ArtSlant - Recently added en-us 40 - Art Gallery of Hamilton - June 7th - October 5th <p style="text-align: justify;"><span style="font-size: small;">Landscape painting in Europe was reinvented during the course of the nineteenth-century, altered according to shifting definitions of nature in the context of broad social and industrial changes. Modernity brought the advent of the railroads and of tourism into the countryside, of photography, and of such things as the portable colour tube, changing the relation of the artist to nature, and in turn the meaning and value attached to landscape painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">If the story is largely centred on French painting, it is one of enduring tropes governing the apprehension of the natural landscape, as well as of received techniques in the painting of it. With the rise of plein air (outdoor painting), objective depiction and the truthfulness to one&rsquo;s physical response to nature pressured the Academy&rsquo;s prescribed recipes of spatial arrangement, colour application, or the need for any figurative or narrative element to insert in the landscape. Accordingly, landscapists of all stripes over the course of the century navigated between naturalism and the artifices of painting, closely observing natural phenomena, or else falling back on established tricks of their craft&mdash;sometimes in the same work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The paintings presented here trace a chronological and stylistic overview of nineteenth-century European landscape painting, illustrating the different modes through which landscape was depicted. From Dutch-infused watery landscapes, to seascapes, to romanticized depictions of specific locales, the arrangement culminates in the light-filled essays and complex colour application of the Impressionists and post-Impressionists.</span></p> Wed, 30 Jul 2014 07:01:12 +0000 William Blair Bruce - Art Gallery of Hamilton - June 28th - October 5th <p style="text-align: justify;"><span style="font-size: small;">On Sunday June 28, 1914, the Art Gallery of Hamilton opened its doors for the very first time to great fanfare and expectation: the featured artist was William Blair Bruce. Born and raised in Hamilton, Bruce had died prematurely in 1906, in Stockholm, at the age of 47. His widow, the Swedish artist Caroline Benedicks, his father, William Bruce Senior and his sister Bell Bruce together offered the City of Hamilton a collection of significant paintings by Bruce with the proviso that an art gallery be established. And so was born the AGH. On the occasion of our centennial, we pay tribute to this founding donation, and this significant Canadian painter through the mounting of a major exhibition of his work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition follows the painter from his early days in Hamilton, to Paris, to the French artists' colonies of Barbizon, Grez-sur-Loing and Giverny, and finally to Sweden where together with Caroline he settled on the island of Gotland in the middle of the Baltic sea, building a magnificent home and studio called Brucebo, which today houses the largest collection of works by both artists.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Numbering 100 works, the Bruce exhibition is the largest ever mounted and includes paintings never before exhibited publically, and related archival material, including photographs and letters, with a view to presenting as full a picture as possible of the artist and his life. A significant publication, with seven independently authored chapters, accompanies the exhibition. Major lenders include the National Gallery of Canada, the Nationalmuseum (Stockholm), the Metropolitan Museum of Art (New York), and the Terra Foundation for American Art (Chicago). Significantly, we're pleased to announce that we will be bringing over twenty paintings from Sweden for inclusion in the exhibition, many of which have never-before travelled to Canada.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One hundred years later, we welcome William Blair Bruce back to Hamilton.</span></p> Wed, 30 Jul 2014 06:58:38 +0000 Jenn E. Norton - Art Gallery of Hamilton - June 28th - January 4th, 2015 <p style="text-align: justify;"><em>Dredging a Wake</em> activates video art, projections and sculptures in magically interactive ways. Norton&rsquo;s immersive installation works challenge visual perception, asking viewers to suspend their disbelief via illusionary images that move and reflect in enigmatic ways.