in Canada and internationally, from 1994 to 1999, include <i>The List Paintings Series</i> and <i>Useless Money</i> exhibited in <i>Beauty #2</i>, The Power Plant (1995); <i>LIST</i> and <i>HELP</i>, Wynick Tuck Gallery, Toronto (1996); <i>Penthouse 29</i>, The New Gallery, Calgary (1998); <i>Ground</i>, Catalyst Arts, Belfast (1998); <i>SHOP</i>, Hales Gallery, London; <i>6 Pack</i>, CN Tower, Toronto; <i>Polishing the Jewe</i>l, 57 Hope, NYC and <i>Semi-­‐casual</i>, Brasilica, Vienna, Austria (all 1999).<br /> <br /> From 1998 to 2008 she lived and worked in New York City and continued to exhibit internationally and in the USA including, <i>Greater New York</i>, PS1 MoMA, NYC (2000); <i>FOXY</i>, Mark Pasek Gallery, NYC (2000); <i>SELF HELP</i>, Vox Populi, Philadelphia (2000); <i>Orange Marble</i>, Taipei, Taiwan (2001); <i>Art and Money</i>, YYZ, Toronto (2001); <i>Young Guns 3</i>, The Art Directors Club, NYC (2001); <i>Scottish Evening</i>, Lothringer 13, Munich, Germany (2002), <i>The Brewster Project</i>, Brewster, NY (2003), <i>Suggestive Line</i>, Morris &amp; Belkin Gallery, Vancouver (2002) and Solo exhibitions <i>COMMUNE</i>, The Helen Pitt Gallery, Vancouver (2002) and <i>Highwideshallow</i>, Contemporary Art Gallery, Vancouver (2001). Recent exhibitions include <i>The Price of Everything...</i> Perspectives on the Art Market, The Whitney Museum of American Art, The Whitney Independent Study Program, NYC (2007); <i>Night of 1,000 drawings</i>, Artists Space, NYC (2007); <i>The Super Thing: A DEVO inspired Art Event</i>, 3rd Ward Gallery, Brooklyn, NYC (2008); <i>Fine Art Adoption Network</i>, Pocket Utopia, Brooklyn, NYC (2008) and <i>Bright Future</i>, Instant Coffee, VIVO Media Arts Centre &amp; IntransitBC, Vancouver (2009).<br /> <br /> In 2008 Henderson returned to Canada to Vancouver, where she co-­‐founded The Drawing Salon with artist Hannah Hughes. The Drawing Salon is a nomadic program of contemporary drawing workshops and drawing performances led by guest artists and by Henderson and Hughes. 2012 Drawing Salon projects have included Vancouver artists Michael Drebert and Ron Tran and have been hosted at Malaspina Printmakers, Western Front, VIVO (Vancouver) and Cubitt Gallery (London, UK).<br /> <br /> Henderson has also participated over the years in many live drawing events and performances with artists FASTWURMS, including, <i>Blood &amp; Swash, 1, 2 &amp; 3:</i> Zsa Zsa Gallery, Toronto, Instant Coffee/The Americas Society, NYC and Manif d’Art 2, Quebec; <i>BLOOD CLOCK</i>, TAAFI, Toronto; <i>Into The Void</i>, Tailgate performance, Mercer Union and <i>DONKY@NINJA@WITCH</i>, AGYU, Toronto.<br /> <br /> Henderson has been nominated for a Louis Comfort Tiffany award and is a lifetime member of Art Metropole. Her work is in the collection of The Robert McLaughlin Museum, Oshawa and the National Gallery of Canada as well as in numerous private collections.</p> Wed, 06 Feb 2013 12:34:17 +0000 Kelly Jazvac, Kelly Wood - Diaz Contemporary - February 23rd, 2013 3:00 PM - 6:00 PM <p style="text-align: justify;">Diaz Contemporary is pleased to present <em>Impel with Puffs,</em> a new project comprised of two solo exhibitions: one by sculptor Kelly Jazvac, and the second by senior Canadian photographer, Kelly Wood. Although distinct, both solo exhibitions were developed as a dialogue between the artists. As such, they share the same name. Jazvac has exhibited with Diaz Contemporary since 2007 and this will be Wood’s first solo exhibition with the gallery.<br />  <br /> Kelly Jazvac’s new exhibition explores the design, dissemination and environmental afterlife of advertisements. Interested in advertisements’ status as simultaneous sign, image and object, Jazvac re-works the components and strategies of this form of visual seduction to ask questions about its operation, consequence and relationship to other fast-changing objects in the world. Jazvac’s works in <em>Impel with Puffs</em> are predominantly made from plastic. The materials of her new sculptural installations, objects and collages are sourced directly from advertising materials, found imagery and short-lived consumer goods.