ArtSlant - Recently added http://www.artslant.com/trn/Events/show en-us 40 Anne Collier - Art Gallery of Ontario - September 23rd - January 10th, 2016 <div class="col-right"> <p style="text-align: justify;">This first major solo exhibition of Anne Collier's work traces the photographer's career from 2002 to the present. Encompassing about 40 of her large, coolly elegant prints &mdash; including works from her signature <em>Woman with a Camera</em> series &mdash; &nbsp;the exhibition presents themes that have dominated her work, from pop psychology, to the clich&eacute;s and conventions of commercial photography, to the act of seeing.</p> <p style="text-align: justify;">Building upon the legacies of artists such as Cindy Sherman and Richard Prince, Collier recontextualizes images sourced from popular culture &mdash; including record-album sleeves, magazines, coffee-table books and Hollywood film stills &mdash; and reshoots these artifacts against neutral studio backdrops. Many works explore the role gender plays in photography, as in her ongoing <em>Woman with a Camera, </em>which often focuses on film heroines such as Marilyn Monroe who appear simultaneously empowered and objectified when a camera is placed in their hands.</p> <p style="text-align: justify;">Curated by MCA Chief Curator Michael Darling and with installation overseen by AGO Curator of Modern and Contemporary Art Kitty Scott, <em>Anne Collier</em> will be on view on Level 4 of the AGO's Contemporary Tower.</p> <p style="text-align: justify;">This exhibition is included with <a href="http://www.ago.net/admission" target="_blank">general admission</a>.</p> <p style="text-align: justify;">Organized by the MCA Chicago.</p> <h3>ARTIST'S TALK</h3> <p class="dates"><strong>Wednesday, September 23<br /> 5:30 pm<br /> Jackman Hall</strong></p> <h3>PUBLIC OPENING</h3> <p class="dates"><strong>Wednesday, September 23<br /> 6:30 &ndash; 8:30 pm<br /> Walker Court</strong></p> </div> Sun, 02 Aug 2015 17:03:58 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Joseph Mallord William Turner - Art Gallery of Ontario - October 31st - January 31st, 2016 <h3 style="text-align: justify;"><strong><em>Critically acclaimed solo exhibition from the Tate Britain makes its only&nbsp;Canadian appearance in Toronto</em></strong></h3> <p style="text-align: justify;">This fall the Art Gallery of Ontario (AGO) will host a major exhibition celebrating the experimental and contemplative works of Joseph Mallord William Turner (1775&ndash;1851), a giant of British art. Opening on Oct. 31, 2015, <em><strong>J.M.W. Turner: Painting Set Free </strong></em>features more than 50 large-scale paintings and watercolours on loan from Tate Britain and makes the case that the radical works created in the final 15 years of Turner&rsquo;s career, with their arresting use of light, represent a fulfillment of the artist&rsquo;s upward trajectory.</p> <p style="text-align: justify;">&ldquo;By bringing an exhibition of this calibre to Toronto this fall, the AGO will offer an exceptional experience to its members and visitors, and we&rsquo;re delighted to be partnering with one of the world&rsquo;s most renowned art institutions to do so,&rdquo; says Stephanie Smith, the AGO&rsquo;s Chief Curator. &ldquo;Turner was a great artist who reimagined the medium of painting to create powerful and beautiful works. Through his art, he invites us to bear witness to the rapidly changing world of his time and to delight in the power of the artistic imagination."</p> <p style="text-align: justify;">Premiered at Tate Britain in September 2014 and heralded by critics across the U.K. as &ldquo;an exciting, entrancing show&rdquo; (The Guardian) and &ldquo;sensational&rdquo; (London Evening Standard), <em><strong>J.M.W. Turner: Painting Set Free</strong></em> focuses on the final and most experimental phase of the artist&rsquo;s career. Beginning in 1835 and closing with his last exhibitions at the Royal Academy in 1850, the exhibition sets out to show how Turner&rsquo;s final years were a time of exceptional energy and vigour, initiated by one of his most wide-ranging tours of Europe. The installation at the AGO will be coordinated by Lloyd DeWitt, AGO Curator of European Art.</p> <p style="text-align: justify;">Turner&rsquo;s late works, with their emphasis on atmosphere, are famous for their sublime colour palettes, textures and arresting use of light. Highlights of the exhibition include the large historical works <em>Ancient Rome: Agrippina Landing with the Ashes of Germanicus</em> (exhibited 1839); <em>Snow Storm - Steam Boat off a Harbour&rsquo;s Mouth</em> (exhibited 1842) and the iconic <em>Angel Standing in the Sun</em> (exhibited 1846); as well as numerous and magnificent watercolours, including <em>The Blue Rigi, Sunrise</em> (1842) and the haunting <em>Fire at the Grand Storehouse of the Tower of London</em> (1841).