ArtSlant - Closing soon en-us 40 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 Evan Penny - Art Gallery of Ontario - September 20th, 2012 - February 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The AGO is pleased to present this large-scale survey exhibition devoted to the Canadian sculptor Evan Penny. The exhibition will include over 30 works including larger-than-life sculptures, photographs and an exhibition film about the artist's work providing an overview of the artist's production over the past decade.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Evan Penny has advanced hyper realistic sculpture, founded by Duane Hanson in the late 1960s, to an unprecedented level. He has surpassed his contemporaries and predecessors in his precise rendering of the minute details of the human image. His painstakingly crafted figures are composed of layers of colour pigmented silicone, hair, fabric and resin. They come across not only as realistic but also as highly artificial. This impression is enhanced by Penny's distortive techniques; often presenting an otherwise life-like portrait bust in skewed proportions or in a perverse colour scheme. In this sense, Penny addresses how the human image is produced and controlled by modern-day technologies such as photography, offset printing, and 3-D scanning.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Organized by the Kunsthalle Tübingen, Germany in association with the AGO.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The AGO owns <em>Stretch # 1</em> by Evan Penny, which was one of the most popular works of art with our visitors at the time of our reopening in 2008.</span></p> Mon, 24 Dec 2012 05:27:01 +0000 Vessna Perunovich - Angell Gallery - January 19th, 2013 - February 23rd, 2013 <p style="text-align: justify;">ANGELL GALLERY is pleased to present STILLS: Moments of Extreme Consequence, a multi-disciplinary body of work featuring painting, drawing, photography, video and sculpture by VESSNA PERUNOVICH. The exhibition will take place throughout the gallery from January 19, 2013 to February 23, 2013. <br /> <br /> An opening reception will be held on January 26, 1:00 to 4:00 PM.<br /> <br /> Vessna Perunovich is one of Canada's most significant artists. Working across diverse platforms, she explores the physical and psychological repercussions of displacement, exile and transience. While working from her perspective as a woman exiled by conflict from her Balkan homeland, Perunovich expresses the broader struggles of the human condition. <br /> <br /> Like fellow Serbian, performance artist Marina Abramović, Perunovich often works with her own body, inviting us to vicariously experience the metaphorical push and pull of life. She shares with sculptor Louise Bourgeois, another exile, a predilection for "soft" materials, whose malleability echoes the body's limits as elastic yet vulnerable container. Through video, Perunovich records symbolic motions of creation and destruction, emulating the rhythms of the universe through the technology of today.<br /> <br /> STILLS: Moments of Extreme Consequence includes recent pieces created during the artist's residency as part of the prestigious International Studio &amp; Curatorial Program (ISCP) in New York. <br /> <br /> Continuing her investigation into the nature of existence, Perunovich focuses on the concept of life-defining moments, which she invites us to experience as "stills" — moments in between movement and immobility. Significant events are symbolically represented on canvas, paper and film as splashes, spills, enclosures and entrapments. Figurative, abstract and text imagery is connected through Perunovich's dramatic palette of black, white and blood red, stark yet sensual. With a visceral edge that pokes at the body while provoking the mind, Perunovich infuses her thoughtful meditations on the human condition with irony, humour and beauty.<br /> <br /> Vessna Perunovich is a Toronto-based internationally acclaimed interdisciplinary artist whose work embraces performance, video, sculpture, painting and drawing. Perunovich has exhibited in biennials in Cuba, Albania, England, Portugal, Yugoslavia, and Greece and attended residencies in Berlin, Bursa (Turkey), Banff and New York. Her survey exhibitions Borderless and Emblems of Enigma toured across Canada and Europe. A recipient of numerous awards, including the Toronto Friends of Visual Arts, Perunovich is represented in many public and private collections, and is the subject of two monographs: (W)hole, 2004 and Emblems of the Enigma, 2008. She is represented by Angell Gallery.