ArtSlant - Recently added en-us 40 Scott Lyall - Susan Hobbs Gallery - October 16th - November 22nd <p><img style="vertical-align: text-top; margin-left: 2px; margin-right: 2px; margin-top: 0px; margin-bottom: 0px;" src="" alt="" width="200" /></p> <p><span style="font-size: xx-large;"><strong>Scott Lyall</strong></span></p> <p><strong>opening on Thursday, 16 October from 7 to 9 p.m., </strong>the gallery is pleased to present an exhibition by Scott Lyall.</p> <p>For his fifth exhibition at the Susan Hobbs Gallery, Scott Lyall will present print-works on painted linen and glass. All of the works were made within the technical possibilities of wide format UV-printing using digital colour profiles. Each involves techniques of color compression and sublimation, but then adapts the imprinted colors to very different kinds of effects. These shifting spaces of colour and fully abstracted special effects extend the range of Lyall&rsquo;s reflection on digital colour and print technology into a space of historical difference between painting and photography.</p> <p>Scott Lyall was born in Toronto in 1964, and works in both New York and Toronto. &nbsp;He has exhibited his work widely in the United States and Canada, most recently at PS122 (New York), The SculptureCenter (New York), Contemporary Art Gallery (Vancouver), SITE Santa Fe (Santa Fe, New Mexico), The Power Plant (Toronto), and Le Confort Moderne (Poitiers, France).</p> <p>Susan Hobbs Gallery is open to the public Wednesday to Saturday from 11:00 a.m. to 5:00 p.m. and by appointment.&nbsp; The gallery is located at 137 Tecumseth Street, Toronto.</p> <p>For more information about this exhibition or the Susan Hobbs Gallery, please give us a call at (416) 504.3699 or visit <a href="" rel="nofollow"></a>.</p> Wed, 17 Sep 2014 18:15:38 +0000 - Propeller Centre for the Visual Arts - September 24th - October 5th <p style="text-align: justify;">The works, by exceptional artists, are ANSWERS which respond to the questions:</p> <p style="text-align: justify;">&gt; Did you immigrate to Canada, or are you the descendant of immigrants?&nbsp;<br />&gt; Are you in awe of the massive annual migrations of whales, geese, toads, dragonflies, owls, ospreys,<br />ducks, hawks, butterflies, hummingbirds, bats and - in the Canadian north - colossal animals? (October,</p> <p style="text-align: justify;">RIGHT NOW, is the big migration month! I saw migrating red tailed-hawks yesterday.)</p> <p style="text-align: justify;">&gt; Does the idea of &ldquo;migration&rdquo; feel like a metaphor or symbol for something very meaningful to you?</p> <p style="text-align: justify;">Visitors are invited to ENGAGE with this provocative notion of Migration and the artists&rsquo; thoughtful, remarkable work. Visitors may also PARTICIPATE in expressing their personal experience of their own family migration. They will participate by mapping - on a wall size map of the world - the journey they or their family have taken from country, to country, to - finally - Canada and Toronto. This will provide an exciting mutual discovery of our we now hook up with each other...right here in Propeller Gallery! A unique opportunity for friends and families to share.</p> <p style="text-align: justify;">The philosopher, Alain de Botton, in his current exhibition at the AGO, speaks about how art can address issues that engage us all; how art can help us to understand ourselves and to lead richer lives.</p> <p style="text-align: justify;">MIGRATION, speaking to our common experience, will help us find solidarity with the immigration experience of others.</p> Wed, 17 Sep 2014 15:41:52 +0000 John Hall - Loch Gallery - Toronto - September 27th - October 8th <p style="text-align: justify;">The Loch Gallery is proud to present a selection of paintings from John all's&nbsp;<em>Candela&nbsp;</em>and&nbsp;<em>Flash&nbsp;</em>series. These most recent works reflect the complexity of contemporary global life. Join us on Saturday, September 27th from 2-4pm for the opening reception.