ArtSlant - Recently added en-us 40 Simone Jones - Christopher Cutts Gallery - September 6th - September 27th Mon, 18 Aug 2014 14:44:57 +0000 Alan Sakhavarz, Joanne Sipos - Westmount Gallery - September 6th - September 26th Mon, 18 Aug 2014 14:32:33 +0000 Eugen-Florin Zamfirescu - TeodoraART Gallery (T-ART) - September 6th - October 4th <p>At the very foundation of the universe, time can go both forward and backward. Energy can become matter and matter can turn back into energy.&nbsp;This is certainly not the way we perceive the world on a daily basis. Somehow, larger entities seem to be getting older, to develop &ldquo;time afflictions&rdquo;. Time is forbidden to flow in reverse; the law of Entropy forcing everything into one direction only, toward what we perceive as the future.</p> <p>Using values of texture, light, colour and contrast between certainty and uncertainty, Eugen Florin Zamfirescu attempts to express the effects of Entropy, as well as reveal the inner beauty of the objects he collects and photographs. In this new body of works, the artist focuses on capturing the elusive equilibrium at a chosen moment in time, of carefully staged still lifes.</p> Mon, 18 Aug 2014 00:58:42 +0000 Robert Giard - University of Toronto Art Centre - September 2nd - November 15th <p style="text-align: justify;">Disarming in their unadorned, straightforward style, the portraits featured in this exhibition are drawn from a multi-year gift of 53 works of American photographer Robert Giard to the University of Toronto. In this series, Giard ambitiously set out to create a portrait archive celebrating American and Canadian lesbian and gay literary figures in the wake of the AIDS crisis. The Robert Giard photography collection was generously donated by Jonathan Silin.</p> Sun, 17 Aug 2014 14:53:04 +0000 AA Bronson - University of Toronto Art Centre - September 2nd - November 15th <p style="text-align: justify;">Featuring work by AA Bronson, artist, healer, and surviving member of General Idea, this exhibition centers on a series of life-size, diamond-dusted self-portraits of Bronson as artist-shaman alongside experiments with self-portraiture from the late 1960s to the present. &nbsp;AA Bronson: Life and Work considers the revolutionary power of queer politics, self-representation, and artistic practices of healing. Support for this exhibition is provided by the Jackman Humanities Institute at the University of Toronto.</p> Sun, 17 Aug 2014 14:48:26 +0000 Allen Ginsberg - University of Toronto Art Centre - September 2nd - December 6th <p style="text-align: justify;">Organized in collaboration with the Thomas Fisher Rare Book Library, the exhibition comprises over 150 photographs taken by the legendary Beat poet and activist Allen Ginsberg, capturing his life, loves, and artistic community, including Jack Kerouac, William S. Burroughs, Neal Cassady, Peter Orlovsky and others of the Beat generation of writers, poets, and activists. The photographs are drawn on the collection of close to 8,000 prints recently donated by The Rossy Family Foundation to the University of Toronto Art Centre and Thomas Fisher Rare Book Library. The exhibition is made possible with the generous support of Lead Sponsor: The Rossy Family Foundation.&nbsp;</p> Sun, 17 Aug 2014 14:43:50 +0000 Group Show - Propeller Centre for the Visual Arts - August 13th - August 24th <p style="text-align: justify;">-&gt;&nbsp;The Internet has permanently altered not only the means in which we communicate, but also how we identify and place ourselves contextually.<br /><br />-&gt;&nbsp;As society becomes accustomed to reading symbols, glyphs and images in lieu of textual devices, it then follows that there is an exchange of &ldquo;viral&rdquo; images online which create their own subcultural dialogue (imgur, reddit and 4chan). These &ldquo;forums &ldquo; build their own linguistic paradigms.</p> <p style="text-align: justify;">-&gt;&nbsp;The exhibition will explore what happens when these images leave the digital world and are injected into a physical, &ldquo;real world&rdquo; context (IRL).&nbsp;</p> Sun, 17 Aug 2014 14:32:52 +0000 GERALD FERGUSON - Olga Korper Gallery - August 27th - September 27th Sun, 17 Aug 2014 14:27:51 +0000 kipjones - loop Gallery - August 16th - September 7th <p style="text-align: justify;">loop Gallery&nbsp;is pleased to present&nbsp;Poil, plume, peau, an exhibition of large drawings by&nbsp;Lor&egrave;ne Bourgeois&nbsp;exploring the hair, feathers, skin, and clothes of humans and animals and&nbsp;Today, it is personal, a new exhibition by&nbsp;kipjones.