<br /> &nbsp;&nbsp;<br /> <em>Precipice</em> is a round room that visitors can enter to find a virtual office space, a projection of swirling water and swimmer circling the perimeter. The swimmer displaces the virtual objects in the room, sweeping them up in the flow of the water, inciting disorientation and synesthesia in the viewer. <em>Doline</em> is an arrangement of mechanical sculptures made from severed office fixtures that turn slowly in a darkened room, to the soundtrack of stories about dreams and the sensation of falling. <em>Doldrums</em> uses mirrors and a projector to experiment with 3D stereoscopic views and an infinite reflection of the viewer.</p> <p style="text-align: justify;">Jenn E. Norton is an early career artist based in Guelph. This is her first major exhibition in a public gallery. She has been described as &ldquo;a wizard of simple but magical video compositing, creating brilliant collage spaces,&rdquo; by award-winning filmmaker, curator and critic, Chris Gehman. Her video work has been described as &ldquo;kinetic, totally charming, magical, [and] emo-conceptual&rdquo; by Border Crossings art critic Lee Henderson. Her recent works have decidedly delved into the intuitive, imaginative and emotive process of image making.</p> <p style="text-align: justify;">This piece was commissioned within the Interactive Digital Media Incubator program at the Art Gallery of Hamilton, which was made possible with the generous support of the Government of Ontario through the Ministry of Tourism, Culture and Sport and the Museums and Technology Fund.</p> Wed, 30 Jul 2014 06:55:00 +0000 Judy Ruzylo - RYERSON IMAGE CENTRE - July 23rd - August 24th <p style="text-align: justify;">People instinctively seek to order the world which surrounds them. In that ordering, the binary is the path of least resistance in thinking and language: right/wrong, black/white, boy/girl. At birth, one is given an identity that shapes and informs the rest of one&rsquo;s life. Sex and gender are classified into two distinct, opposite and disconnected forms of masculine and feminine. The transgender do not reside neatly or permanently in this binary. The changes they undergo emphasize how gender is, in fact, a continuum. Having moved along this continuum, transgender people are in a privileged position to understand aspects of the gendered world that most do not.</p> <p style="text-align: justify;">This video installation explores the relations between gender, identity and society using the observations by and lived experience of a diverse group of transgender individuals. Reframing the image as an encounter with the viewer, the work challenges us to consider that the ways in which we do not understand are as important as the ways we do.</p> Mon, 28 Jul 2014 15:27:18 +0000 Wynne Neilly - RYERSON IMAGE CENTRE - July 23rd - August 24th <p style="text-align: justify;">Female to &ldquo;Male&rdquo; is a self-portrait project documenting the artist&rsquo;s transition from female to &ldquo;male&rdquo; through weekly photographs, recorded vocal changes, documents and objects that represent a segment or moment in his gender exploration. The project offers an intimate view into the physical, psychological, medical and financial changes Neilly has undergone to shape and explore his gender. He insists on the use of quotation marks around the word &ldquo;male&rdquo; stating that his identity is something fluid that cannot be easily defined by use of a single word. For him, his gender and body are a construction of the ways in which he perceives himself and the queer social experiences he has lived. Neilly maintains that his trans identity is not a shift from one sex or gender to another, but rather a continual evolution.</p> Mon, 28 Jul 2014 15:24:00 +0000 Keiran Brennan Hinton - KATHARINE MULHERIN - NO FOUNDATION - July 30th 6:00 PM - 9:00 PM <p align="justify"><em>I was always very good at playing hide and seek. I would find the smallest hiding spaces and squeeze myself inside them. My favorite hiding spot was in the large wicker laundry basket inside my parent's bedroom closet. This space felt familiar and became a place for me to dream. I wanted to blend in with the house and become one with its walls. I wished to become invisible. I found solitude in spaces where no one would look and felt a connection with a corner, a closet or the space under a table.</em></p> <p align="justify"><span style="text-align: left;">My work is an extension of, and investigation into my need for a physical hiding place. It is a probing device to understand the ways spaces and places build our bodies. It is a method of personal deconstruction, analysis and reconciliation. Each painting begins with a photograph, which I then project onto a canvas. This is a strategy to create an initial composition or blueprint - a starting point to begin painting. Once the foundation has been laid, I build on top of it with blocks of flat color. The painting continues like this until I feel it has its own sense of stability. I work physically, intuitively and archeologically, laying down and scraping away color. This process is about uncertainty, feeling vulnerable, and learning through doing. It's about dreaming, decision-making and discovery.