</p> <p style="text-align: justify;">&ldquo;J.M.W. Turner is a towering figure of British 19th-century art,&rdquo; says DeWitt. &ldquo;His innovative approach remains an ongoing inspiration to contemporary artists and audiences. And yet it was during this last, most fruitful period of his life that his art was most misunderstood. Mocked publicly, Turner baffled his critics with his radical approach. Nonetheless, he carried on experimenting with unusual subject matters and different canvas formats and mastering his free and spontaneous techniques in both oil and watercolour.&rdquo;</p> <p style="text-align: justify;"><em><strong>J.M.W. Turner: Painting Set Free</strong></em> runs at the AGO until Jan. 31, 2016. A 250-page, soft-cover catalogue will accompany the exhibition. Published by the Tate and edited by David Blayney Brown, Amy Concannon and Sam Smiles,<strong><em> J.M.W. Turner: Painting Set Free</em></strong> features more than 100 colour plates and will be available for sale in shopAGO for $63.</p> <p style="text-align: justify;">AGO members will be offered free admission to <strong><em>J.M.W. Turner: Painting Set Free</em></strong> and exclusive previews in the days leading up to the exhibition&rsquo;s public opening. More information on the benefits of AGO membership can be found at <a href="http://www.ago.net/general-membership" target="_blank">www.ago.net/general-membership</a>.</p> <p style="text-align: justify;"><strong><em>J.M.W.Turner: Painting Set Free</em></strong> is organized by Tate Britain.</p> <p style="text-align: justify;">Media Partner: <em>Globe and Mail</em></p> <p style="text-align: justify;">Official Hotel Partner: Chelsea Hotel</p> Sun, 02 Aug 2015 18:29:22 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Walter Trier - Art Gallery of Ontario - May 2nd - September 13th <p style="text-align: justify;">The first issue of <em>Lilliput: The Pocket Magazine for Everyone</em> appeared in July 1937. The publication quickly became popular for its small format, whimsical covers and easy-to-digest contents. A welcome distraction for those serving in the Second World War, <em>Lilliput</em> featured entertaining cartoons, short stories by well-known authors and occasional photographs of female nudes.</p> <p style="text-align: justify;">Illustrator Walter Trier designed all the <em>Lilliput</em> covers &ndash; more than 150 &shy;&ndash; from 1937 to 1949. On each cover, he placed a trio of a man, a woman and a little Scottish terrier in a comical situation. Trier called the couple &ldquo;the embodiment of something eternally amusing.&rdquo;</p> <p style="text-align: justify;">In 1976, the Trier-Fodor Foundation gave the Art Gallery of Ontario more than 1,100 works by Trier. This small exhibition is selected from the AGO's collection of 30 drawings for <em>Lilliput</em> and a large number of proofs for the original covers.</p> <p style="text-align: justify;">Organized by Art Gallery of Ontario</p> Sun, 02 Aug 2015 16:54:27 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Benjamin Cheverton - Art Gallery of Ontario - February 21st - April 2nd, 2016 <p style="text-align: justify;">Benjamin Cheverton (British, 1794&ndash;1876) was a man of many talents: he excelled in invention, science and craftsmanship. In the 1820s, he perfected a sculpture-copying machine that predates modern 3-D printers by more than 150 years. Working from full-sized busts created by other sculptors, he used the machine to produce exact, miniaturized copies.</p> <p style="text-align: justify;">This exhibition invites you to explore ongoing research into the works of Benjamin Cheverton from the Thomson Collection at the Art Gallery of Ontario. Constantly seeking answers, AGO curators and conservators closely examine the works, comb through primary documents and visit other museums to study related objects and research materials. For example, new in-depth findings have revealed the identities of a number of the sitters depicted in Cheverton's works.