</p> <p class="paragraph_style_9" style="text-align: justify;">The exhibition,&nbsp;Today, it is personal, is a subjective investigation into the notion of personal navigation with references to communication as an abstract. The work seeks to create juxtaposed relationships between the formalism of the grid and shaped metal forms.&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">kipjones&nbsp;is a Victoria-born and Toronto-based artist who holds an MFA from Concordia University. He has also worked as a sculpture technician at Mt Allison University in Sackville, NB; as an instructor at Mt Allison, University of Ottawa, Concordia University, and currently at OCADU.&nbsp;kipjones&nbsp;has exhibited internationally, as has produced major commissioned public art projects. kipjones gratefully accepts the assistance of the Ontario Arts Council in the research for this work.</p> Sun, 17 Aug 2014 14:23:15 +0000 Lorene Bourgeois - loop Gallery - August 16th - September 7th <p class="paragraph_style_9" style="text-align: justify;">loop Gallery&nbsp;is pleased to present&nbsp;Poil, plume, peau, an exhibition of large drawings by&nbsp;Lor&egrave;ne Bourgeois&nbsp;exploring the hair, feathers, skin, and clothes of humans and animals and&nbsp;Today, it is personal, a new exhibition by&nbsp;kipjones.&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">Strange as they may be, there are connections between clothing and animals, and between states of dress and nakedness. In her new work,&nbsp;Bourgeois&nbsp;attempts to articulate the existential quality inherent to both subjects while celebrating their singularities.&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">&nbsp;</p> <p class="paragraph_style_9" style="text-align: justify;">Bourgeois&nbsp;lives in Toronto. Her work has been exhibited in Canada, France, Korea, Russia and the USA. She is represented in numerous collections including the Canada Council Art Bank, MOCCA, Ernst and Young, Senvest, the Banff Centre, the Department of Foreign Affairs and the Donovan Collection.&nbsp;Lor&egrave;ne Bourgeois&nbsp;gratefully acknowledges the support of the Canada Council for the Arts and the Ontario Arts Council.</p> Sun, 17 Aug 2014 14:18:41 +0000 Lois Anderson - Doris McCarthy Gallery - September 2nd - November 8th <p style="text-align: justify;"><em>relay&nbsp;</em>is a survey exhibition celebrating Lois Andison&rsquo;s production over the past fifteen years, including several new works created for this presentation. Compressing time and space, Andison's work examines human communication and engages language and wordplay, toying with power dynamics within relationships. Andison receives information and carefully absorbs experience &ndash; through her kinetic sculptures and mixed media installations, she interrupts the message and redistributes it, having added layers of meaning through an aesthetic translation.</p> Sun, 17 Aug 2014 14:05:53 +0000 - Bau-Xi Gallery - Toronto - August 9th - August 23rd Sun, 17 Aug 2014 14:00:11 +0000 Lee Henderson - YYZ Artists' Outlet - September 12th - November 29th <p style="text-align: justify;"><em>The Known Effects of Lightning on the Body</em>&nbsp;is a contemplative video installation and a space for quiet reflection. Vicarious bodies (match sticks) are ignited in succession, anthropomorphizing as they burn. Moments of contact between bodies quickly shift into moments of crisis&mdash;the physio-chemical crisis standing in, perhaps, for psycho-biological crises&mdash;which in turn cool themselves into processes of gradual exhaustion and relinquishment; the match-body bows, as it were, as it is consumed.</p> <p style="text-align: justify;"><em>The Known Effects of Lightning on the Body</em>&nbsp;was created as an exercise in attention and attenuation. While mortality, impermanence, and the confluence of the bodily and the metaphysical continue to be the major themes and primary areas of research of Henderson&rsquo;s work, he is also interested in how we deal with these universal themes both individually and collectively. He explores human reactions to the inevitability of death and the search for transcendence; intrigued by the ways in which we accept, deny, or evade the knowledge of our own eventual and certain non-being. Thus, art becomes a delivery mechanism for philosophy, capable of removing the false problem of the terminus, the final point we spend our conscious lives avoiding. It is a practice marked by the persistence of collective histories and the brevity of individual lives.