</span></p> <p align="justify"><span style="text-align: left;">I see my paintings as an open house invitation, which allow for a momentary meditation on the possibility of an alternate habitation. I can visualize privacy and create vessels for dreaming and introspection. Paint allows me to escape my interior complex and engage with the world in a material way.</span></p> <p align="justify">&nbsp;</p> <p align="justify">-- Keiran Brennan Hinton</p> <p>&nbsp;</p> Mon, 28 Jul 2014 15:16:40 +0000 Stefan Brüggemann, Aleksander Hardashnakov, Jonathan Monk, Gabriel Orozco, David Shrigley, Gedi Sibony - Clint Roenisch Gallery - July 10th - August 16th Mon, 28 Jul 2014 14:39:46 +0000 - Bau-Xi Gallery - Toronto - July 22nd - August 2nd Sun, 27 Jul 2014 14:23:56 +0000 Alicia Nauta, Eunice Luk - Art Metropole - August 6th - August 30th <p style="text-align: justify;">A Zine Dream window by Eunice Luk and Alicia Nauta. A collaborative window of larger than life wooden book sculptures exploring the form and function of zines and artist books. Three different sculptures consider some of the many forms a book can take, and celebrate the potential of printed matter as a platform for creating, sharing and circulating ideas. The sculptures represent independent publishing as a way to create an alternative to the traditional art object, encouraging experimentation in an accessible form.</p> Sun, 27 Jul 2014 14:12:21 +0000 - Propeller Centre for the Visual Arts - July 30th - August 10th <p style="text-align: justify;">As per Propeller's new motto, our summer pop-up group show is based on the theme, "Artists Empowering Artists." Acting members of Propeller will be sharing the gallery space with artist friends, colleagues and mentors that they've invited to co-exhibit.</p> Sun, 27 Jul 2014 13:57:31 +0000 Wojciech Olejnik, Sarah Jane Gorlitz - O'Born Contemporary - August 7th - August 28th <p style="text-align: justify;">Behind the High Grass (2012-)</p> <p style="text-align: justify;">&nbsp;</p> <p class="paddingBottom" style="text-align: justify;">The mutable nature of space and time seems all the more evident given the post-digital capacity in which we lead our lives today. Much of human existence is now poised on the act of travel, from the intertwined subterrain of urban public transit to sky-born birds of metal leaving white trails in their wake. This physical ubiquity runs parallel to that of the contemporary technological id, a psychic force that seeks both immediate consumption of and presence in the everyplace.</p> <p class="paddingBottom" style="text-align: justify;">A foundation of Soft Turns' long-term research, movement in space and time is a topic of continual contention. The reason, other than its wily character, is that it is belied by stasis&acirc;&euro;&rdquo;the human experience is oftentimes a bisection of the self wherein past and present bodies coexist. The same can be said of distance and proximity, collapsing perception into something of a closed circuit. For their second presentation in O'Born Contemporary's gallery space,&nbsp;Behind the High Grass (2012&ndash;), Soft Turns has ensnared this particular perceptive enigma, reiterating it through three distinct video works and a suite of auxiliary paintings and installations. This project is an ongoing excavation of source images taken from a found post-war travel book by Czech explorers and filmmakers Jiř&iacute; Hanzelka and Miroslav Zikmund.</p> <p class="paddingBottom" style="text-align: justify;">The documentation found within, suitably amateur photographs of the wanderers' car, sites seen, and of themselves, becomes the raw matter for paintings and animations as well as a guide for Soft Turns' own travels. The perceptive shift between old and new is often at the hilt of their projects, as when using stop-motion animation of simple, home-made sets to present clean, high definition video works. In fact, the counter-position of technologies within Soft Turns' formal output is a material referent to the conceptual rehearsal the traveling pair enacts in reverence for Hanzelka and Zikmund.</p> <p class="paddingBottom" style="text-align: justify;">An approach to the&nbsp;provisional&nbsp;underlies the varied works comprising this latest execution of Behind the High Grass (2012&ndash;). Monumentalizing the common sight of discarded cans and bottles on the ground of public transit vehicles, "Traveller Never Feels the Wind, or Hears It" (2014) meditates upon the tides of being. The slow, pendular movement of glass over surface activates an irreducible contingency between self and other, always connected at a node despite never existing as one. The stop-motion animation's premise ignites an unusual exploration of "physical provenance" as trails of dripping water track the pathway of the glass, only to evaporate in an act of time-based erasure. The transient state of emptied beverage vessels becomes an entry point into understanding the oscillatory truth of the travelers to whom they are underfoot.