ArtSlant - Closing soon en-us 40 Group Show - Gallery Gevik - January 25th, 2013 - February 15th, 2013 <p style="text-align: justify;">Celebrating the start of the brand new year, Gallery Gevik's current exhibition, <i>Canadian Historical Works: Paintings and Drawings</i>, will showcase works by pioneers of Canadian art: A.Y. Jackson, Arthur Lismer, Frank Johnston, and J.W. Beatty. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">The exhibition will also feature works by Manly MacDonald, F.M. Bell-Smith, F.S. Coburn, Albert Franck, Rita Mount, Daniel Fowler, L.A.C. Panton, Mary Wrinch, Goodridge Roberts, Homer Watson, Jack Nichols, Bertram Brooker, J.W. Morrice and others. </p> <p> </p> Sun, 03 Feb 2013 10:44:09 +0000 Group Exhibition - John B. Aird Gallery - January 8th, 2013 - February 15th, 2013 Fri, 15 Feb 2013 02:06:56 +0000 Robert Youds - Diaz Contemporary - January 17th, 2013 - February 16th, 2013 <p style="text-align: justify;"><em>Time is long. Time is short. Things begin. Things recede. Some things repeat, over and over again. And as nearness becomes more difficult to perceive and everything once distant is brought closer through technologies – the self may be the only remaining site by which to measure ourselves. </em><br />  <br /> <em>I think of these artworks as pictorial constructs, a rustic modernism, encoded with an urban patina of longing for a self once imagined and enabled within nature. They are also synthetically versicoloured abstractions that task us with their intimate and perceptual imbeddedness.</em><br />  <br /> <em>Malcolm Lowry’s shack</em><br /> <em>Emily Carr’s retreat</em><br /> <em>Lauren Harris’ shelter</em><br /> <em>Erickson’s Smith house</em><br /> <em>Pollock’s studio</em><br /> <em>Tom’s cabin</em><br />  <br /> <em>Your constant waterfall, Bowen</em><br /> <em>Your constant waterfall, Hornby</em><br /> <em>Your constant waterfall, Denman</em><br /> <em>Your constant waterfall, Galiano</em><br />  <br /> - Robert Youds, 2012<br />  <br />  <br /> Diaz Contemporary is pleased to present an exhibition by Victoria-based artist, Robert Youds. <em>handmade ultramarine mantra</em> is a body of new paintings that continue to explore Youds’ interest in light, colour and existential concerns of the urban condition.<br />  <br /> Youds’ paintings suggest empirical paradoxes of how time passes and repeats. His mark-making, humanistic and instantaneous, becomes meditative through repetition and gradual transformation. Tenuous relationships between the natural and urban environment are reflected in Youds’ use of 2x4 lumber as a stamping tool. Further, these new works also contrast monochromatic imprints (which recall ancient cave paintings) and their almost-neon coloured glowing auras. <br />  <br /> Robert Youds holds an MFA from York University and a BFA from the University of Victoria. He is currently the University of Victoria’s Faculty of Fine Arts Lansdowne Chair. Previous solo exhibitions include: Art Gallery of Greater Victoria, Victoria, BC, Sable-Castelli Gallery in Toronto, ON, Post Gallery in Los Angeles, CA, Southern Alberta Art Gallery in Lethbridge, AB and Charles H. Scott Gallery in Vancouver, BC. Youds’ work can be found in private and public collections, including the National Gallery of Canada, Ottawa, ON, Vancouver Art Gallery, BC, Art Gallery of Greater Victoria, BC, Art Gallery of Nova Scotia, Halifax, NS, Museum London, ON, Art Gallery of Hamilton, ON, Canada Council Art Bank, Ottawa, ON, Macdonald Stewart Art Centre, Guelph, ON, and the Art Gallery of Ontario, Toronto, ON, as well as the collections of Toronto Dominion Bank and Bank of Montreal.</p> Sat, 12 Jan 2013 06:19:36 +0000 Nadine Bariteau, Regan Golden, Letha Wilson - Gallery 44 Centre for Contemporary Photography - January 11th, 2013 - February 16th, 2013 <p style="text-align: justify;">Though landscape photography has a varied and rich history, the exhibition <em>Clear Cut</em> at Gallery 44 proves that there is room for innovation within this venerated tradition. Artists Letha Wilson, Regan Golden and Nadine Bariteau represent a new, exciting school of artists engaging landscape, who are applying a tactile, sculptural approach to their practice with the aim of both reasserting the artist’s hand in the digital age and bringing attention to environmental issues. These artists, in particular, punch, cut, perform and sculpt their way forward to bring us original critiques on our culture of consumerism.</p> <p style="text-align: justify;">Bariteau’s single-channel video, <em>Crown</em>, follows the journey of an oversized pack of water bottles from purchase to disposal.</p> <p style="text-align: justify;">Golden’s diptychs consisting of photographic prints and graphite transfer drawings, trace and cut the contours of a forest that was cut down to make way for a subdivision.