</p> <p style="text-align: justify;"><strong>LEE HENDERSON</strong>&nbsp;is a media-based artist from Saskatchewan. He has studied art in Canada and Germany, with talented professionals including Maria Vedder, Brian Eno, and Ellen Bromberg. Since completing his MFA in 2005 at the University of Regina, he has been furthering his time &ndash; and lens &ndash; based artistic practice. Recent and upcoming exhibitions and screenings include the Zero Film Festival (Los Angeles), The Dunlop Art Gallery (Regina), The Mendel Art Gallery (Saskatoon), The Rooms (St. John&rsquo;s), gallerywest (Toronto), and Kunstraum Tapir (Berlin). Henderson currently lives and works in Toronto where he teaches photography and media art at OCADU and Ryerson University.</p> Sun, 17 Aug 2014 13:49:59 +0000 Andrew Rucklidge - YYZ Artists' Outlet - September 12th - November 29th <p style="text-align: justify;">The exhibition title refers to the linguistic concept of the Shifter where the personal pronouns &lsquo;You&rsquo; and &lsquo;I&rsquo; shift in meaning based on the person uttering the word. It is as if this programmatic conversational shift of authorship has an inherently predatory nature, the ultimate linguistic camouflage for which Rucklidge is attempting to find a visual equivalent, much like pointing and uttering &lsquo;this&rsquo; or &lsquo;that.&rsquo; Within this exhibition there is a masked order of conversation, shuffled within the gallery space; a first painting seeding a separated second; seeding a disenfranchised third that clones itself in reflection into a diptych, which then bifurcates. Several of the paintings then seed new forms via torn digital scanning and abrupt mechanical shearing, and so on within the space until the final work slips into its camouflaged slot.</p> <p style="text-align: justify;">Despite the use of Shifting and Shuffling as central (dis)organizational metaphors for the exhibition, within all of the paintings there is an attempt to find a visual focus for the sense of unrest that feeds Wilhelm Worringer&rsquo;s urge to abstraction, to &ldquo;render the natural model with the line drawn absolutely straight, in response to a marked tendency toward maximum crystalline regularity.&rdquo;<a title="" href="">[i]</a>&nbsp;At one pole, there are life denying inorganic crystalline forms, geometric constructions modeled from the mill cut linear units of Poe and Lovecraft&rsquo;s uneasy sheds of hidden America. At the other pole there is the urge to empathy, which allows the mimetic impulses of organic shapes (the signature of a confidence in the external world) to bud within these geometric forms. At another level Rucklidge has attempted to confront the edge-center problem by seeding these forms from one painting to the next sequentially. This is a way of introducing a temporal aspect to the works in the series by linking them beyond the equally probable limits of the canvas. This visual cloning allows geometric containment to ferment an interior wildness of form, whose character is to dispute the internal edges and to some degree leap beyond the canvas edge from painting to painting. Nascent wild forms sprouting, expanding and cooling into crystalline hard edges.</p> <p style="text-align: justify;">Technically, the early seed works of this show follow the procedure of the&nbsp;<em>T&uuml;chlein</em>&nbsp;paintings of the 14<sup>th</sup>&nbsp;and 15<sup>th</sup>&nbsp;century from the Netherlands. These paintings were made of distemper on linen cloth; a fussy technique involving layered applications of pure pigment and the rendered glue of animal bones. Raw, faded, sunken, matte, crumbling with an inherent scent of neglect, castles and power. Using this technique relates to the hunt and all its metaphoric implications: sighting, baiting, tracks, traces, escape, ammunition, stalking, camouflage, waiting, and ideally the feast. This pretty much sums up any artist&rsquo;s daily checklist; a famished borderline detective.