</p> <p style="text-align: justify;">Organized by the Art Gallery of Ontario</p> Sun, 02 Aug 2015 16:53:07 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list - Art Gallery of Ontario - April 25th - April 17th, 2016 <p style="text-align: justify;">In the mid-1970s several young Canadian artists embraced the cutting-edge technology of the colour Xerox machine. Six of them &ndash; Robert Arn, Barbara Astman, Flavio Belli, Michael Bidner, Michael Hayden and Jaan Poldaas &ndash; joined forces with curator Karyn Allen during an exciting two-week exhibition at the AGO in the fall of 1976. As an art medium, xerography made it possible to produce inexpensive copies of virtually any image or object. It allowed artists to play with images from the mass media, recombining or altering them for their own use. Visitors today will recognize this art form as a precursor to the pervasive circulation of digital images today.</p> <p style="text-align: justify;">This installation draws upon our rich archival holdings of Astman and Bidner from the 1976 exhibition.</p> <p style="text-align: justify;">Organized by Art Gallery of Ontario</p> Sun, 02 Aug 2015 16:51:22 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Piet Mondrian - Art Gallery of Ontario - May 23rd - November 1st <p style="text-align: justify;">Dutch painter Piet Mondrian is often regarded as the father of modern abstract art. By the 1920s, he had developed his trademark style, which is characterized by bold red, yellow and blue rectangles bounded by a black-and-white grid.</p> <p style="text-align: justify;">Mondrian spent his youth in rural Holland painting windmills, fields and rivers. Along with two works by Mondrian, this small, focused installation includes a selection of watercolours by artists of the <a href="http://en.wikipedia.org/wiki/Hague_School" target="_blank">Hague School</a>, whose moody, pastoral landscapes influenced Mondrian's early work.</p> <p style="text-align: justify;">However, as<em> Before Abstraction</em> shows, Mondrian preferred high horizon lines and flattened spaces to the distant panoramas and open skies of Hague School artists. The watercolour <em>Three Cows in a Pot Stall</em>, a recent addition to the AGO's collection, hints at Mondrian's mature style. The strong contours of this work &mdash; the distinct horizontal and vertical lines that enclose the cows &mdash; foreshadow the abstract patterning of his later compositions.</p> <p style="text-align: justify;">Organized by Art Gallery of Ontario</p> Sun, 02 Aug 2015 16:43:21 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list - Art Gallery of Ontario - June 20th - September 20th <div class="col-right"> <p style="text-align: justify;">Drawing on the power that the land holds in our imaginations, <em>Picturing the Americas</em> invites visitors to traverse a vast and magnificent landmass that spans from Canada's Arctic to the icy tip of Argentina and Chile and to see its icons anew. Featuring more than 100 landscapes from across the hemisphere, the connections and continuities of our shared history and land are undeniable: we are connected and yet we are distinct.</p> <p style="text-align: justify;">Created between the early 1800s and the early 1900s, just as nations in the Americas gained and asserted their independence, the paintings represent efforts by explorers and by artists &mdash; both European and locally born &mdash; to capture and define the essence of a place on canvas, always rooted in the natural beauty of the land.</p> <p style="text-align: justify;">Staged as a series of encounters between artworks, visitors and the land, <em>Picturing the Americas</em> is arranged thematically in dramatic groupings. Visitors will encounter beloved and unfamiliar sites as seen through the eyes of such celebrated landscape artists as Brazil's F&eacute;lix &Eacute;mile Taunay and Tarsila do Amaral, Mexico's Eugenio Landesio and Gerardo Murillo &ldquo;Dr. Atl,&rdquo; Canada's Cornelius Krieghoff and Lawren S. Harris and Frederic E. Church and Georgia O'Keeffe from the United States.</p> <p style="text-align: justify;">In bringing together for the first time iconic works from various nations, <em>Picturing the Americas</em> reveals how landscapes communicate aspirations, nationhood and distinct cultural identity. It also challenges visitors to engage with environmental issues and consider the land as a space of conquest, exploration, and contemplation &ndash; issues still very pertinent today.</p> <p style="text-align: justify;">Organized by the Art Gallery of Ontario, Pinacoteca do Estado de S&atilde;o Paulo and the Terra Foundation for American Art, which is also recognized for its generous support.