ArtSlant - Openings & events en-us 40 Mark Delong, Joseph Hart - Cooper Cole - February 28th, 2013 6:00 PM - 10:00 PM <p style="text-align: justify;"><strong>COOPER COLE</strong> is pleased to announce a two-person exhibition featuring new paintings and works on paper by artists Mark DeLong and Joseph Hart.<br /> <br /> Through a series of new oil paintings on canvas, Mark DeLong continues his examination of Modernist inspired tendencies. A vibrant palette, graphic shapes, and thick impasto collide to reinterpret classic motifs: the human figure, landscape, a still-life arrangement, or an off-kilter Rube Goldberg machine. A premium on composition and design are evident in DeLong's paintings, showing careful (albeit casual) consideration for color relationships, movement and rhythm.<br /> <br /> Similarly fascinated with the impact of compositional hierarchies, Joseph Hart presents a cohesive suite of works on paper that incorporate a variety of approaches including painting, drawing, and cut paper-collage. With an emphasis on gestural line and form, Hart creates visual moments that are alternatively calm and chaotic, that push and pull, ultimately leading to awkward yet resolved configurations. Layering color and marks, folding, cutting, editing, destroying and building back up the image play essential roles in his practice. Where DeLong's geometry and heavy use of color dominate the picture plane, Hart's aesthetic restraint simplifies it, producing thoughtfully scrawled abstractions that explore impulse, boundaries and incidental versus articulated mark making.</p> <p style="text-align: justify;"><strong>Mark DeLong</strong> (b. 1978 in New Brunswick) is a self taught artist working in a variety of mediums including drawing, painting, sculpture and video. His work has been displayed at Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; LES Gallery, Vancouver; Little Cakes, New York; and COOPER COLE in Toronto. Delong has collaborated with such artists as Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, Canada.</p> <p style="text-align: justify;"><strong>Joseph Hart</strong> (b. 1976 in New Hampshire) is a Brooklyn, New York-based artist. He received a BFA from the Rhode Island School of Design in 1999. Hart's paintings and drawings have recently been exhibited at Galerie Vidal Saint Phalle in Paris, and Halsey Mckay Gallery in New York. Hart's work has also been included in notable group exhibitions at the Bronx Museum of the Arts, The Elizabeth Foundation for the Arts, Santa Monica Museum of Art, Alexander &amp; Bonin, CRG Gallery and Klaus Von Nichtssangend Gallery in New York, amongst others.</p> Sun, 24 Feb 2013 08:11:15 +0000 Winnie Truong - Erin Stump Projects (ESP) - February 28th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">ESP is pleased to present the latest drawing series by Winnie Truong, <em>A Slow Immersion</em>. Truong continues to explore the artist’s ongoing relationship with hair beyond beauty and accoutrement and into a direction of a object and environs. Through delicate, labor-intensive drawing, Truong’s anomalous subjects examine the possibility of hair as a veil and as an object of comfort, while also remaining a self-consuming and self-inspiring muse. Whether they are comforted or encumbered, swarmed or swaddled Truong’s subjects are visual narratives of the artist’s tangible relationship with mark making and the increasingly immersive nature of line and labour in her own practice. A Slow Immersion examines monumental drawing as a product and physical feat that engrosses both the drawn subject and the viewer in an immense thicket of line and colour.<br /> <br /> <strong>Winnie Truong</strong> (Born in 1988) lives and works in Toronto and where she received a BFA from the Ontario College of Art and Design’s drawing and painting program. Truong is the recipient of numerous awards, including W.O. Forsythe award, the 401 Richmond Career Launcher prize and the BMO 1st! Art Award for Ontario, through which she exhibited at the MOCCA. Winnie has exhibited internationally in galleries across Toronto, LA, and Copenhagen and in New York where she was also featured VOLTA, NY Art Fair. She is in the collection of The Nerman Museum of Contemporary Art, Overland Park, Kansas.