</p> <p style="text-align: justify;">John Hall was born in 1943 in Edmonton, Alberta. He did his training in art at the Alberta College of Art, Calgary and the Instituto Allende, Mexico in the 1960s. Since completing his studies in 1966, he has lived and worked in Calgary, Alberta; Delaware, Ohio; New York, New York; San Miguel de Allende, Mexico and, most recently, Kelowna, British Columbia. Hall has held teaching positions in art at Ohio Wesleyan University, the Alberta College of Art and Design, the University of Calgary, where he retired from a full professorship in painting and drawing, and the Okanagan University College. Currently he holds a professorship emeritus at the University of Calgary. He now lives and works in Kelowna, British Columbia.</p> Wed, 17 Sep 2014 15:35:33 +0000 Kim Dorland - Angell Gallery - October 3rd - November 8th <p style="text-align: justify;">The callow seeming title of this, Kim Dorland&rsquo;s eighth solo exhibition with Angell Gallery, is a bluff. In his Toronto studio in August, Kim told me that he likes both poetry and TV. Its false braggadocio rings with second-wave nostalgia for the receding prior nostalgia of an early incarnation of the artist who habitually slipped into the indications of a former adolescent cockiness. Today he nestles the intimate, ephemeral now-ness of time as he watches his children and family (and self) live through instances that occur and vanish in a flicker.<br /><br />Yet, while the title is not literally true, it is otherwise apropos. Dorland chooses not to paint with poetic embroidery or temerity. His imagery is prosaically undisguised; his vocabulary reflexively automatic, journalistic, matter-of-fact; his palette ALLCAPS attention-grabbing, vivid, even lurid; and his mark making emphatic with punctuation as much as description. That punctuation inflects&hellip;no, directs the amassments of colour on his canvases and it crucially articulates the stories that emerge from his pictures. Dorland&rsquo;s claimed affinity to television speaks to the day-by-day mesmerisation of far and near exotica (and the commonplace) denatured and re-naturalized by the keyed-up glow of the household screen.<br /><br />Home plays a bit role in these latest paintings, all from 2014, insofar as it is only one of many settings for family life, its events, activities and passages. Because, it seems, the artist&rsquo;s observations of his family might occur anywhere or anytime. His profoundly immersive, psychic recognition of the simultaneous presence, difference and absence of those closest to heart powerfully relocates and envelopes the benchmark portraits of his self-possession (versus their self-possession) in an array of locations. So, even when he is away from home, it feels local and proximate to a specific moment. An image snatched during an evening run, High Park, connotes what Dorland acknowledges as &ldquo;a melancholic year [as an artist] that doesn&rsquo;t reflect [his] point of view with respect to his family or his responsibilities&rdquo;&mdash;a not uncommon refrain from a forty-year-old man.<br /><br />Digital photography is an essential tool and reference for Dorland&rsquo;s ongoing image archive of daily life passing into the subjects for his paintings. It naturally fits such a prolific and prodigiously gifted artist. Pictorial prowess and facility such as Dorland&rsquo;s allows for the gradual, uncontrived seeping of meaning into one&rsquo;s work. For all its outrageous stylizations and exaggerations of colour and form, Dorland&rsquo;s paintings remain essentially objective. Therefore he does not prefigure or predestine his attitude to their content. By constant return to themes and real views, not only does he gauge the changes of his subjects, but also notices his variances in perceptive and emotional state. Sometimes key incidents shimmer in through placid and routine surroundings, such as a hazy and distant police car parked in the centre of the aforementioned High Park. Similarly, the efflorescent sparkle and fuming of Fireworks almost completely occlude a pair of humble witnesses meekly standing against the back fence of the concrete yard, Dorland&rsquo;s sons, Seymour, eight, and Thomson, five.