</p> </div> Sun, 02 Aug 2015 09:19:52 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Emily Carr - Art Gallery of Ontario - April 11th - August 9th <p style="text-align: justify;">An intrepid explorer, artistic innovator and thought pioneer, Emily Carr created works of art that reflect the dramatic impact of her encounters with the indigenous cultures and the formidable landscapes of British Columbia in the first half of the 20th century. Breathing new life into Carr's legendary fascination with the Pacific Northwest through the display of archival materials, paintings and artifacts,<em> From the Forest to the Sea: Emily Carr in British Columbia</em> is curated by Canadian art critic Sarah Milroy and Ian Dejardin, Sackler Director of the <a href="http://www.dulwichpicturegallery.org.uk/" target="_blank">Dulwich Picture Gallery</a>.</p> <p style="text-align: justify;">Tracing a dramatic journey from darkness to light, and from winter to summer, the exhibition features nearly 100 paintings, watercolours and drawings by Carr, including rarely seen sketches, works drawn from private collections as well as the recently discovered illustrated journal <em>Sister and I in Alaska</em>, in which Carr documented her pivotal 1907 trip up and down the Northwest Coast. Visitors will travel with Carr as she explores this landscape and its indigenous communities, searching for a sense of place and self in both her brooding forest scenes and the euphoric skyscapes of her late career.</p> <p style="text-align: justify;">In dialogue with Carr's paintings, the exhibition features more than 40 historic indigenous artifacts from the Pacific Northwest Coast, including masks, baskets and ceremonial objects by Haida, Kwakwaka'wakw, Nuu-chah-nulth, Salish, Tsimshian and Tinglit makers.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Download or update the AGO app for <a href="https://itunes.apple.com/us/app/art-gallery-of-ontario/id442967354?mt=8" target="_blank">iOS</a> or <a href="https://play.google.com/store/apps/details?id=com.tristaninteractive.autour.ago&amp;hl=en" target="_blank">Android</a> to access audio tracks featuring artists, curators, anthropologists and historians discussing some of the artifacts in this exhibition.</strong></p> <p class="p1" style="text-align: justify;">Organized by the Art Gallery of Ontario and Dulwich Picture Gallery with the generous collaboration of the National Gallery of Canada, the Vancouver Art Gallery, the Royal BC Museum, BC Archives and the Museum of Anthropology, UBC.</p> <div id="image7420" class="image"><img src="http://www.ago.net/assets/images/555/dulwich.gif" alt="dulwich picture gallery logo" /></div> Sun, 02 Aug 2015 09:18:08 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list - Art Gallery of Ontario - July 8th - November 15th <p style="text-align: justify;">Photographs have played a crucial role in shaping perceptions of nuclear weapons and nuclear energy. <em>Camera Atomica</em> &mdash; guest-curated by writer, curator and art historian John O'Brian &mdash; is the first substantial exhibition of nuclear photography to encompass the entire postwar period from the bombings of Hiroshima and Nagasaki in 1945 to the triple meltdown at Fukushima Daiichi in 2011.</p> <p style="text-align: justify;">The election of President Ronald Reagan in 1980 accompanied an intensification of the Cold War, and artists and photographers responded in large numbers to the escalating risk of a nuclear confrontation. The politics of the Cold War also coincided with a cultural debate around photography and its claims to represent what is &ldquo;true&rdquo; or &ldquo;real.&rdquo; Much post-1980 nuclear photography reflects altered understandings of the limitations of photography and the dangers of the nuclear arms race.</p> <p style="text-align: justify;"><em>Camera Atomica</em> addresses pressing issues in the post-war era &ndash; nuclear weapons proliferation, toxic waste disposal and climate change &ndash; as they are represented in photography. Organized thematically, it brings together vintage and contemporary photographs, press and fine arts photographs, scientific and touristic images and advertisements and propaganda from a wide range of sources. A discussion room, designed to evoke a fallout shelter, concludes the exhibition, replete with posters, articles and details about local engagement with atomic energy.</p> <p style="text-align: justify;">Beginning with Wilhelm R&ouml;ntgen&rsquo;s discovery of the X-ray in 1895, the exhibition includes more than 200 works, including an installation by Ken + Julia Yonetani, Ken Domon and Shomei Tomatsu&rsquo;s photographs of hibakusha (survivors of Hiroshima and Nagasaki), David McMillan&rsquo;s photographs at Chernobyl Nuclear Power Plant and Sandy Skoglund&rsquo;s darkly humorous <em>Radioactive Cats</em>, as well as works by Nancy Burson, Edward Burtynsky, Philippe Chancel, Carol Cond&eacute; and Karl Beveridge, Bruce Conner, Robert Del Tredici, Carole Gallagher, Blake Fitzpatrick, Kenji Higuchi, Michael Light, Dean Loomis, Richard Misrach, Ishiuchi Miyako, Barbara Norfleet, Andrea Pinheiro, Shimpei Takeda, Donald Weber, Garry Winogrand and&nbsp;official U.S. Army and press photographs from the AGO&rsquo;s collection. Also featured is a recently acquired work by James Welling, from his series <em>The Glass House</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Organized by the Art Gallery of Ontario.