<br /> </p> Mon, 04 Mar 2013 11:56:20 +0000 Edward Burtynsky, Max Dean, William Fisk, Izima Kaoru, Mara Korkola, Robert Polidori, Richard Tuttle - Nicholas Metivier Gallery - February 28th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present Scale, a group exhibition featuring the works of <a href="">Edward Burtynsky</a>, <a href="">Max Dean</a>, <a href="">William Fisk</a>, I<a href="">zima Kaoru</a>, <a href="">Mara Korkola</a>, <a href="">Robert Polidori</a>, and <a href="">Richard Tuttle</a>. The exhibition will open on February 28 and will be on view through March 16 with an opening reception on Thursday, February 28 from 6– 8 PM.<br /> <br /> This exhibition brings together nationally and internationally acclaimed artists whose work reflects a particular consideration for scale. Whether it is the physical size of the work itself or a conceptual concern within it, scale is an integral part of the painting or photograph’s success. Scale will feature recent works by gallery artists as well as works from Izima Kaoru’s Landscapes with a Corpse series and Richard Tuttle’s suite of 13 etchings, Edges.<br /> <br /> Working from an aerial perspective, Edward Burtynsky uses a “human scale” that is dwarfed by the landscapes technology has created. In his new Pivot Irrigation series, Burtynsky creates compositions that resemble stained glass and textures that are evocative of wood or fabric. On close inspection, the viewer encounters miniature farms and pencil-thin pivot irrigation arms. It is only after this discovery that one can comprehend the mile and quarter mile radius of each crop circle.<br /> <br /> Max Dean creates his own measure for scale in his recent photographs of personally significant objects and memorabilia from his studio. Dean uses two standards for scale in these works - a basic wooden chair and his own hand. The chair is photographed from a specific height and distance, parameters that are followed precisely when documenting the other objects. Depending on the size of these objects in relation to the chair, they are sometimes either cropped out of the frame or barely perceptible. Another group of photographs use the actual size of Dean’s hand. Dean creates a comparison between this life-size scale and a scale that is filtered through a lens, exploring the way we read and understand photographs.<br /> <br /> For William Fisk, scale is an innate sensibility that is used to enhance his still-life subjects. His process begins by sourcing vintage or used objects such as motorcycles lighters and cameras, for which he has an aesthetic appreciation. They are then photographed and enlarged with a specific calculation to become the perfect scale to paint - the more complex and detailed the object is, the larger the canvas must be. This exhibition will debut Motorcycle No. 4, Fisk’s largest and most ambitious painting to date. The painting of a 1938 Ariel Square Four motorcycle is rendered in an impressive 1.5 scale.<br /> <br /> Mara Korkola’s recent landscape paintings are delicately rendered and presented in a series of small, sequential panels. The scale of Korkola’s panels resolves both her practical and conceptual concerns; it allows for wet on wet, a technique that is essential to her lush surfaces, and creates an intimate experience for the viewer. Close inspection is essential to appreciate the intricate brushwork of her tangled forests and the nuances of her monochromatic palette.<br /> <br /> Robert Polidori has been making photographs of human habitats and environments since the mid 1980s. Using a large format camera, Polidori achieves the highest quality and detail in his images. It is the scale and detail of his work that helps bring our attention to the historical, sociological and psychological notions that Polidori seeks out in the places he photographs. In a 72 x 90 inch photograph of Amman on view in this exhibition, Polidori captures an infinite tapestry of sunlit concrete dwellings, scattered with clues of modern life such as satellites and hydro poles.<br /> <br />On Saturday, March 2nd at 2 PM, the Nicholas Metivier Gallery will be hosting a talk with Edward Burtynsky on the subject of scale.