<br />  <br /> Kelly Wood's new photographs document the elusive subject of air pollution in our environment. Ephemeral and diffuse, air pollution has a paradoxical visual presence in our atmosphere: the closer one gets to it, the more it disappears; or, it cannot be seen at all. Wood's photographs of air pollution were all captured in the Ontario region between the years 2006-2012. These works continue Wood’s ongoing research on visible and invisible pollution.  <br />  <br /> Kelly Jazvac is based in London, ON where she teaches sculpture at Western University. She has exhibited nationally and internationally, including recent projects at Louis B. James in New York, Museum London, i8 Gallery in Reykjavik, Iceland, Nuit Blanche in Toronto, and Blackwood Gallery in Mississauga. She has upcoming solo exhibitions at Louis B. James and Oakville Galleries in the fall of 2013. Her work can be found in many notable private collections. She considers Kelly Wood’s <em>Continuous Garbage Project</em> (1998-2003) to be an important influence on her own practice.<br />  <br /> Kelly Wood is an established photographer and artist whose research focuses on subjects that relate to the environmental impact of waste accumulation, waste economies, and all forms of pollution. Solo exhibitions include: the Western Front in Vancouver, the Power Plant, Morris and Helen Belkin Gallery, and Catriona Jeffries Gallery. She has also exhibited at the Akademie der Künste in Berlin, the Canadian Museum of Contemporary Photography in Ottawa, the Art Gallery of Ontario, the Musée des beaux-arts de Montréal, the Vancouver Art Gallery, the Museum Van Hedendaagse Künste Antwerpen in Antwerp, Fotoinstituut in Rotterdam and Artspace in Sydney. Her work appears in numerous collections including: Museum London, McIntosh Gallery at Western University, Vancouver Art Gallery, Art Gallery of Ontario, Canadian Museum of Contemporary Photography, Museum of Contemporary Canadian Art and the Canada Council Art Bank. Wood is based between Vancouver and London, ON.</p> Sat, 16 Feb 2013 03:19:38 +0000 Mark Delong, Joseph Hart - Cooper Cole - February 28th, 2013 6:00 PM - 10:00 PM <p style="text-align: justify;"><strong>COOPER COLE</strong> is pleased to announce a two-person exhibition featuring new paintings and works on paper by artists Mark DeLong and Joseph Hart.<br /> <br /> Through a series of new oil paintings on canvas, Mark DeLong continues his examination of Modernist inspired tendencies. A vibrant palette, graphic shapes, and thick impasto collide to reinterpret classic motifs: the human figure, landscape, a still-life arrangement, or an off-kilter Rube Goldberg machine. A premium on composition and design are evident in DeLong's paintings, showing careful (albeit casual) consideration for color relationships, movement and rhythm.<br /> <br /> Similarly fascinated with the impact of compositional hierarchies, Joseph Hart presents a cohesive suite of works on paper that incorporate a variety of approaches including painting, drawing, and cut paper-collage. With an emphasis on gestural line and form, Hart creates visual moments that are alternatively calm and chaotic, that push and pull, ultimately leading to awkward yet resolved configurations. Layering color and marks, folding, cutting, editing, destroying and building back up the image play essential roles in his practice. Where DeLong's geometry and heavy use of color dominate the picture plane, Hart's aesthetic restraint simplifies it, producing thoughtfully scrawled abstractions that explore impulse, boundaries and incidental versus articulated mark making.</p> <p style="text-align: justify;"><strong>Mark DeLong</strong> (b. 1978 in New Brunswick) is a self taught artist working in a variety of mediums including drawing, painting, sculpture and video. His work has been displayed at Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; LES Gallery, Vancouver; Little Cakes, New York; and COOPER COLE in Toronto. Delong has collaborated with such artists as Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, Canada.</p> <p style="text-align: justify;"><strong>Joseph Hart</strong> (b. 1976 in New Hampshire) is a Brooklyn, New York-based artist. He received a BFA from the Rhode Island School of Design in 1999. Hart's paintings and drawings have recently been exhibited at Galerie Vidal Saint Phalle in Paris, and Halsey Mckay Gallery in New York. Hart's work has also been included in notable group exhibitions at the Bronx Museum of the Arts, The Elizabeth Foundation for the Arts, Santa Monica Museum of Art, Alexander &amp; Bonin, CRG Gallery and Klaus Von Nichtssangend Gallery in New York, amongst others.