<br /><br />The compositional reference to cell phone images gains consonant ordinariness in that such devices are ubiquitous, possessed by his subjects too. His wife, Lori, is plausibly aglow as she looks to her screen in the winter evening of After the Party. Crystalline flares and a voltaic underpainting refer to how Dorland recorded the scene. In Bleeding Heart, the small screen isolates and rebalances the image, deepening and thickening a garden around Seymour into jungle, where he sits oblivious to its ominous foliage, inspecting a blossom gently with his fingertips, not absorbed in a video game as it might initially appear.<br /><br />March Break and Don&rsquo;t Give Up are two of Dorland&rsquo;s most effectively pared-down paintings, each with an abstracted, horizontal banding that yields classic, stacked, rectangular order. The elegant simplicity of each is a feat of artistic restraint, nerve and hard-won experience. In March Break, Seymour stretches upward in preparation for a dive into a pool, with concentration, determination, perhaps some trepidation. His taut body and arms are mimicked above by the upright trunks and limbs of bare trees, and contrasted by an unbelievably limber and confident graffiti tag on the grey wall behind. His face, as is standard for Dorland&rsquo;s figurative treatments, is a slathered impasto of relief-map planes in oil paint which still conveys a specific portraiture. This technique conveys the vertical musculature of his son&rsquo;s body and also the horizontal surface plane and concealed depth of the water, of which the human body is largely composed. Don&rsquo;t Give Up, by contrast, is utterly unpopulated. It depicts the fenced-in tennis courts found in Toronto&rsquo;s Trinity Bellwoods Park. The chain-link has been meticulously stenciled and sprayed, an extruded screen through which appear side-by-side court lines, posts and nets, at once substance and mirage. The foreground is a clover-pocked lawn. Above the fence line, an orange sky churns with latent energy. A bedraggled message, woven into the fence links with ribbon, is the tattered remnant of youthful spontaneity, long since departed. Each painting renders depth ambiguously, treated in distinct zones of colour and technique that are monolithic and gradated at the same time, conjuring the mists or mystery of the imminent future.<br /><br />The crowning painting of a glorious show is a portrait of his muse and most frequent subject, Lori. She poses in Bay Blanket #3, as so often, in the nude, however wrapped in a recognizable wool blanket of the Hudson&rsquo;s Bay Company that she clasps to her breasts and resplendently spreads down her kneeling figure and across the top of the couple&rsquo;s bed. The painterly treatment of the blanket makes a transition from the thickly-painted flesh and defacement into impasto folds of heavy cloth, especially so around Lori&rsquo;s torso and gently easing out to reveal some of the textile weave of the canvas on which the paint is brushed, with the signature green/red/yellow/black stripes running up and down or forward and back according to the blanket&rsquo;s crumpled tumble. The bed is strewn with other rustic red/black patterns of quilting and tossed red pillows beneath her. On the wall behind Lori is a galaxy of framed family photographs, hung with a celebratory disregard for regulated order. Dorland renders each of these photos, so similar to, perhaps identical with, the sources for so many of his paintings, with tender attention to its individual distinction, its specific reference and instance in the artist&rsquo;s life. He can&rsquo;t help himself. He strives to keep up with evanescent life by constantly resetting and starting over.