</p> <p style="text-align: justify;">A 304-page soft-cover catalogue accompanies the exhibition and will be for sale in <a href="http://shop2.ago.net/47351/Camera-Atomica/" target="_blank">shopAGO</a>. Co-published by the Art Gallery of Ontario and Black Dog Press, <em>Camera Atomica</em> includes more than 250 illustrations as well as essays by John O'Brian, Hiromitsu Toyosaki, Julia Bryan-Wilson, Blake Fitzpatrick, Susan Schuppli, Iain Boal, Gene Ray and Douglas Coupland.</p> Sun, 02 Aug 2015 09:14:03 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Tom Thomson - Art Gallery of Ontario - May 23rd - February 6th, 2016 <div class="col-right"> <p style="text-align: justify;">This focused installation offers a rare opportunity to view Tom Thomson's two best-known works, <em>The Jack Pine</em> (1915-16) and <em>The West Wind</em> (1916-17), with their oil-on-panel sketches.</p> <p style="text-align: justify;">These two works have acquired iconic status over time, interpreted by many critics as bold statements of national identity, resiliency and belonging in nature. The images are often used to reinforce ideas about Canadian identity and the Canadian landscape, as well as myths about Thomson himself. As paintings, they are also exceptional, reflecting an ambitious style and bold new approach.</p> <p style="text-align: justify;">Their setting is Algonquin Park; their subject is the lone jack pine. For many, the park embodies a &ldquo;pure&rdquo; and &ldquo;untouched&rdquo; ideal of wilderness, but even in Thomson's time, its landscape had been dramatically reshaped by colonialism, industry and wildlife management. The re-emergence of species and the growing presence of wildlife in suburban and urban areas are challenging contemporary understandings of nature and the wild. The roadkill remains of a fawn represented in Michael Belmore's <em>Breadth</em> reflect this profound encounter between human and animal. The installation's three artworks are complemented by a selection of contextual photographs.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Organized by the Art Gallery of Ontario.</p> </div> Sun, 02 Aug 2015 09:11:22 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Stephen Andrews - Art Gallery of Ontario - April 23rd - August 30th <p style="text-align: justify;"><em>Stephen Andrews POV</em> is the largest solo exhibition by one of Toronto's leading contemporary artists. Trained as a photographer, Andrews has been practicing since the late 1970s, exploring topics as varied as AIDS, surveillance, war, memory and chaos theory. Featuring works on paper, photographs and 21 large paintings&mdash;six of which are making their debut at the AGO&mdash;this exhibition charts the last 15 years of Andrews' career, paying special attention to his development as a painter. Visitors are also introduced to Andrews' world through a display of his sketchbooks and handmade ceramics.</p> <p style="text-align: justify;">Renowned for his drawings, collages and video work, Andrews' decision to take up painting in the early 2000s marked a significant departure for the already successful Toronto artist.</p> <p style="text-align: justify;">Curated by Kitty Scott, the AGO's curator of modern and contemporary art, the exhibition features loans from public and private collections, in addition to three works from the AGO collection.</p> <p style="text-align: justify;">Organized by Art Gallery of Ontario</p> <p style="text-align: justify;">A 184-page hard-cover catalogue will accompany the exhibition. Published by the AGO and edited by Kitty Scott, <em>Stephen Andrews POV</em> features an interview with the artist by Glenn Ligon, commentary from artists Jacob Yerex, Paul P., Shelagh Keeley, April Hickox, Chris Curreri, Pierre Dorion and Cheryl Sourkes in addition to essays by Scott, Alexander Nagel, Sholem Krishtalka and a chronology by Kari Cwynar. The catalogue will be available for purchase in <a href="http://shop2.ago.net/57354/Stephen-Andrews-POV/" target="_blank">shopAGO</a>.</p> Sun, 02 Aug 2015 09:09:47 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Amy Brener, Clint Enns, Jay Isaac, Fabienne Lasserre, Rachel MacFarlane, Ella Dawn McGeough - Nicholas Metivier Gallery - August 6th 6:00 PM - 7:00 PM <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present <em>Broken Colours</em>, an exhibition guest-curated by Ben Portis.