</p> Tue, 01 Jan 2013 13:00:16 +0000 Hazel Meyer - Art Metropole - January 30th, 2013 - February 23rd, 2013 <p style="text-align: justify;"><span style="font-family: Verdana,Arial,Helvetica,sans-serif; font-size: x-small;" size="2" face="Verdana, Arial, Helvetica, sans-serif">Working with the form of the suffrage and union banner—a graphic combination of image, text, scale and urgency—the exhibition <strong><em>No Theory No Cry</em></strong> presents an account of how the emotional mind engages the critical. Large felt banners adorned with hand-cut text and transposed doodles are displayed suspended in front of looping and folding intestine- and brain-patterned wall drawings.</span></p> <p style="text-align: justify;"><span style="font-family: Verdana,Arial,Helvetica,sans-serif; font-size: x-small;" size="2" face="Verdana, Arial, Helvetica, sans-serif"><span style="font-family: Verdana,Arial,Helvetica,sans-serif;" size="2" face="Verdana, Arial, Helvetica, sans-serif">A publication called <strong><em>AWAY WITH YOUR MAN-VISIONS!</em></strong> (title taken from a quote by American suffragette Susan B. Anthony) will be launched at the closing of <em>No Theory No Cry</em> on 23 February 2013. Originally conceived as a way to bypass the polished, fully formed nature of the traditional exhibition essay, <em>AWAY WITH YOUR MAN-VISIONS!</em> is a tangential, wandering and emphatic collection of pages from various makers, thinkers and doers. The publication will take shape over the course of the exhibition, morphing and growing alongside <em>No Theory No Cry</em>, until its final revelation as part of the closing festivities. It will exist as a sculpture/station at Art Metropole—an experiment in participatory idea dissemination. Those interested in obtaining a copy will collate, fold and staple the pages themselves—a token physical effort altering the typical processes of publication, distribution and information gathering.<br /> <br /> On 21 February 2013, within the context of <em>No Theory No Cry</em>, <strong><em>No Reading After the Internet</em></strong> will present excerpts from Kate Zambreno's semi-autobiographical text Heroines. For more information, please visit <a href="" target="_blank"><strong><em>No Reading After the Internet</em></strong></a>. <br /><br /> <strong>Bio:</strong><br /> <strong>Hazel Meyer</strong> is an artist and sports-enthusiast based in Toronto. Committed to a socially engaged and material-based practice, she negotiates them primarily by creating installations that become environments for performance, collaboration, workshops and amateur athletics. She holds an MFA from OCAD University and is the junior correspondent for the <em>Ponytail Express</em> sports broadcast. Recent exhibitions include <em>Schlaegermusik</em> with Annesley Black for Zukunftsmusik (Stuttgart), <em>Walls to the Ball</em> at La Centrale (Montréal), <em>All Hands on the Archive: An Audience of Enablers Cannot Fail</em>, with Logan MacDonald at F.A.G. (Toronto), and <em>flex your textile</em>, John Conelley presents (New York).</span></span></p> Wed, 06 Feb 2013 14:03:03 +0000 Virgina Mak - Bau-Xi Photo - February 9th, 2013 - February 23rd, 2013 <p style="text-align: justify;">Virginia Mak is known for her use of soft focus and Vermeer-like light values. The new series <em>Of One’s Own</em> consists of interior portraits in which a woman is engaged in a quiet act of solitude. Pensive moments are presented as a part of a recurring process for a woman who creates or excels in her art. A selection of pieces from the <em>Hidden Nature</em> series will also be exhibited. In this series, individuals become one with nature, providing another perspective on the act of solitary reflection.</p> Sun, 03 Feb 2013 10:27:41 +0000 Jimmy Limit - Clint Roenisch Gallery - January 10th, 2013 - February 23rd, 2013 <p style="text-align: justify;">Clint Roenisch is pleased to open 2013 with Show Room, a solo show of photographs and sculptures by Jimmy Limit (Canadian, born 1982).</p> <p style="text-align: justify;">Evolving out of an interest in stock photography and an affinity for the aesthetic of the ULINE Catalogue, Show Room showcases a collection of photographs and sculptures that explore the relationships between image, object, and consumption. Photographs are commonly used as tools to sell commodities yet have, naturally, also emerged as a commodity in their own right through fine art markets and stock photo licensing. Show Room addresses the tension between these roles and the multi-layered relationship between photography and commerce.