<br /><br />Ben Portis<br />September 2014<br /><br /><br />Artist&rsquo;s biography<br /><br />I Hate Poetry, but I Love TV is Kim Dorland&rsquo;s first solo exhibition of new work in Toronto since the milestone success of You Are Here: Kim Dorland and the Return of Painting, at the McMichael Canadian Art Collection in Kleinburg, Ontario (October 2013 to January 2014). That exhibition, in which his paintings, many created during a residency at the McMichael, were shown alongside those of iconic Canadian landscape painters such as Tom Thomson, David Milne, Emily Carr and members of the Group of Seven, was covered in a national story in Macleans and subsequently lauded in reviews by the Toronto Star and the Globe andMail. In addition, in December, the Globe and Mail named Kim Dorland 2013 Artist of the Year. In Spring 2013, Canadian Art ran a feature profile on Dorland and, in Winter 2014, Border Crossings published an in-depth interview with the artist by Robert Enright. Kim Dorland: Homecoming, an early-career survey mounted in his native Alberta, opens at Contemporary Calgary on October 16 and runs through January 18, 2015. On October 3, Kim Dorland, an 184-page monograph is available from Figure 1 Publishing, with an introduction by Jeffrey Spalding, artistic director and chief curator of Contemporary Calgary, an essay by Katerina Atanassova, chief curator of the McMichael Canadian Art Collection, and an expanded, updated version of Robert Enright&rsquo;s interview. Internationally, Dorland&rsquo;s art is on view this fall in Peahead, a group exhibition at Franklin Parrasch Gallery, New York, which runs until October 11. In 2015, he will be given in a solo exhibition at MCA Denver, Colorado.<br /><br />Kim Dorland was born in Wainwright, Alberta in 1974. Dorland received his BFA from the Emily Carr Institute of Art and Design, Vancouver, and received his MFA from York University, Toronto. He has exhibited globally, including shows in Milan, New York, Chicago and Los Angeles, receiving reviews in the New York Times and the Los Angeles Times. Dorland&rsquo;s art is in numerous prestigious public and private collections in Canada and abroad, including the Bank of Montreal; Beth Rudin DeWoody Collection; Blanton Museum of Art at the University of Texas, Austin; Eileen S. Kaminsky Family Foundation, New York; Glenbow Museum, Calgary; Montreal Museum of Fine Arts; Mus&eacute;e d&rsquo;art contemporain, Montr&eacute;al; Neumann Family Collection, New York; Oppenheimer Collection, Nerman Museum of Contemporary Art, Kansas City, Kansas; Royal Bank of Canada; and Sander Collection, Berlin. Dorland works in Toronto, where he lives with his wife Lori and their two sons, Seymour and Thomson.</p> Wed, 17 Sep 2014 14:39:23 +0000 Daniel Tomasini - Glendon Gallery - September 29th - October 11th <p style="text-align: justify;">Any Tomasini painting is intended to embody a pure expression of colour aiming to spark the spectators&rsquo; emotions. His half-abstract style, inspired by Canadian forests in autumn, involves using a spatula to intuitively apply thick layers of colour. The sensation inspired by colour guides him in centering the spectator&rsquo;s attention on the world of nature. For Tomasini, art is the product of emotion and sensitivity, and comes from the heart. He creates a dialogue to be shared with people from all around the world.</p> <p style="text-align: justify;">Presented by the Cultural Celebration of the Spanish Language (CCIE) in collaboration with Ibero-American Consular Corps.</p> Fri, 12 Sep 2014 13:06:06 +0000 Melanie Authier - Georgia Scherman Projects - September 11th - October 11th Fri, 12 Sep 2014 13:00:01 +0000 Derrick Piens - General Hardware Contemporary - September 17th - October 11th <p style="text-align: justify;">General Hardware Contemporary is pleased to present Derrick Piens&nbsp;first solo exhibition at GHC.</p> <p style="text-align: justify;">Derrick Piens work considers the continuous process of transformation that all objects and materials undergo throughout time. Working primarily in plaster and wood, these brightly colored geomorphic objects visually transform as the viewer circumnavigates the space that surrounds them. The viewer must, therefore, rely on their personal memory of the form in order to fully comprehend it in its entirety. Piens works intuitively, actively discovering the works throughout the building process, comparable to the way that the viewer perceives the work by way of examination and contemplation. These sculptures reference the human body through a careful consideration of scale and form developing a visual and conceptual relationship between the viewer and the works that they encounter.