</p> <p style="text-align: justify;">Wilson’s photo-sculptural artworks involve cutting, punching, pouring and other physical acts in relating the experience of a natural landscape.</p> <h3 style="text-align: justify;">Artist Biography</h3> <p style="text-align: justify;"><strong>Nadine Bariteau</strong> is a Toronto-based multi-disciplinary artist who specializes in printmaking, sculpture, installation and video. She obtained her Bachelor of Fine Arts at Concordia University in Montréal and completed her MFA at Toronto's York University. </p> <p style="text-align: justify;"><strong>Regan Golden</strong> is an artist and writer based in Iowa City, Indiana. Golden earned an MFA from the University of Wisconsin, Milwaukee and a BA from Grinnell College in Grinnell, Indiana. </p> <div style="text-align: justify;"><strong>Letha Wilson </strong>was born in Honolulu, Hawaii and raised in Greeley, Colorado. She currently lives and works in Brooklyn, New York.  Wilson received her MFA from Hunter College in New York City, and her BFA from Syracuse University.</div> Tue, 11 Dec 2012 00:17:41 +0000 Tanya Busse - Gallery 44 Centre for Contemporary Photography - January 11th, 2013 - February 16th, 2013 <p style="text-align: justify;"><i>Vernacular Bricology</i> is a series of images that examines the concept of bricolage through the lens of roadside garden culture. Busse’s subject is the network of community garden plots that have existed along Newfoundland’s Route 460 since its construction in 1967. Busse’s photographs bear witness to a long-standing vibrant, community practice that’s now at risk of disappearing thanks to disinterested youth, globalized agriculture and other debilitating factors. For her exhibition in the Gallery 44 vitrines, Tanya will be showing a selection from this series.</p> <p style="text-align: justify;"><b>Tanya Busse</b> has studied in Berlin and Halifax at the Nova Scotia College of Art and Design, where she received her BFA in 2007. She is currently undertaking a thematic Masters degree in <i>Capitalism, Sustainability and Art </i>at the Art Academy of Tromsø, Northern Norway. </p> Sat, 22 Dec 2012 22:42:21 +0000 Matt Rogalsky - Mercer Union - A Centre for Contemporary Art - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;">For twelve self-resonating Fender Stratocaster guitars shadowing a classic rock radio station</p> <p style="text-align: justify;"><i>Discipline</i> focuses on the electric guitar as the iconic musical instrument of the 20th century and an object of obsession. The model of guitar used in the installation—twelve of them in bright colors, brand name hardly needing to be mentioned—was designed in 1954 and remains essentially unchanged as a staple of rock and pop musicians worldwide.</p> <p style="text-align: justify;">In this installation, each guitar is tuned to a single pitch class, so the twelve together represent the 12 tone equal tempered scale. The guitars are invisibly played by wiring their pickups in reverse, so that external signal sources can resonate the strings through the pickups’ fluctuating magnetic field.</p> <p style="text-align: justify;">The driving signal for the guitars is a live classic rock radio station. Via original software written in the SuperCollider music programming language, each guitar responds only to the presence of its pitch class in the radio signal, so the twelve together create a shifting, spatialized resonance which shadows the songs being played live on air. The radio station is not heard directly—only through the guitars’ shimmering response.</p> <p style="text-align: justify;">The piece has several reference points both sincere and ironic, including the “boy culture” of guitar-store shredding and ubiquitous all-too-familiar riffs, Robert Fripp’s “guitar craft” approach to mastering the instrument (<i>Discipline</i> is also the title of a King Crimson album and song), and the apostle-like devotion often accorded the electric guitar and the canon of classic rock.</p> <p style="text-align: justify;"><b>Matt Rogalsky</b>’s activity as a performing and exhibiting composer and media artist often focuses on exploration of abject, invisible/inaudible, or ignored streams of information. Recent pieces includes <i>ANT/LIFE/ART/WORK</i>, a site-specific installation listening in to the sound world of thatching ants, and <i>Memory Like Water</i>, a series of installations and concert pieces exploring the "ow and malleability of memory. His work has been presented in galleries and concert venues throughout North America and Europe. Rogalsky teaches electroacoustic music composition at Queen’s University, plays guitar with Canadian alt-folk group The Gertrudes, and is also known for his audio engineering and production work, most recently with Polaris Prize-nominated noise-pop band PS I Love You. Matt Rogalsky lives in Kingston Ontario Canada.