</p> <p style="text-align: justify;">In the front gallery, or the Show Room, a selection of photographs are installed in gridded format. Each depict simple, yet absurd, assemblages made from ubiquitous materials that have been arranged with careful consideration to formal attributes of the objects included. These photographs mimic the highly polished style of digital commercial photography while also playing upon the possibility of accidental aesthetic value found in various catalogue images. Limit's photographs, however, appear to put forth an ambiguous agenda that fogs their their final utility despite their crisp, persuasive production. Adding to the confusion each image has been tagged with words such as boredom, depression, anger, passion, isolation, listed in their individual titles - an indexing practice borrowed from online stock photo archives.</p> <p style="text-align: justify;">The sculptures in the back gallery, or the stock room, reference methods and objects of industrial supply as well as the artist's studio (a place where works exist in progress, fragmented, in transit and completion). Some of the objects being presented also appear in the displayed photographs in the Show Room, while others await future use or linger in limbo. The Show Room photographs and the stock room objects work in tandem to explore product representation and the manufacturing of desire.</p> <p style="text-align: justify;">A signed, numbered catalogue, designed by the artist, will be available.</p> Wed, 20 Feb 2013 00:34:06 +0000 Glen Baldridge, Colby Bird, Patrick Brennan, David Kennedy Cutler, Sam Moyer, Sara Greenberger Rafferty, Ryan Wallace - Cooper Cole - January 31st, 2013 - February 23rd, 2013 <p style="text-align: justify;"><strong>COOPER COLE</strong> is pleased to announce Static &amp; Scrim, our first exhibition of 2013. <br /> <br /> This group show features seven New York based artists who share an interest in explorations of materiality and unique experimentations of media. Each of these artists exploit action, chance, and observation to create a variety of visceral results. The exhibition is a contemporary meditation on traditional strategies of abstraction, landscape, and figuration using hybrids of photography, printmaking, painting, and sculpture. Taken together, these pictures and objects create an environment that highlights underpinning concerns of a culture that requires hyper-receptive focus.</p> <p style="text-align: justify;"><strong>Glen Baldridge</strong> reveals a street-level <i>Sunset</i> by applying a layer of perforated vinyl to the windows and façade of the gallery. Like a luminous skin, the mural evokes an internal energy source, a self-perpetuating resource, and the possibility of an unacheiveable miraculous moment.<br /> <br /> <strong>Colby Bird's</strong> photographs also maintain a tension between interior and exterior spaces. The stilted nature of Bird's images force the viewer to consider the creation of the photograph, and to place the focus not only on the photo itself but also consider the view of the photographer and the space beyond the plane of the photo. His framing devices remove the pictures from the wall into the room as free-standing objects. <br /> <br /> Started with an enlarged photograph of an quotidian oil slick, <strong>David Kennedy Cutler's</strong> <i>Hollow Ground</i> results in a futuristic, fragmented totem erected in the gallery. His sculptures are reactions to his working environment, a remote industrial neighborhood in Brooklyn, where pollution and environmental catastrophe confront the influx of a streamlined gentrification producing an aesthetic muddle. Kennedy Cutler calls attention to breakages and ruptures of order, geometry, structure, displaced geology, and dislocated cultural artifacts. <br /> <br /> <strong>Sara Greenberger Rafferty</strong> also converts her photographs into standing sculptures, as steel infrastructures are wrapped in saturated figurative imagery. Greenberger Rafferty's blurred and blotted performers, literally enact "stand-up" to display her myriad sources of inspiration, including such disparate linkages between performance, feminism, comedy, accidental formalisms, and spontaneous color eruptions.