</p> <div id="exhibitionimages" class="exhibitionimages"> <div style="position: relative;" id="exhibitionslides"> <div style="position: absolute; top: 0px; left: 0px; display: block; z-index: 8; opacity: 0.0304529; width: 661px; height: 475px;" class="slide"><br /> <div id="exhibitionpager">William Fisk, <em>Motorcycle Painting No. 4 </em>, 2012, oinvas, 65 x 120 inches<a href=""><img src="" height="50" /></a><a href=""><img src="" height="50" /></a><a class="activeSlide" href=""><img src="" height="50" /></a><a href=""><img src="" height="50" /></a></div> </div> </div> </div> Wed, 13 Feb 2013 12:35:24 +0000 Gerald Ferguson - Olga Korper Gallery - March 2nd, 2013 2:00 PM - 5:00 PM Wed, 20 Feb 2013 12:33:21 +0000 Clive Holden - Stephen Bulger Gallery - March 2nd, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;">The gallery is pleased to announce our first solo exhibition of work by visual artist Clive Holden.  “Media, Mediated” features prints as well as new media installations that explore dynamism, variation, and renewal.</p> <p style="text-align: justify;">As part of Holden’s creative process, he mimics the seemingly random order found in nature. The result is that the final part in the creation of his new media works can be witnessed, live, through the use of randomization algorithms. His original materials (brief film segments or snap shots, for example) are "mediated" through their use in several related but distinct media. In this way, the relationship between art media and genres, and the charged spaces they create, informs the results on all sides. He hacks web technology to create complex patterned projections and media wall installations, and by watching these works' continually re-mixing juxtapositions (they can never be viewed the same way twice), the art itself teaches him how to complete each related print.</p> <p style="text-align: justify;">The balance between cinematic montage and visual motif is expressed in different ways through each medium. His installations (and also net art works viewable at are data-driven. They have no fixed duration and use cutting edge as well as lo-fi technology (such as HTML5, javascript, GIFs and film frame blow-ups), resulting in new hybrid forms. The often sequential polyptych prints also express this dynamism, containing charged movement that is expressed spatially.</p> <p style="text-align: justify;">Holden’s best-known work to-date is the multi-disciplinary project “Trains of Winnipeg” (2001 to 2006). The project includes an award-winning feature-length cycle of films that was exhibited internationally. His films have been screened at: the International Film Festival Rotterdam; Images Festival, Toronto; transmediale, Berlin; Anthology Film Archives, New York; the London Film Festival; the Danish Film Institute, Copenhagen; Kino Arsenal, Berlin; and the Muziekgebouw, Amsterdam.</p> <p style="text-align: justify;">Currently, Holden is continuing his work on “U Suite,” a project that began in 2006 and will be completed in 2020. He explores 21st century views on utopianism in its broadest sense. The theme of humanity’s relentless hope, as dramatized by the continuous renewal found in nature, runs throughout the project. So far, “Chapters” and individual elements of the project have been exhibited at the Toronto International Film Festival; Foreman Art Gallery of Bishop’s University, Sherbrooke; Light Industry film series, Brooklyn; Holland Festival, Amsterdam; Images Festival, Toronto; Platform Centre for Photographic + digital arts, Winnipeg; and the Art Gallery of Nova Scotia, Halifax.</p> <p style="text-align: justify;">Holden’s installation, “UNAMERICAN UNFAMOUS”, curated by Gaëlle Morel, is also on view on the Salah J. Bachir New Media Wall at the Ryerson Image Centre until April 14, 2013. Holden asks, “Is it un-American to be unfamous? Are Americans failures if they die without fame?” Drawing from the Black Star Collection at Ryerson University, he uses the “unfamous” as an organizing principle in this selection of one hundred image details and faces in an innovative new media work that balances time-based and non-time based art forms.</p> Sun, 24 Feb 2013 07:37:13 +0000 Brianna MacLellan - Katharine Mulherin Contemporary Art Projects - March 7th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">Katharine Mulherin Contemporary Art Projects is pleased to present <b>Judy Radul’s 25 Entrances and Exits By Brianna MacLellan </b><i><br /> <br /> "Changing the composition of a room by entering and exiting"</i><br /> <br /> With reference to, and in collaboration with, Judy Radul's 1998 performance titled<i> 25 Entrances and Exits</i>, Brianna MacLellan's body of work consists of one live performance and a video/multimedia installation. MacLellan's work can be viewed as a re-performance, continuation, and