</p> <p style="text-align: justify;">Derrick Piens received his MFA from Southern Methodist University (Dallas, TX) in 2007, and BFA from Nova Scotia College of Art &amp; Design University in 2005. He has participated in numerous solo and group exhibitions across Canada and the United States, including;&nbsp;<em>When Things Collide</em>(University of Waterloo Art Gallery), Sentinels (Dallas Contemporary),&nbsp;<em>trans/FORM: Matter as Subject</em>&nbsp;<em>&gt; New Perspectives</em>&nbsp;(Museum of Contemporary Canadian Art, Toronto),&nbsp;<em>Summertime In Paris</em>&nbsp;(Parisian Laundry, Montr&eacute;al. His sculptures are included in private collections in the UK, New York, Montr&eacute;al and Toronto as well as the permanent collections of Meadows School of the Arts, Southern Methodist University (Dallas, TX), the Claridge Collection (Montr&eacute;al, QC) and the University of Waterloo Art Gallery (Waterloo, ON). Derrick has received numerous grants, scholarships and awards and is currently preparing for a six-week artist residency at the Kulttuuri Kauppila Art Center (Ii, Finland).</p> Fri, 12 Sep 2014 12:45:24 +0000 Michael Flohr - Liss Gallery - September 20th - October 4th <p style="text-align: justify;">It is a rare and celebrated occasion when an artist is discovered that has a unique talent, fresh vision and exceptional ability to transcend artistic predisposition. Painter Michael Flohr is just such an artist. Flohr&rsquo;s work is a visual adventure. Not only in its exquisite beauty, obvious artistic integrity and the emotion elicited in every work of art, but in the artist&rsquo;s ability to effect the invention of a genre unique and true in and of itself in today&rsquo;s contemporary art world. Depicting ordinary moments in extraordinary ways, Flohr&rsquo;s work is an intellectually artistic mastery of color, perspective, technique and vision. Blazing a trail that is sure to influence the eyes of fine art collectors around the world, Flohr&rsquo;s work is also sure to impact other emerging artists for years to come. Michael Flohr is a young California artist, currently living and working in San Diego where he was born and raised. Recognizing his artistic aptitude at a very early age, Flohr&rsquo;s parents enrolled him in his first art class at the age of five. His family&rsquo;s perpetual encouragement and conviction in his talents led him to pursue a degree at the San Francisco Academy of Art College.</p> <p style="text-align: justify;">At the academy, Flohr was able to experiment with all types of media and artistic styles. In 1999, Flohr&rsquo;s propensity for illustration was recognized by his acceptance into New York&rsquo;s Society of Illustrators, where he joined the ranks of legendary predecessors such as Norman Rockwell, Maxfield Parrish and N.C. Wyeth. He was awarded the Herman Lambert scholarship by the Society in the following year. Flohr graduated from the Academy of Art in 2000 and was honored with &ldquo;Best of Show&rdquo; for his painting titled, &ldquo;Irish Coffee&rdquo; at the Academy&rsquo;s spring exhibition that same year. Shortly thereafter, three of Flohr&rsquo;s paintings were selected for exhibition at the de Young Museum, San Francisco&rsquo;s oldest public museum located in Golden Gate Park. There, his work hung in the company of other master painters including one of Flohr&rsquo;s most revered inspirations, Claude Monet.</p> <p style="text-align: justify;">Boasting acceptance into a museum environment so early into his artistic career is a sure indication that this is an emerging artist to be watched. In a contemporary art world that has craved a fresh, new approach in the creation of effectual works of art, Flohr fills this void with his series of paintings that cover subject matter ranging from nightlife scenes, cityscapes, still lifes and figurative portraiture. Flohr&rsquo;s work is largely urban in content, frantic in execution yet solemn in interpretation. His paintings have an eerie ability to capture a fleeting moment, as if from a peripheral vision, resulting in a permanent &ldquo;d&eacute;j&agrave; vu&rdquo; for the outsider looking in. Bordering the surreal, yet strangely familiar, Flohr&rsquo;s images capture what seem to be the artist&rsquo;s furious study of a gloriously regular moment in time. A moment it seems in which many can relate. The artist&rsquo;s paintings are a patchwork of avant-garde, impressionistic color exhibiting a stylistic fortitude that succeeds in redefining impressionism and abstract expressionism. Static movement is uniquely portrayed in his work through his brushstroke technique, masterful use of light and sumptuous, yet somber color. Flohr states, &ldquo;There is a flow that I try to keep in my paintings that evolves into a story of colors and movement that breathe together.</p> <p style="text-align: justify;">A coronation of small, square strokes of premeditated color create the rhythm throughout a piece. Then I combine them with broad brush strokes that serve to &lsquo;marry&rsquo; the elements together. I approach each canvas with &lsquo;aggressive subtleness&rsquo;. My goal as a modern impressionist is to capture a gesture and a mood, not necessarily every pore on the face of a person depicted in one of my paintings. I want my figures to be a part of the painting, not the painting itself. They work together in the environment creating the movement and emotion in a piece. I like to show light and how it travels, where it lands and how it can change color. Light alone can change the look or the mood of a place.&rdquo; Ultimately, it is these qualities in Flohr&rsquo;s work that predominate in its appeal. Flohr claims his biggest inspiration in creating his art is everyday life. He protests, &ldquo;I have a huge passion to record humanity on canvas, the good and the bad, it is all beautiful to me.&rdquo; He strives to express the familiar in his work and communicate a common thread among his subjects and his viewers. &ldquo;I want to tell a story with substance,&rdquo; Flohr admits. And he achieves this with a genius of insight and artistic wherewithal unique to his work and a man of his young years.</p> <p style="text-align: justify;">A trip to Europe upon his graduation from the Academy was influential in his interest in European culture and proved to be an enlightening experience for the artist and his work. It was this experience that led him to pursue the desire to capture the nuances of social interaction, city nightlife and cityscapes as subject matter for his art. The artist states, &ldquo;Seeing strangers intermingle in strange, new places is an inspiration to me. I am the guy that can be found out with friends in a caf&eacute; and notice a beautiful, warm, orange-violet light chipping on peoples&rsquo; faces across the room. I am immediately distracted and thinking of ways to combine color and capture that moment in my next painting.&rdquo; Flohr admits to being inspired by the all-important and influential works of impressionist artists throughout history, specifically: Pissaro, Monet, Manet and Degas. Like these artists, Flohr prefers to work in oils and comments, &ldquo;I love oil paint because of its durability and the richness it brings to the canvas. I also believe that most people with an appreciation for art respect an artist&rsquo;s use of this classic medium.&rdquo;</p> <p style="text-align: justify;">Flohr does not work with static models. Instead, he will sketch &ldquo;in the moment&rdquo; as a scene unfolds, most often with charcoal. Many times, his sketches will become works of art in themselves. On occasion, the artist will work with candid photographs. Capturing the visual clues in a scene is imperative to Flohr as he considers the &ldquo;overwhelming choices of color&rdquo; used to create his interpretation of an image. The artist comments, &ldquo;Observation is everything for me. Whether it is seen, heard or read, it is all connected to that which can be processed into a visual.&rdquo; Michael Flohr&rsquo;s passion for his art parallels his passion for life. As he strives to be true to himself, his family and friends, he admits his fianc&eacute;e, Melissa &ldquo;is my biggest, new-found inspiration in a way I cannot describe.