&nbsp; The exhibition will open on July 23 and will be on view through August 22 with an opening reception on Thursday, July 23 from 6 &ndash; 8 PM.&nbsp; The gallery will also host a special talk with Ben Portis and the artists on the evening of Thursday, August 6 between 6 &ndash; 8 PM.<br /> <br /> <em>Broken Colours</em> features six artists whose works employ colour as a near material.&nbsp; It considers how a schismatic chromatic composition might lead to an integrated structural form, and vice versa.&nbsp; <strong>Amy Brener</strong> (Brooklyn), <strong>Clint Enns </strong>(Toronto), <strong>Jay Isaac</strong> (Toronto), <strong>Fabienne Lasserre</strong> (Brooklyn), <strong>Rachel MacFarlane</strong> (Toronto/New Brunswick, NJ) and <strong>Ella Dawn McGeough</strong> (Toronto) are all Canadian.&nbsp; With the exception of MacFarlane, who is currently represented by the Nicholas Metivier Gallery, none of the artists currently have gallery representation in Toronto, hence their art has been little seen here. Each artist works in a hybrid manner.&nbsp; The visitor to <em>Broken Colours</em> will encounter combined elements of painting and sculpture, painting and photography, photography and language, or photography and film in any individual practice.<br /> <br /> Guest-curator <strong>Ben Portis</strong> has responded to a <em>carte blanche</em> invitation from Nicholas Metivier to elaborate on an original idea at the gallery.&nbsp; As this disparate artistic group of artists came together in Portis&rsquo; mind, he considered each to be a <em>bricoleur</em>, a term introduced into modern parlance by the great French anthropologist, Claude Levi-Strauss.&nbsp; A <em>bricoleur</em> creates or constructs using whatever is at hand.&nbsp; With a quirky, fortuitous and misbegotten sense of the French language, with which he has only a rudimentary grasp, Portis etymologically teased apart the word into <span style="text-decoration: underline;"><em>bris&eacute;e</em></span> (broken) and <span style="text-decoration: underline;"><em>couleur</em></span> (colour).&nbsp; This malapropism led to the perfectly apropos exhibition title.<br /> <br /> The core premise of <em>Broken Colours </em>is likewise idiosyncratic.&nbsp; The exhibition&rsquo;s origin draws on Portis&rsquo; initiation to visual arts.&nbsp; As a student, without prior training in studio techniques or practices, he latched on to sculpture assemblage which encouraged the use of readymade objects and forms near at hand.&nbsp; Later, he discovered personal form-making and began to explore its invention with the rapid, mutable media of oil paints.&nbsp; Portis retained a sculptor&rsquo;s sense of gravity, volume and balance, properties that he trans-substantiated and ascribed to the choice and application of painted colours.<br /> <br /> The conversation between sculpture and painting has been central to modern art, embodied in a single figure, such as Pablo Picasso, or an intimate rivalry, such as that of Robert Rauschenberg and Jasper Johns.&nbsp; The first artists considered for <em>Broken Colours</em>&mdash;<strong>Brener</strong>, <strong>Isaac</strong>, <strong>Lasserre</strong> and <strong>MacFarlane</strong>&mdash;sculptor, painter, sculptor, painter respectively, demonstrate the tendency to imbue these proud traditions, with which they strongly identify, with the most alluring or degrading contaminants.&nbsp; <strong>Brener</strong>&rsquo;s cast resin monoliths incorporate translucent pigments and opaque shards of mirror or concrete. <strong>Isaac</strong>, a rag-and-bone man by family trade, instills magpie encrustation and cluttered accumulation into his modernist compositions.&nbsp; <strong>Lasserre</strong> winds strips or collages patches of multi-hued textiles to form taut appliqu&eacute; skins over organically inspired minimalist cores and armatures.&nbsp; This process results in sculpture that registers as both hard and soft, with determined surface and indeterminate depth.&nbsp; <strong>MacFarlane</strong> has long-created miniature maquettes in her studio as the basis of dense, quasi-landscape or still life paintings, which appear so utterly unfamiliar as to verge on abstraction.&nbsp; For <em>Broken Colours</em>, her research device of the maquette fledges into a three-dimensional, composite tableau.<br /> <br /> Today, the sculpture/painting dialectic expands into a kinesthetic array of media and sensations.&nbsp;<em> Broken Colours</em> also encompasses artists whose primary modes are cinematic and conceptual.