a completion of a conceptual idea. <br /> <br /> What remains and is accessible from Radul's 1998 performance is one score, one photograph and one brief, conceptual statement. With this information, MacLellan has written and will be performing the missing twenty-four scores to complete the original performance, in addition to re- performing the single score that remains. As MacLellan addresses and considers the theories surrounding the the role of the document and re- performance, she questions the current position of performance art within commodity culture and how accessibility effects the survival of a performance. <br /> <br /> <i>Brianna MacLellan is a performance artist whose practice consists of live, video and installation based work. MacLellan's process and performances resist the notion of performance art as a traceless event. Through a series of re-performances, she seeks to examine and address the extent to which documentation can substitute a live event. In doing so, MacLellan's work explores the subjects of appropriation, loss and absence, the role of documentation in history, temporality and the influence of history on the contemporary imagination. Brianna MacLellan has exhibited her work both in Canada and internationally in Europe and the Middle East, and in 2012 completed a residency in Prague, Czech Republic, directed by the Art Institute of Chicago. Brianna MacLellan is currently a senior student at OCAD University, and lives and works in Toronto, Canada. </i></p> Mon, 04 Mar 2013 00:29:30 +0000 Niall McClelland - Clint Roenisch Gallery - March 8th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">CR is pleased to present the second solo exhibition by Canadian artist Niall McClelland (b. 1980). Among the works included in the exhibition are a new 20x10 foot drawing on linen “Too Poor To Paint, Too Proud To Whitewash,” a large Sharpie abstraction on paper, a wall sculpture and some broken glass. The exhibition title is a nod to Crass (1977-1984) .</p> <p style="text-align: justify;">Over the last five years Niall McClelland has built up a diverse body of work that mines the veins of arte povera, punk rock and urban minimalism. It is just as often started outdoors, left on a fire escape all winter, baked on a dock all summer or folded into his pockets, nabbed through a 3am hole in a fence, as it is made in the studio in explosive clouds of mercury dust and flying glass. There is certainly an alchemical aspect involved: from the crudest materials comes beauty and elegance, hungover on the surface, left like scars. Texture reigns. And process. Both run through his various series, the Tapestries, Skins and Stains to name a few. Often economic circumstance begats the best results, like the thrown-out toner cartridges scavenged from the back of Dufferin Mall. McClelland leaches out their dregs onto japanese paper where the dying inks blossom into living patterns the way lilies love manure. Same for the drawings made from blown florescent tubes smashed onto linen, same for the rubber carpet underlay that is draped and then spraypainted the way the son of Eva Hesse and Robert Morris might paint. The new Sharpie abstraction, The Home Stretch, is likewise born of CMYK but here McClelland himself becomes the printer, a sputtering officejet of misalignments and smudges that gives out before the job is done.</p> <p style="text-align: justify;">Niall McClelland grew up in Toronto, spent many of his summers in Northern Ireland, graduated from Emily Carr in Vancouver and eight years later returned to Toronto where he now lives. His work has been published in Dazed; Canadian Art; Adbusters, Design Anarchy, Hunter and Cook, Lowdown, Modern Painters, The Walrus and The White Review among others. Recent exhibitions include Highest Prices Paid For Gold at CR (Toronto); Bruce to Brock and Back at Envoy Enterprises (NYC); History (with Jeremy Jansen) at Tomorrow Gallery (Toronto); One Tune Outta Turn at Eleanor Harwood (San Francisco); Magic For Beginners (group) at PPOW (NYC); Like Minded at Plug-In ICA (Winnipeg).