</p> <p style="text-align: justify;">Rucklidge&rsquo;s vision is an exhibition where repeated forms and surfaces would be shifting and hunting each other across the gallery. The paintings would refer and relate to each other in a predatory stalking manner; the variants of basic forms reasserting themselves within new backgrounds and contexts (a pictorial natural selection). The initial referent forms being geometric and acting as seeds in the picture plane and then becoming amplified using compositional devices. The crystalline character of the seeding geometric forms then relates to the instinct for the &lsquo;Thing itself,&rsquo; most powerful in primitive man:</p> <p style="text-align: justify;"><em>&lsquo;The Geometric line is distinguished from the natural object precisely by the fact that it does not stand in any natural context&hellip;taken out of the ceaseless flux of the forces of nature they have become visible on their own&rsquo;&nbsp;</em>(Lipps,&nbsp;<em>&Auml;sthetik</em>, 249).</p> <p style="text-align: justify;">That geometric line should slice just like the bolt of an arrow out of the blue.</p> <p style="text-align: justify;">This hunt dovetails nicely into the Modernist search for the &lsquo;Sunken Treasure&rsquo; and with the Marxian concern with the outmoded and the nonsynchronous:</p> <p style="text-align: justify;">&lsquo;<em>The marvelous is not the same in every period: it partakes in some obscure way of a sort of general revelation only the fragments of which come down to us: they are the romantic ruins, the modern mannequin&rsquo;</em>(Breton,&nbsp;<em>Manifesto</em>).</p> <p style="text-align: justify;"><a href="" target="_blank"><strong>ANDREW RUCKLIDGE</strong></a>&nbsp;received his MA in Fine Art at Chelsea College of Arts in London in 2003. He has shown internationally at The New Contemporaries (London), Store Gallery (London), John Connelly Presents (New York), Frieze Art Fair (New York), Zoo Art Fair (London), The Armoury (New York), NADA Miami (Miami), VOLTA (Basel), Art Chicago (Chicago), Berliner Liste (Berlin), Art Cologne (Cologne), DC Dusseldorf (Dusseldorf), as well as the SCOPE art fairs and TIAF in Toronto. In 2013, he received both the K.M. Hunter Visual Artist Award and the Laura Ciruls Painting Award. His work is in collections such as UBS (London), Zabludowicz 176 Collection (London), Kunstmuseum (Gotland), Soho House (London and Toronto), Google, Bank of Montreal, and Scotiabank. Rucklidge currently lives and works in Toronto where he also teaches in the Department of Painting and Drawing at OCADU.</p> Sun, 17 Aug 2014 13:39:50 +0000 Sam Cotter - RYERSON IMAGE CENTRE - September 17th - October 26th <p style="text-align: justify;">Toronto-based artist and writer Sam Cotter works across photography, film, installation and sculpture to examine issues of visual representation. In his installation&nbsp;<em>Spit and Image&nbsp;</em>(2012&ndash;14),<em>&nbsp;</em>Cotter explores parallels between spatial illusion and linguistic instability through the creation of an expanded cinema work that combines a continually looping film with an asynchronous poetic monologue. The installation utilizes a two-way mirror as a screen, extending the temporal and spatial ambiguities of cinematic representation into the space of the gallery.</p> <p style="text-align: justify;">Within the work&rsquo;s film component, Cotter explores ideas of compression and expansion of depth in cinematic space&mdash;both in the act of looking through the camera and in viewing the resulting image. The film depicts a somewhat ambiguous location that parallels the mirrored installation apparatus; it lies somewhere between a hall of mirrors and a deconstructed film set. As a cinematic installation,&nbsp;<em>Spit and Image</em>&nbsp;creates a site of optical disorientation that offers an immersive reflection on the artifice and staging devices of film.</p> Sun, 17 Aug 2014 13:29:06 +0000 Tamira Sawatzky, Elle Flanders - RYERSON IMAGE CENTRE - September 17th - December 19th <p style="text-align: justify;">Mechanized apparatuses visually record millions of images every day, documenting people&rsquo;s lives often without their awareness or permission. While surveillance has existed for some time, improved technology has led to greater consequences: targeted killing, collateral damage and the death of privacy. A catastrophic sequence of events often begins with a single image. In their ongoing investigation of violence hidden in the everyday, Toronto artist collective Public Studio (Elle Flanders and Tamira Sawatzky) uses drone technology to provoke conversations about surveillance and warfare.</p> Sun, 17 Aug 2014 13:26:02 +0000