</p> Sun, 24 Feb 2013 08:11:15 +0000 Winnie Truong - Erin Stump Projects (ESP) - February 28th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">ESP is pleased to present the latest drawing series by Winnie Truong, <em>A Slow Immersion</em>. Truong continues to explore the artist’s ongoing relationship with hair beyond beauty and accoutrement and into a direction of a object and environs. Through delicate, labor-intensive drawing, Truong’s anomalous subjects examine the possibility of hair as a veil and as an object of comfort, while also remaining a self-consuming and self-inspiring muse. Whether they are comforted or encumbered, swarmed or swaddled Truong’s subjects are visual narratives of the artist’s tangible relationship with mark making and the increasingly immersive nature of line and labour in her own practice. A Slow Immersion examines monumental drawing as a product and physical feat that engrosses both the drawn subject and the viewer in an immense thicket of line and colour.<br /> <br /> <strong>Winnie Truong</strong> (Born in 1988) lives and works in Toronto and where she received a BFA from the Ontario College of Art and Design’s drawing and painting program. Truong is the recipient of numerous awards, including W.O. Forsythe award, the 401 Richmond Career Launcher prize and the BMO 1st! Art Award for Ontario, through which she exhibited at the MOCCA. Winnie has exhibited internationally in galleries across Toronto, LA, and Copenhagen and in New York where she was also featured VOLTA, NY Art Fair. She is in the collection of The Nerman Museum of Contemporary Art, Overland Park, Kansas.<br /> </p> Mon, 04 Mar 2013 11:56:20 +0000 Edward Burtynsky, Max Dean, William Fisk, Izima Kaoru, Mara Korkola, Robert Polidori, Richard Tuttle - Nicholas Metivier Gallery - February 28th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present Scale, a group exhibition featuring the works of <a href="">Edward Burtynsky</a>, <a href="">Max Dean</a>, <a href="">William Fisk</a>, I<a href="">zima Kaoru</a>, <a href="">Mara Korkola</a>, <a href="">Robert Polidori</a>, and <a href="">Richard Tuttle</a>. The exhibition will open on February 28 and will be on view through March 16 with an opening reception on Thursday, February 28 from 6– 8 PM.<br /> <br /> This exhibition brings together nationally and internationally acclaimed artists whose work reflects a particular consideration for scale. Whether it is the physical size of the work itself or a conceptual concern within it, scale is an integral part of the painting or photograph’s success. Scale will feature recent works by gallery artists as well as works from Izima Kaoru’s Landscapes with a Corpse series and Richard Tuttle’s suite of 13 etchings, Edges.<br /> <br /> Working from an aerial perspective, Edward Burtynsky uses a “human scale” that is dwarfed by the landscapes technology has created. In his new Pivot Irrigation series, Burtynsky creates compositions that resemble stained glass and textures that are evocative of wood or fabric. On close inspection, the viewer encounters miniature farms and pencil-thin pivot irrigation arms. It is only after this discovery that one can comprehend the mile and quarter mile radius of each crop circle.<br /> <br /> Max Dean creates his own measure for scale in his recent photographs of personally significant objects and memorabilia from his studio. Dean uses two standards for scale in these works - a basic wooden chair and his own hand. The chair is photographed from a specific height and distance, parameters that are followed precisely when documenting the other objects. Depending on the size of these objects in relation to the chair, they are sometimes either cropped out of the frame or barely perceptible. Another group of photographs use the actual size of Dean’s hand. Dean creates a comparison between this life-size scale and a scale that is filtered through a lens, exploring the way we read and understand photographs.<br /> <br /> For William Fisk, scale is an innate sensibility that is used to enhance his still-life subjects. His process begins by sourcing vintage or used objects such as motorcycles lighters and cameras, for which he has an aesthetic appreciation. They are then photographed and enlarged with a specific calculation to become the perfect scale to paint - the more complex and detailed the object is, the larger the canvas must be. This exhibition will debut Motorcycle No. 4, Fisk’s largest and most ambitious painting to date. The painting of a 1938 Ariel Square Four motorcycle is rendered in an impressive 1.5 scale.