</p> Wed, 06 Mar 2013 12:35:45 +0000 Daniel Hutchinson - Angell Gallery - March 9th, 2013 1:00 PM - 4:00 PM <p style="text-align: justify;">ANGELL GALLERY is pleased to present ALMANAC, recent paintings by DANIEL HUTCHINSON. The exhibition is in the West Gallery and the Project Room from March 2, 2013 to April 13, 2013. <br /> <br /> An opening reception will be held on Saturday, March 9, 1:00 to 4:00 PM, with an ARTIST TALK at 3pm. <br /> <br /> Daniel Hutchinson is fast becoming recognized as an important new voice in Canadian painting. In his second solo exhibition at Angell Gallery, Hutchinson presents a metaphorical exploration/meditation on that most Canadian of topics, the weather.<br /> <br /> In ALMANAC, a series of large paintings feature highly abstracted renderings of natural phenomena, some inspired by wood engravings from a 19th century book documenting polar and tropical explorations. A series of smaller paintings derived from details in the larger works aims to predict weather patterns during the month of March, with a bit of help from the Farmers Almanac and the Canadian intuitive familiarity with our climate.<br /> <br /> Sunspots, icebergs, waves, clouds and the aurora borealis are fractured into elemental geometric and organic forms that are then reconfigured through Hutchinson's dexterous manipulation of the oil medium. <br /> <br /> Though working at the edge of black, Hutchinson's paintings are replete with glistening light, formed by reflections captured through striated brushstrokes. The sensation of depth and movement is palpable, achieved not through the traditional tricks of perspective or illusionism, but through the properties of paint alone.<br /> <br /> The resulting marriage of gesture and geometry, spontaneity and study, movement and stillness, representation and abstraction, certainty and speculation, and dark and light invites repeated engagement. Unlike a Farmers Almanac of years gone by, the paintings in ALMANAC resonate in a timeless space.<br /> <br /> Daniel Hutchinson is a visual artist based in Toronto, Ontario. He received his BFA from the Emily Carr Institute in Vancouver and his MFA from NSCAD University in Halifax. He has exhibited across Canada, in the U.S., Australia and Sweden. In 2009 he received Honourable Mention for the Halifax Mayor’s Award for Contemporary Visual Art and was twice named a semi-finalist in the RBC Canadian Painting Competition. In 2013, Hutchinson’s work will appear in The Painting Project, a survey of contemporary Canadian painting curated by Louise Déry and organized by L'Université du Québec à Montréal, as well as in a solo exhibition at YYZ in Toronto, and the group show, Imagining Disaster, at Museum London.</p> Tue, 19 Feb 2013 00:44:34 +0000 Hélène Cenedese, Amanda Reeves, Esther Simmonds-MacAdam, Sally Späth, Carol Wainio - Angell Gallery - March 9th, 2013 1:00 PM - 4:00 PM <p style="text-align: justify;">Curated by Katie Addleman, Modulators brings together five emerging and established artists, Hélène Cenedese, Amanda Reeves, Esther Simmonds-MacAdam, Sally Späth, and Carol Wainio, to explore the limited palette — and the breadth of its applications — in new contemporary painting. <br /> <br /> Associated historically with styles from Whistlerian Tonalism to Minimalism, the limited palette is, in the work exhibited here, turned to equally broad and distinctive ends: in Dangling, by Carol Wainio, figures familiar from antique illustrations populate a dusky picture plane, while Späth’s glowing strips of interfacing recall nothing so much as the painted line. Between these poles of figuration and abstraction, stark brilliance and mottled shade, is Simmonds-MacAdam’s Did I Hold You? Or Did You Hold Me?, where body and expression are only proposals, brought forward by attenuated corals and blues; the layered grey-scale Trace paintings of Cenedese, evocative of the artist’s interest in reducing natural forms to gesture; and Reeves’ Untitled 06, whose meditative qualities belie tight control over composition and colouration. <br /> <br /> Rather than demonstrating a fear or rejection of colour, this work, while decidedly monochromatic in effect, boldly foregrounds it; in its subtlety or simplicity it becomes as much subject as descriptor. These artists move carefully between tones, navigating dense but restricted corners of the colour spectrum to produce work at once quiet and shocking, reminders that visual power need not lie with vibrancy. Taken together, the paintings in Modulators suggest that the restricted use of colour does little to allay its expressive possibilities. <br /> <br /> The painter, printmaker, and draughtswoman Hélène Cenedese lives and works in Montreal. She obtained her BFA from Concordia University in 2007. In 2010, she won the “Prix Découverte” at the Festival International de Montréal sur l’Art (FIMA), and two years later the festival’s grand prize. She exhibits regularly in Montreal, where Galerie D produced her first solo show in 2010. Cenedese is represented in Toronto by Parts Gallery.