&nbsp; <strong>Enns</strong> has a mathematician&rsquo;s rapture with chaos and submits vernacular Internet video and found photography to crystalline micro-faceting or random decomposition.&nbsp; From this process he retrieves a new class of image built out of the granular electronic and chemical bits that correspond to modern colour.&nbsp; <strong>McGeough</strong>&rsquo;s works almost eschew colour altogether, dominated by black.&nbsp; One work saturates horoscope-like phrases that attribute sentient desire to various colours in monotone smog.&nbsp; Another featuring photographic details of a mound of black paint nonetheless reflects glints of radiant light.<br /> <br /> To read Ben Portis' essay about the exhibition, <a href="http://metiviergallery.com/news/recent-reviews" target="_blank">click here</a>.</p> Mon, 27 Jul 2015 17:54:28 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Amy Brener, Clint Enns, Jay Isaac, Fabienne Lasserre, Rachel MacFarlane, Ella Dawn McGeough - Nicholas Metivier Gallery - July 23rd - August 22nd <p style="text-align: justify;">Nicholas Metivier Gallery is pleased to present <em>Broken Colours</em>, an exhibition guest-curated by Ben Portis.&nbsp; The exhibition will open on July 23 and will be on view through August 22 with an opening reception on Thursday, July 23 from 6 &ndash; 8 PM.&nbsp; The gallery will also host a special talk with Ben Portis and the artists on the evening of Thursday, August 6 between 6 &ndash; 8 PM.<br /> <br /> <em>Broken Colours</em> features six artists whose works employ colour as a near material.&nbsp; It considers how a schismatic chromatic composition might lead to an integrated structural form, and vice versa.&nbsp; <strong>Amy Brener</strong> (Brooklyn), <strong>Clint Enns </strong>(Toronto), <strong>Jay Isaac</strong> (Toronto), <strong>Fabienne Lasserre</strong> (Brooklyn), <strong>Rachel MacFarlane</strong> (Toronto/New Brunswick, NJ) and <strong>Ella Dawn McGeough</strong> (Toronto) are all Canadian.&nbsp; With the exception of MacFarlane, who is currently represented by the Nicholas Metivier Gallery, none of the artists currently have gallery representation in Toronto, hence their art has been little seen here. Each artist works in a hybrid manner.&nbsp; The visitor to <em>Broken Colours</em> will encounter combined elements of painting and sculpture, painting and photography, photography and language, or photography and film in any individual practice.<br /> <br /> Guest-curator <strong>Ben Portis</strong> has responded to a <em>carte blanche</em> invitation from Nicholas Metivier to elaborate on an original idea at the gallery.&nbsp; As this disparate artistic group of artists came together in Portis&rsquo; mind, he considered each to be a <em>bricoleur</em>, a term introduced into modern parlance by the great French anthropologist, Claude Levi-Strauss.&nbsp; A <em>bricoleur</em> creates or constructs using whatever is at hand.&nbsp; With a quirky, fortuitous and misbegotten sense of the French language, with which he has only a rudimentary grasp, Portis etymologically teased apart the word into <span style="text-decoration: underline;"><em>bris&eacute;e</em></span> (broken) and <span style="text-decoration: underline;"><em>couleur</em></span> (colour).&nbsp; This malapropism led to the perfectly apropos exhibition title.<br /> <br /> The core premise of <em>Broken Colours </em>is likewise idiosyncratic.&nbsp; The exhibition&rsquo;s origin draws on Portis&rsquo; initiation to visual arts.&nbsp; As a student, without prior training in studio techniques or practices, he latched on to sculpture assemblage which encouraged the use of readymade objects and forms near at hand.&nbsp; Later, he discovered personal form-making and began to explore its invention with the rapid, mutable media of oil paints.&nbsp; Portis retained a sculptor&rsquo;s sense of gravity, volume and balance, properties that he trans-substantiated and ascribed to the choice and application of painted colours.<br /> <br /> The conversation between sculpture and painting has been central to modern art, embodied in a single figure, such as Pablo Picasso, or an intimate rivalry, such as that of Robert Rauschenberg and Jasper Johns.&nbsp; The first artists considered for <em>Broken Colours</em>&mdash;<strong>Brener</strong>, <strong>Isaac</strong>, <strong>Lasserre</strong> and <strong>MacFarlane</strong>&mdash;sculptor, painter, sculptor, painter respectively, demonstrate the tendency to imbue these proud traditions, with which they strongly identify, with the most alluring or degrading contaminants.