<br /> <br /> Mara Korkola’s recent landscape paintings are delicately rendered and presented in a series of small, sequential panels. The scale of Korkola’s panels resolves both her practical and conceptual concerns; it allows for wet on wet, a technique that is essential to her lush surfaces, and creates an intimate experience for the viewer. Close inspection is essential to appreciate the intricate brushwork of her tangled forests and the nuances of her monochromatic palette.<br /> <br /> Robert Polidori has been making photographs of human habitats and environments since the mid 1980s. Using a large format camera, Polidori achieves the highest quality and detail in his images. It is the scale and detail of his work that helps bring our attention to the historical, sociological and psychological notions that Polidori seeks out in the places he photographs. In a 72 x 90 inch photograph of Amman on view in this exhibition, Polidori captures an infinite tapestry of sunlit concrete dwellings, scattered with clues of modern life such as satellites and hydro poles.<br /> <br />On Saturday, March 2nd at 2 PM, the Nicholas Metivier Gallery will be hosting a talk with Edward Burtynsky on the subject of scale.</p> <div id="exhibitionimages" class="exhibitionimages"> <div style="position: relative;" id="exhibitionslides"> <div style="position: absolute; top: 0px; left: 0px; display: block; z-index: 8; opacity: 0.0304529; width: 661px; height: 475px;" class="slide"><br /> <div id="exhibitionpager">William Fisk, <em>Motorcycle Painting No. 4 </em>, 2012, oinvas, 65 x 120 inches<a href=""><img src="" height="50" /></a><a href=""><img src="" height="50" /></a><a class="activeSlide" href=""><img src="" height="50" /></a><a href=""><img src="" height="50" /></a></div> </div> </div> </div> Wed, 13 Feb 2013 12:35:24 +0000 Gerald Ferguson - Olga Korper Gallery - March 2nd, 2013 2:00 PM - 5:00 PM Wed, 20 Feb 2013 12:33:21 +0000 Clive Holden - Stephen Bulger Gallery - March 2nd, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;">The gallery is pleased to announce our first solo exhibition of work by visual artist Clive Holden.  “Media, Mediated” features prints as well as new media installations that explore dynamism, variation, and renewal.</p> <p style="text-align: justify;">As part of Holden’s creative process, he mimics the seemingly random order found in nature. The result is that the final part in the creation of his new media works can be witnessed, live, through the use of randomization algorithms. His original materials (brief film segments or snap shots, for example) are "mediated" through their use in several related but distinct media. In this way, the relationship between art media and genres, and the charged spaces they create, informs the results on all sides. He hacks web technology to create complex patterned projections and media wall installations, and by watching these works' continually re-mixing juxtapositions (they can never be viewed the same way twice), the art itself teaches him how to complete each related print.</p> <p style="text-align: justify;">The balance between cinematic montage and visual motif is expressed in different ways through each medium. His installations (and also net art works viewable at are data-driven. They have no fixed duration and use cutting edge as well as lo-fi technology (such as HTML5, javascript, GIFs and film frame blow-ups), resulting in new hybrid forms. The often sequential polyptych prints also express this dynamism, containing charged movement that is expressed spatially.</p> <p style="text-align: justify;">Holden’s best-known work to-date is the multi-disciplinary project “Trains of Winnipeg” (2001 to 2006). The project includes an award-winning feature-length cycle of films that was exhibited internationally. His films have been screened at: the International Film Festival Rotterdam; Images Festival, Toronto; transmediale, Berlin; Anthology Film Archives, New York; the London Film Festival; the Danish Film Institute, Copenhagen; Kino Arsenal, Berlin; and the Muziekgebouw, Amsterdam.