&rdquo; As he grows as a person and evolves as an artist, enthusiasts of the arts are sure to enjoy the fruits of his commentaries on the world around him &ndash; and in the end, the one that surrounds us all.</p> <p>&nbsp;</p> Fri, 12 Sep 2014 12:16:09 +0000 - Museum of Contemporary Canadian Art (MOCCA) - September 6th - October 26th <div id="mk-text-block-572" class="mk-text-block " style="text-align: justify;">The exhibition title<em>&nbsp;</em><em>TBD</em>, most typically used as an acronym for &lsquo;to be determined&rsquo;, proposes that the definition of a contemporary art gallery is not fixed.&nbsp;<em>TBD</em>&nbsp;exposes the defining factors of contemporary art galleries for scrutiny and examines the institutions&rsquo; effects on communities in order to imagine possible futures and new approaches.&nbsp; <div class="clearboth">&nbsp;</div> </div> <div class="mk-divider mk-shortcode divider_full_width padding_space " style="text-align: justify;">&nbsp;</div> <div class="clearboth" style="text-align: justify;">Brew Pub Journal (Vancouver/Toronto), Jonah Brucker-Cohen (New York), Bill Burns (Toronto/Dawson City), Arabella Campbell (Vancouver),&nbsp;ch+qs arquitectos (Madrid), Tomas Chaffe (Stockholm), Michelle JaJa Chang (San Francisco), Steven Chodoriwsky (Los Angeles),&nbsp;Maggie Groat (St. Catherines), Jesse Harris (Toronto), Justin Langlois (Vancouver), Gordon Matta-Clark (American), Dax Morrison (Toronto), Archer Pechawis (Toronto), Jon Sasaki (Toronto), Jeanne van Heeswijk (Rotterdamn) and&nbsp;others</div> <div id="mk-text-block-830" class="mk-text-block "> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Architecture program and consultation: Jennifer Davis</p> </div> Fri, 12 Sep 2014 12:10:57 +0000 Mark Soo - Museum of Contemporary Canadian Art (MOCCA) - September 6th - October 26th <p style="text-align: justify;"><em>House is a Feeling</em>&nbsp;plays faintly on our fears of missing out. Here, Mark Soo creates an ambiguous situation where notions of perception, expectation and context are confounded; traditional modes of representation are eschewed; and our spatial understandings of an exhibition are undone. By withholding the visual element of this installation, Soo produces a sense of speculation and intrigue, transporting a domestic experience into a public space normally reserved for contemplation and introspection. Named after an iconic 1990s dance track,&nbsp;<em>House is a Feeling</em>&nbsp;literally rocks the parameters of display and is as much about what is present as what is absent.</p> <p>&nbsp;</p> <p>Mark Soo</p> <p>Singapore, 1977</p> Fri, 12 Sep 2014 12:07:27 +0000 Nadav Assor - Julie M. Gallery Toronto - September 18th - October 5th <h6 class="font_6" style="text-align: justify;"><span style="font-size: small;">Julie M. Gallery is pleased to present the first solo exhibition in Toronto by Israeli artist Nadav Assor.&nbsp;</span></h6> <h6 class="font_6" style="text-align: justify;"><span style="font-size: 12px;">Unmanned drones are still being used, mainly for an array of military and industrial&nbsp;purposes demanding remote surveillance and intervention, from the facilitation&nbsp;of "targeted" assassinations in Gaza through the production of aerial wedding videos. In&nbsp;the near future drone use will expand to a multitude of areas, as tens of thousands of&nbsp;civilian drones are awaiting official approval for flight in the USA and other countries.&nbsp;The works displayed in this exhibition deal with the spiritual and bodily aspects,&nbsp;and the related political implications, of the cluster of technologies and methods for&nbsp;control, telepresence, and unmanned mobility symbolized by the Drone. The exhibition&nbsp;includes self portraits of drone operators shot out of the vehicle they themselves operate&nbsp;("drone selfles"); video portraits of a man who refers to himself as the first "Remote Control&nbsp;Minister" and of the drone he constructs and flies in the forests of the US Northwest.</span></h6> <p class="font_8">&nbsp;</p> Fri, 12 Sep 2014 12:02:23 +0000 Group Show - Gallery 1313 - September 3rd - September 14th Fri, 12 Sep 2014 11:52:29 +0000