</p> Wed, 26 Dec 2012 14:07:11 +0000 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 Bobby Mathieson - Neubacher Shor Contemporary - January 16th, 2013 - February 16th, 2013 <p style="text-align: justify;">Recent paintings of historical artists such as Eva Hesse and Goya are set against spare and subtly toned backdrops through which remnants of former paintings can be seen. These simultaneous references to what came before illustrate a sense of lineage and appreciation common to my practice. The manner in which I have posed Hesse alludes to Vermeer’s <em>Girl With a Pearl Earring</em>, one such example of the multiple layers of reference and points of access through which my work might be interpreted.</p> <p style="text-align: justify;">The grotesque, strongly visceral portraits featured in <em>Heroes</em> playfully reflect the artist’s relationship to each of the historically and culturally significant subjects rendered. With subjects spanning from Eva Hesse, Hemingway and Goya to Danny Brown and MF Doom, each painting is inflected with a sense of controlled chaos; intuitive and highly textured brush and palette knife strokes obscuring the level of recognition and iconic legibility within their faces. At once provocative, absurd and deeply reverent, the paintings confound sinister, earnest and playful readings of the work with multiple layers of reference.</p> Sun, 13 Jan 2013 14:37:59 +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 Matthew Williamson - InterAccess Electronic Media Arts Centre - January 18th, 2013 - February 17th, 2013 <p style="text-align: justify;">Featuring two separate but interrelated bodies of work, Matthew Williamson's solo-exhibition, <em>Constellation of a Consciousness</em>, is like peering into the brain of the Internet while it doesn't know you're looking.</p> <p style="text-align: justify;">The series <em>Constellation of a Consciousness</em> features a number of hacked websites that reshape the ubiquitous and practical tools of Web 2.0 (such as Google Docs) for futuristic and spiritual purposes. You can chat with the Oracle, provided he happens to be online, or you can gaze at passing stars as they move past the cells of your Google Spreadsheet. <em>Down and Out</em>, a series of animated videos with voice-over narration from Williamson, featuring everyday philosophizing that Williamson claims is "like being present at the conception of a Facebook status update."</p> Sun, 09 Dec 2012 05:24:46 +0000 - Lonsdale Gallery - January 17th, 2013 - February 17th, 2013 <p style="text-align: justify;">Featuring new and represented artists, this exhibition will show a cross section of the work we will be presenting throughout 2013.</p> Wed, 26 Dec 2012 13:46:46 +0000 - Museum London - June 30th, 2012 - February 17th, 2013 <p>How many of us have collected things--stamps, fossils, paintings, comic books--or feel better putting order to the things around us, our closets, our music collection, or perhaps just our kitchen cabinets? Collecting and ordering things is an ancient human characteristic.</p> <p style="text-align: justify;"><span style="font-size: small;">Personal collecting gained popularity during the fifteenth century and Cabinets of Curiosity, popular among the wealthy merchant class and nobility of early modern Europe, were a reflection of the social, scientific, and spiritual beliefs of their day. Also known as Wunderkammer (German for "wonder-room"), they helped classify the increasingly vast world in the "Age of Exploration." Featuring products of human design, such as jewellery, paintings, ancient antiquities, coins and medals, and those of the natural world, such as shells, plant and animal specimens, rocks and minerals, many wealthy collectors opened their collections to scholars, artists, travellers, and others curious about the world.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Wonderwall</em> is a modern reinterpretation of a cabinet of curiosity, taking a selection of artefacts held by Museum London and displaying them as an interpretation of London, Ontario’s history. Patterns of relationship will emerge between objects, some intentional, others accidental, and visitors will undoubtedly uncover their own as they explore. </span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"></span></p> <p>***********************</p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"></span></p> <p>The Museum will be closed: <br />Monday, December 24 2012 <br />Tuesday, December 25 2012 <br />Wednesday, December 26 2012 <br />Monday, December 31 2012 <br />Tuesday, January 1 2013</p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"> </span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;">Centre Gallery</span></p> Mon, 24 Dec 2012 11:16:31 +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