</p> <p style="text-align: justify;">Currently, Holden is continuing his work on “U Suite,” a project that began in 2006 and will be completed in 2020. He explores 21st century views on utopianism in its broadest sense. The theme of humanity’s relentless hope, as dramatized by the continuous renewal found in nature, runs throughout the project. So far, “Chapters” and individual elements of the project have been exhibited at the Toronto International Film Festival; Foreman Art Gallery of Bishop’s University, Sherbrooke; Light Industry film series, Brooklyn; Holland Festival, Amsterdam; Images Festival, Toronto; Platform Centre for Photographic + digital arts, Winnipeg; and the Art Gallery of Nova Scotia, Halifax.</p> <p style="text-align: justify;">Holden’s installation, “UNAMERICAN UNFAMOUS”, curated by Gaëlle Morel, is also on view on the Salah J. Bachir New Media Wall at the Ryerson Image Centre until April 14, 2013. Holden asks, “Is it un-American to be unfamous? Are Americans failures if they die without fame?” Drawing from the Black Star Collection at Ryerson University, he uses the “unfamous” as an organizing principle in this selection of one hundred image details and faces in an innovative new media work that balances time-based and non-time based art forms.</p> Sun, 24 Feb 2013 07:37:13 +0000 Brianna MacLellan - Katharine Mulherin Contemporary Art Projects - March 7th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">Katharine Mulherin Contemporary Art Projects is pleased to present <b>Judy Radul’s 25 Entrances and Exits By Brianna MacLellan </b><i><br /> <br /> "Changing the composition of a room by entering and exiting"</i><br /> <br /> With reference to, and in collaboration with, Judy Radul's 1998 performance titled<i> 25 Entrances and Exits</i>, Brianna MacLellan's body of work consists of one live performance and a video/multimedia installation. MacLellan's work can be viewed as a re-performance, continuation, and a completion of a conceptual idea. <br /> <br /> What remains and is accessible from Radul's 1998 performance is one score, one photograph and one brief, conceptual statement. With this information, MacLellan has written and will be performing the missing twenty-four scores to complete the original performance, in addition to re- performing the single score that remains. As MacLellan addresses and considers the theories surrounding the the role of the document and re- performance, she questions the current position of performance art within commodity culture and how accessibility effects the survival of a performance. <br /> <br /> <i>Brianna MacLellan is a performance artist whose practice consists of live, video and installation based work. MacLellan's process and performances resist the notion of performance art as a traceless event. Through a series of re-performances, she seeks to examine and address the extent to which documentation can substitute a live event. In doing so, MacLellan's work explores the subjects of appropriation, loss and absence, the role of documentation in history, temporality and the influence of history on the contemporary imagination. Brianna MacLellan has exhibited her work both in Canada and internationally in Europe and the Middle East, and in 2012 completed a residency in Prague, Czech Republic, directed by the Art Institute of Chicago. Brianna MacLellan is currently a senior student at OCAD University, and lives and works in Toronto, Canada. </i></p> Mon, 04 Mar 2013 00:29:30 +0000 Niall McClelland - Clint Roenisch Gallery - March 8th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">CR is pleased to present the second solo exhibition by Canadian artist Niall McClelland (b. 1980). Among the works included in the exhibition are a new 20x10 foot drawing on linen “Too Poor To Paint, Too Proud To Whitewash,” a large Sharpie abstraction on paper, a wall sculpture and some broken glass. The exhibition title is a nod to Crass (1977-1984) .