&nbsp; <strong>Brener</strong>&rsquo;s cast resin monoliths incorporate translucent pigments and opaque shards of mirror or concrete. <strong>Isaac</strong>, a rag-and-bone man by family trade, instills magpie encrustation and cluttered accumulation into his modernist compositions.&nbsp; <strong>Lasserre</strong> winds strips or collages patches of multi-hued textiles to form taut appliqu&eacute; skins over organically inspired minimalist cores and armatures.&nbsp; This process results in sculpture that registers as both hard and soft, with determined surface and indeterminate depth.&nbsp; <strong>MacFarlane</strong> has long-created miniature maquettes in her studio as the basis of dense, quasi-landscape or still life paintings, which appear so utterly unfamiliar as to verge on abstraction.&nbsp; For <em>Broken Colours</em>, her research device of the maquette fledges into a three-dimensional, composite tableau.<br /> <br /> Today, the sculpture/painting dialectic expands into a kinesthetic array of media and sensations.&nbsp;<em> Broken Colours</em> also encompasses artists whose primary modes are cinematic and conceptual.&nbsp; <strong>Enns</strong> has a mathematician&rsquo;s rapture with chaos and submits vernacular Internet video and found photography to crystalline micro-faceting or random decomposition.&nbsp; From this process he retrieves a new class of image built out of the granular electronic and chemical bits that correspond to modern colour.&nbsp; <strong>McGeough</strong>&rsquo;s works almost eschew colour altogether, dominated by black.&nbsp; One work saturates horoscope-like phrases that attribute sentient desire to various colours in monotone smog.&nbsp; Another featuring photographic details of a mound of black paint nonetheless reflects glints of radiant light.<br /> <br /> To read Ben Portis' essay about the exhibition, <a href="http://metiviergallery.com/news/recent-reviews" target="_blank">click here</a>.</p> Mon, 27 Jul 2015 17:52:51 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Abbas Akhavan - Mercer Union - A Centre for Contemporary Art - September 12th - October 31st <p style="text-align: justify;">Mercer Union is delighted to present a solo exhibition by Abbas Akhavan entitled&nbsp;<em>Variations on a Garden</em>&nbsp;opening on Saturday 12th September 2015.</p> <p style="text-align: justify;">Abbas Akhavan&rsquo;s practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in Abbas&rsquo; practice. Recent works have shifted focus, wandering onto spaces and species just outside the home &ndash; the garden, the backyard, and other domesticated landscapes. Akhavan is the recipient of Kunstpreis Berlin (2012), Abraaj Group Art Prize (2014) and is currently short listed for the Sobey Award (2015).</p> <p style="text-align: justify;">This exhibition is presented with leading support from Partners In Art</p> Mon, 27 Jul 2015 17:50:15 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Tyler Armstrong, Kim Dorland, Steve Driscoll, Daniel Hutchinson, Erin Loree, Gavin Lynch, bradley wood - Angell Gallery - July 25th - August 15th <p style="text-align: justify;">In the final exhibition at its Queen West &amp; Ossington location before moving to 1444 Dupont St. Unit 15, <strong>Angell Gallery</strong> presents a Summer Group Exhibition featuring a selection of works by&nbsp;7 artists.</p> Mon, 27 Jul 2015 17:32:19 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list Chloe Seibert - Cooper Cole - July 24th - September 12th <p style="text-align: justify;">COOPER COLE is pleased to present: <em>Never Stop Following Your Fucking Dreams</em>, a solo exhibition by Chloe Seibert. This exhibition marks Seibert's first exhibition in Canada.</p> <p style="text-align: justify;">12:50 PM, #9 SOUTHBOUND, TWO WOMEN<br /> <br /> The only thing God can tell you is shut up<br /> Be quiet<br /> Shut up<br /> My older sister she in recovery too<br /> And I tell her the same thing<br /> Barely, rarely do I pray in English<br /> Just shut up<br /> <br /> <br /> _______________________________________________<br /> <br /> <br /> Chloe Seibert (b. 1989, New York, NY) received her BFA in 2011 from the School of the Art Institute of Chicago. Her work has been exhibited across the United States at such galleries as CourtneyBlades, Chicago, IL; Interstate Projects, Brooklyn; Johannes Vogt, New York; Gallery Diet, Miami, USA. She has also exhibited with Queer Thoughts at Eric Hussenot, Paris; and recently her work was included in a group show by Queer Thoughts in Nicaragua. Seibert currently lives and works in Chicago, USA.</p> Mon, 27 Jul 2015 17:16:22 +0000 http://www.artslant.com/trn/Events/list http://www.artslant.com/trn/Events/list