<br /> <br /> The San Francisco-based painter Amanda Reeves has participated in numerous exhibitions since graduating from OCADU in 2005; her next, the solo show New Paintings, will open at Elissa Cristall Gallery in Vancouver in June 2013. A finalist in the RBC painting competition, her work is included in the collections of Royal Bank of Canada and the Bank of Montreal, among others. She is represented by p|m Gallery in Toronto. <br /> <br /> Based in Toronto, Esther Simmonds-MacAdam holds an MA in Sociology and Equity Studies from the University of Toronto and studied Painting and Women’s Studies at Concordia University. Following solo exhibitions in Toronto, Ottawa, and Kitchener, she completed an artist’s residency at The Banff Centre in 2012. Her practice has been supported by grants from the Ontario Arts Council and the Social Science and Humanities Research Council of Canada.<br /> <br /> Experimental artist Sally Späth is interested in painting as a material and an activity; often site-specific, her work seeks to connect the creation and place of painting to the paintings themselves. It has been included in seminal Canadian group shows including Painting Disorders (1994) and 60 Painters (2012), as well as in solo shows in commercial and public galleries in Toronto and Vancouver, and has been supported by grants and awards from the Ontario Arts Council, the Toronto Arts Council, and the Canada Council for the Arts, among others. Späth lives and works in Toronto. <br /> <br /> Carol Wainio has exhibited widely in Canada and internationally, including at the National Gallery of Canada, Art Gallery of Ontario, Musée d’art contemporain de Montréal, Amsterdam’s Stedelijk Museum, the Venice Biennale, and the Galleria Comunale d’Arte Moderna in Bologna, and her work is held by major public, corporate, and private collections. She is represented by Galerie René Blouin in Montréal, Trépanier Baer Gallery in Calgary, and Paul Petro in Toronto. Wainio lives in Ottawa.</p> Tue, 19 Feb 2013 00:48:09 +0000 Cheryl L’Hirondelle - The Power Plant - March 10th, 2013 2:00 PM - 4:00 PM <p style="text-align: justify;">L’Hirondelle is a Toronto-based artist and the recipient of the imagineNATIVE New Media Award. She will speak about the exhibition <em><b>Beat Nation</b></em>, which features her work.</p> <p style="text-align: justify;">Cheryl L'Hirondelle was the recipient of the imagineNATIVE New Media Award for her projects: <strong></strong>, 17:TELL (<strong></strong>) and <strong></strong>. Her interdisciplinary project nikamon ohci askiy (songs because of the land) [<strong></strong>] was recognized as an Honoree in the Net.Art category of the 13th Annual Webby Awards. L’Hirondelle is based in Toronto and is an artist included in the exhibition <em>Beat Nation</em>.</p> Mon, 04 Mar 2013 12:06:11 +0000 Paul Sietsema - Mercer Union - A Centre for Contemporary Art - March 14th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;">Mercer Union is pleased to present the first solo exhibition by <strong>Paul Sietsema </strong>in Canada. The exhibition will foreground the 16 mm film Telegraph and will also include new, previously unseen works.</p> <p style="text-align: justify;"><strong>Paul Sietsema</strong>’s layered, self-reflective work explores how imagery and material affect society’s understanding of culture and history. Deeply invested in the process of image-making and adept at illusionary techniques of trompe l’oeil, he uses photographs and objects as starting points for carefully crafted drawings and sculptures, which in turn may become source materials and subjects for films.</p> <p style="text-align: justify;"><strong></strong>This exhibition is presented in partnership with the Images Festival of Independent Film and Video, 11-20 April 2013. For details visit</p> <p style="text-align: justify;"><strong>Paul Sietsema</strong> has had solo museum exhibitions at the Whitney Museum of American Art, New York; SFMOMA; the de Appel Foundation, Amsterdam; the Museo Nacional Centro de Arte Reina Sofía, Madrid; MoMA, New York; Cubitt, London; and the Schinkel Pavillion, Berlin. Honors include a Guggenheim Fellowship and a Wexner Center Residency Award. Sietsema lives and works in Los Angeles and Berlin, and is represented by Matthew Marks Gallery.