</p> <p style="text-align: justify;">Over the last five years Niall McClelland has built up a diverse body of work that mines the veins of arte povera, punk rock and urban minimalism. It is just as often started outdoors, left on a fire escape all winter, baked on a dock all summer or folded into his pockets, nabbed through a 3am hole in a fence, as it is made in the studio in explosive clouds of mercury dust and flying glass. There is certainly an alchemical aspect involved: from the crudest materials comes beauty and elegance, hungover on the surface, left like scars. Texture reigns. And process. Both run through his various series, the Tapestries, Skins and Stains to name a few. Often economic circumstance begats the best results, like the thrown-out toner cartridges scavenged from the back of Dufferin Mall. McClelland leaches out their dregs onto japanese paper where the dying inks blossom into living patterns the way lilies love manure. Same for the drawings made from blown florescent tubes smashed onto linen, same for the rubber carpet underlay that is draped and then spraypainted the way the son of Eva Hesse and Robert Morris might paint. The new Sharpie abstraction, The Home Stretch, is likewise born of CMYK but here McClelland himself becomes the printer, a sputtering officejet of misalignments and smudges that gives out before the job is done.</p> <p style="text-align: justify;">Niall McClelland grew up in Toronto, spent many of his summers in Northern Ireland, graduated from Emily Carr in Vancouver and eight years later returned to Toronto where he now lives. His work has been published in Dazed; Canadian Art; Adbusters, Design Anarchy, Hunter and Cook, Lowdown, Modern Painters, The Walrus and The White Review among others. Recent exhibitions include Highest Prices Paid For Gold at CR (Toronto); Bruce to Brock and Back at Envoy Enterprises (NYC); History (with Jeremy Jansen) at Tomorrow Gallery (Toronto); One Tune Outta Turn at Eleanor Harwood (San Francisco); Magic For Beginners (group) at PPOW (NYC); Like Minded at Plug-In ICA (Winnipeg).</p> Wed, 06 Mar 2013 12:35:45 +0000 Daniel Hutchinson - Angell Gallery - March 9th, 2013 1:00 PM - 4:00 PM <p style="text-align: justify;">ANGELL GALLERY is pleased to present ALMANAC, recent paintings by DANIEL HUTCHINSON. The exhibition is in the West Gallery and the Project Room from March 2, 2013 to April 13, 2013. <br /> <br /> An opening reception will be held on Saturday, March 9, 1:00 to 4:00 PM, with an ARTIST TALK at 3pm. <br /> <br /> Daniel Hutchinson is fast becoming recognized as an important new voice in Canadian painting. In his second solo exhibition at Angell Gallery, Hutchinson presents a metaphorical exploration/meditation on that most Canadian of topics, the weather.<br /> <br /> In ALMANAC, a series of large paintings feature highly abstracted renderings of natural phenomena, some inspired by wood engravings from a 19th century book documenting polar and tropical explorations. A series of smaller paintings derived from details in the larger works aims to predict weather patterns during the month of March, with a bit of help from the Farmers Almanac and the Canadian intuitive familiarity with our climate.<br /> <br /> Sunspots, icebergs, waves, clouds and the aurora borealis are fractured into elemental geometric and organic forms that are then reconfigured through Hutchinson's dexterous manipulation of the oil medium. <br /> <br /> Though working at the edge of black, Hutchinson's paintings are replete with glistening light, formed by reflections captured through striated brushstrokes. The sensation of depth and movement is palpable, achieved not through the traditional tricks of perspective or illusionism, but through the properties of paint alone.<br /> <br /> The resulting marriage of gesture and geometry, spontaneity and study, movement and stillness, representation and abstraction, certainty and speculation, and dark and light invites repeated engagement. Unlike a Farmers Almanac of years gone by, the paintings in ALMANAC resonate in a timeless space.<br /> <br /> Daniel Hutchinson is a visual artist based in Toronto, Ontario. He received his BFA from the Emily Carr Institute in Vancouver and his MFA from NSCAD University in Halifax. He has exhibited across Canada, in the U.S., Australia and Sweden. In 2009 he received Honourable Mention for the Halifax Mayor’s Award for Contemporary Visual Art and was twice named a semi-finalist in the RBC Canadian Painting Competition. In 2013, Hutchinson’s work will appear in The Painting Project, a survey of contemporary Canadian painting curated by Louise Déry and organized by L'Université du Québec à Montréal, as well as in a solo exhibition at YYZ in Toronto, and the group show, Imagining Disaster, at Museum London.</p> Tue, 19 Feb 2013 00:44:34 +0000