<br /> <br /> <strong>Ryan Wallace's</strong> uses the color spectrum and light as a notion of time and measurement in his work. His <i>Tablet (Slow Measurement)</i> resembles an X-ray of a painting as much as abstract painting itself. Wallace conjures the Shroud of Turin (albeit, in this case, a shroud of the substrate of the painting itself) as much as the monochromes of abstract painting. <br /> <br /> <strong>Sam Moyer</strong> examines the liminal space between the two-and three-dimensional in paintings that hover on the edge of sculpture. Like Wallace, Moyer recalls the rigorous language of mid-20th-century minimalist art, but also the modest, playful and scattershot material processes of home decorative-arts projects.<br /> <br /> This casual nod is further enhanced in <strong>Patrick Brennan's</strong> reflective mylar and interference coated <i>Cold Satellites</i>/. Brennan employs these common materials and seemingly casual approach to disguise the sophistication of carefully pondered decisions. Brennan's "kitsch-craft" materials, color choices, and openness to experimentation combine to create paintings that are remarkably original.</p> Sun, 27 Jan 2013 22:42:35 +0000 Chris Temple - Nicholas Metivier Gallery - January 31st, 2013 - February 23rd, 2013 <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to announce Three Cities, an exhibition of new paintings by Chris Temple. The exhibition will open on January 31 and will be on view through February 23 with a reception for the artist on Thursday, January 31 from 6– 8 PM. This will be Temple’s third solo exhibition at the gallery.<br /> <br /> Simply titled Three Cities, Temple’s latest group of paintings highlights both the grand and everyday architecture in Toronto, New York and Vienna. Born and raised in Toronto, Temple has a fondness for his city and an extensive knowledge of its history. Temple’s favorite city however is New York where he has traveled frequently throughout his career. Most paintings from this series feature Wall Street and the Financial District as Temple admires the density and soaring height of the buildings. More recently Temple has spent time in Europe, particularly Vienna. Temple finds the integration of modern infrastructure, such as public transportation, with the old city fascinating. A seemingly disparate group of metropolises, Temple’s paintings capture the true character and visual language of each city.<br /> <br /> The most recognized of Temple’s traits as a painter are undoubtedly his exaggerated use of light and dramatic perspective. Working from either a high or low vantage point, Temple focuses on sharp angles that intersect with the “barriers and connectors” of the urban landscape such as medians, bridges and signposts to create engaging compositions.  Whether it is daylight or dusk in Temple’s paintings, the shadows and light are always emphasized, articulating the carefully rendered architecture. The result is a quiet stillness that is often said to be evocative of the work of Edward Hopper or Christopher Pratt.<br /> <br /> While many of Temple’s paintings are “homages” to magnificent skyscrapers or historical monuments, such as the Royal York and Old Bank of Commerce in Toronto, there are just as many paintings in this exhibition that pay tribute to more mundane buildings and structures such as a glass plant or the Gardiner Expressway. Toronto writer and historian David MacFarlane offers an explanation for this in his 2010 essay.<br /> <br /> <em>These are the corridors through which city-dwellers pass, or, in passing, glimpse in the periphery of their fleeting view. If most urbanites imagine a city as a constantly shifting construct of two points–point A being where they are and point B being where they are going–Temple’s paintings argue that a city’s truth is found in the un-adorned utility in-between.</em><br /> <br /> Temple graduated from the Ontario College of Art. He has exhibited extensively across Canada and his work is included in many prominent collections including Art Gallery of Hamilton and Carleton University. The Nicholas Metivier Gallery published a catalogue in 2010 with essay by David MacFarlane.</p> Mon, 28 Jan 2013 07:22:12 +0000 Will Alsop - Olga Korper Gallery - January 26th, 2013 - February 23rd, 2013 Wed, 16 Jan 2013 00:45:30 +0000 Zhang Yaxin - Stephen Bulger Gallery - January 26th, 2013 - February 23rd, 2013 Wed, 16 Jan 2013 13:17:54 +0000