</p> Sat, 23 Mar 2013 04:05:09 +0000 Group Exhibition, Janice Colbert - 99 Gallery - March 15th, 2013 6:00 PM - 8:00 PM <p><a href=";mode=all&amp;p=1" title="Janice Colbert Auction Art Work" rel="nofollow"><strong>JANICE COLBERT ARTBARRAGE </strong></a></p> <p><b>Janice Colbert (<st1:place>Lot</st1:place> #25), Group Show, with over 58 artists. Join on-line art buyers and the <st1:city><st1:place>Toronto</st1:place></st1:city> community and celebrate Canadian art while supporting a great cause. Freehand is a contemporary art auction featuring emerging Canadian artists alongside art from War Child programs in war affected communities. Curated by Kelly McCray and Walter Willems.  On-line auction starts March 14 and ends April 25, 2013.</b></p> <p><a href=";mode=all&amp;p=1" title="Janice Colbert" rel="nofollow"> </a></p> <p></p> <p><strong>Public Preview: </strong>April 19-21</p> <p>Waddingtons</p> <p>275 King St E</p> <p>Toronto</p> <p><strong>Live Auction with Stephen Ranger from Waddingtons: </strong>Thursday, April 25, 2013.</p> <p>Auction begins promptly at 7:30 pm</p> <p><strong>99 Gallery</strong></p> <p>99 Sudbury St</p> <p>Toronto ON M6J 357</p> <p></p> Thu, 02 May 2013 14:57:33 +0000 - Art Gallery of Ontario - March 16th, 2013 10:00 AM - 5:30 PM <p><em>Revealing the Early Renaissance: Stories and Secrets in Florentine Art</em> is a timed-entry exhibition. Timed entry means less time waiting in line when you arrive at the Gallery. You'll have more space to relax and enjoy the artwork because we can manage the flow of visitors better.</p> <p>Please have the date and the time you would like to visit in mind before you buy your tickets. Tickets are sold in 60-minute time slots during regular gallery opening hours.</p> <p>Once you are in the exhibition you can spend as long as you like inside. We recommend allowing 60 to 90 minutes to get the full exhibition experience. Your ticket includes entry to the rest of the Gallery.</p> Sat, 02 Mar 2013 10:00:36 +0000 Eliza Griffiths - Katharine Mulherin Contemporary Art Projects - March 21st, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">Eliza Griffiths' new paintings and drawings continue to reveal her interest in psychology, neuroscience, neurosis, sexuality and gender, and the psychodynamics of everyday life on the individual and society. Examining ideas of emotional need, futility and action, these painted and drawn visual fictions draw inspiration from the work of Samuel Beckett as well as formalism in the cinematic melodramas of Douglas Sirk ( the mixture of social concern and heightened affect) and Rainer Werner Fassbinder. Also referenced is The New Yorker magazine's recognition of psychological (private) `healthcare' through their continual parade of cartoons of dogs, men and women on the psychiatrist's couch.</p> <p style="text-align: justify;">Griffith's paintings offer compressed dramas with multiple subtexts, intimations, and obliquely dealt confessionals that aim to open up questions of emotional need, social care and being (fucked up). Privileged are questions of female empowerment, agency and gender dynamics. Her drawings serve as notational, gestural, and visual thinking.</p> <p style="text-align: justify;"><br /><strong></strong></p> <p style="text-align: justify;"><span style="font-size: small;" size="2"><i><br />Eliza Griffiths was born in London, UK, and immigrated to Canada at the age of eight. She studied Studio Art at Concordia University and did graduate studies in Art History at Carleton University. Griffiths' work has been exhibited throughout Canada and internationally including Hallwalls Contemporary Arts Centre (Buffalo); Mercer Union (Toronto); the Saidye Bronfman Center (Montreal); the Dunlop Art Gallery (Regina); Platform Gallery (London, UK); the Art Gallery of Alberta; APEXart (NY,NY). Her work has been featured in Canadian Art Magazine; Border Crossings; C-Magazine; NYArts Magazine among others and has been extensively collected both privately and publicly including the Canada Council Art Bank and the Art Gallery of Ontario. Griffiths lives and works in Montreal where she is an Associate Professor of Studio Arts at Concordia University.</i></span></p> Tue, 12 Mar 2013 00:50:03 +0000 Jeffrey Blondes - Nicholas Metivier Gallery - March 21st, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to announce <em>Time and Tides</em>, an exhibition of recent films by Jeffrey Blondes. The exhibition will open on March 21 and will be on view through April 20 with a reception for the artist on Thursday, March 21 from 6– 8 PM. This will be Blondes’ second exhibition at the gallery.<br /> <br /> Formerly a landscape painter, Jeffrey Blondes transitioned to making films of this subject in 2005. Since then, he has used this new medium to record naturally occurring cycles and phenomena such as the solstices, equinoxes and tides. Made in remote rural locations over time periods ranging between 12 hours to one year, the films provide an opportunity to share in a quiet meditation on the slow and poetic passage of time. In addition to their visual relationship to painting, the success of Blondes’ films is their long-format and high-definition, drawing viewers’ attention to even the smallest of movements in water or foliage.<br /> <br /> This exhibition will feature six films by Blondes on the subject of water. Earlier this year Blondes traveled to Patagonia, a region he has always wanted to visit because of its untouched landscape and rumored mystique. Blondes was struck by the rugged, powerful terrain and foreign wildlife he encountered. The three films from Patagonia debuting in this exhibition present a “portrait” of a particular place. As the films run their course between sunrise and sundown, the passage of time is understood through the transition of light as well as the subtle movements of grass, water and animals.<br /> <br /> The exhibition will also include two films shot in France as well as one film shot in the Bay of Fundy, Nova Scotia. <em>Etang de Pezieres</em> was made over the course of one year, filming each week from the same location on a pond in the Loire Valley. Over a 52-hour period, seasonal changes take place and the subtleties of nature are revealed. <em>12 Degrees</em> is the longest and one of the most minimal works Blondes has created to date. It is filmed from several calculated points along the coast of France and documents the constantly changing sea over 74 hours. <em>Long Island Wes</em>t records one entire tidal sequence from an elevated, fixed vantage point in the Bay of Fundy. As the water move gradually reseeds towards the horizon, the area’s characteristic red sand is revealed.<br /> <br /> Jeffrey Blondes was born in the United States and lives and works in Touraine, France. His films have exhibited internationally including the institutions Musée de la Chasse et de la Nature, Paris, France and Sommerset House and Alan Cristea Gallery, London, England. His works are in many collections worldwide including Musée de la Chasse et de la Nature.</p> Mon, 18 Mar 2013 15:01:15 +0000 Roula Partheniou - MKG127 - March 23rd, 2013 2:00 PM - 5:00 PM <p class="content" align="justify">In Parts and Wholes, Partheniou explores principles of Gestalt and the inexactitude that derives from the tendency to organize and make sense of incomplete elements. Playing games of association, she presents an installation of minimal object paintings that read like fragments of something seen. An exercise in visual semiotics and physical mondegreen, the accumulation of masses and voids, shape and colour function like a set of visual puzzles, coming together in a constellation of objects to be read and mis-read.</p> <p class="content" align="justify">Roula Partheniou’s work is marked by an interest in material play and the double-take. Recent work has centered on an exploration of the replica and how the remaking of a familiar object can trigger a shift in perspective and perception. Making use of visual similes, material puns, colour cues, trompe l'oeil and reductive referents, she deconstructs the familiar in an effort to trigger a reconsideration of common forms, knowledge and assumptions. She has exhibited both nationally and internationally, with recent exhibitions at AHVA Gallery, Vancouver; Convenience Gallery, G Gallery and Mercer Union, Toronto; DAAP Galleries, Cincinnati; Truck Gallery, Calgary; Mass MOCA, Massachusetts; MSVU Art Gallery, Halifax; Plug In ICA, Winnipeg; and Modern Fuel, Kingston. More of her work can be seen at <a href="" target="_blank" class="content"></a>. This is her third solo exhibition at MKG127.</p> Sat, 23 Mar 2013 06:36:02 +0000