</p> <p class="paddingBottom" style="text-align: justify;">A similar shuddering, like the alternation of an electrical current, can be seen in "Solitary Man with Nature" (2011) as a man standing in tall grass seems to continuously advance towards and retract from the picture plane. The animation primes acute scrutiny through the mismatched scale between figure and landscape, not only muddling their traditional visual pragmatic but also the relationship between body and environment. If all entities in the natural world are made up of the same base molecules and elements, Soft Turns asks here how time and space enter into the larger conversation of exchange between energy and matter.</p> <p class="paddingBottom" style="text-align: justify;">Echoing the syncopation made so palpable by "Solitary Man with Nature" is a set of painted transparencies&acirc;&euro;&rdquo;-transcripts of waterfall scenery taken from Hanzelka and Zikmund's travelogue. Hovering slightly off the surface of the wall, these reactivated images cast shadowy specters of themselves as if in imitation of light's refraction through a lens. Tentative penetrations into the past, these impermanent imprints are the conjoined twins of their present, painted selves.</p> <p class="paddingBottom" style="text-align: justify;">"P-19720" (2013) is perhaps the most literal exacting of the parallel research and travel habits between Soft Turns and the Czech explorers. Created in Bergen against a landscape of water, cliffs, and harbour fare, the video frames a rear windshield modeled after the silver Tatra 87. It was this vehicle, a recurring subject in Soft Turns&acirc;&euro;&trade; photographic reference material, which transported Hanzelka and Zikmund throughout their journey. Blank pieces of postcard-sized paper, hung like laundry across the broad window, are the recipients of projected landscape images from the Czech travel account. As the day's light shifts&acirc;&euro;&rdquo;-a product of stop-motion time lapse&acirc;&euro;&rdquo;the flickering of the pages makes the images unsubstantial and undermines the photograph's veridical index of time. These haphazard screens seem like miniature versions of the actual scenery beyond them in the distance and successfully form an equation of proximity and distance, of past travels and present experiences.</p> <p class="paddingBottom" style="text-align: justify;">The summation of Soft Turns' current expression of&nbsp;Behind the High Grass (2012&ndash;), cast in the indecisive light of today's technological reality, is both a registration of physical awareness and an utter disavowal of belonging to space and time.</p> <p style="text-align: justify;">-Rachel Anne Farquharson, 2014</p> <h2 class="paddingTopAndBottom" style="text-align: justify;">about the artists</h2> <p class="paddingBottom" style="text-align: justify;">Soft Turns&nbsp;is the collaborative effort of artists&nbsp;Sarah Jane Gorlitz&nbsp;and&nbsp;Wojciech Olejnik. Currently based in Toronto, Canada, they have been collaborating on video installation and stop-motion animation since 2006. The idea of an encounter with something, as an ever-changing space between the foreign and the familiar, the accessible and inaccessible, is a central theme of their practice. Their collaborations employ found objects, common, easily available materials (i.e. paper and plywood), D.I.Y. methods, and experimentation as much as intuition to make stop-motion animations and installations that invite viewers into an active encounter with a narrative, subject or space.</p> <p style="text-align: justify;">Wojciech (MFA University of Waterloo 2002) and Sarah Jane (MFA Malm&ouml; Art Academy 2011) have received support from the Swedish Edstrand Foundation, as well as numerous grants from the Toronto, Ontario, and Canada Arts Councils; including the Joseph S. Stauffer Prize in 2008 and a 2013 CCA Paris Residency. In 2011 they were featured in the Fall issue of Canadian Art. They have exhibited frequently in Canada and internationally; having recent solo exhibitions at YYZ (Toronto), Southern Exposure (San Fransisco), Foundation 3,14 (Bergen), Sk&aring;nes konstf&ouml;rening (Malm&ouml;) and Greusslich Contemporary (Berlin), and significant group exhibitions such as SESC_Videobrasil 18th and 17th International Contemporary Art Festival (S&atilde;o Paulo), Now&amp;After '12, Museum of Modern Art (Moscow), Interaccess (Toronto), Dortmund Bodega (Oslo), Soap Factory (Minneapolis), and in early 2014, Oakville Galleries (Oakville).</p> Sun, 27 Jul 2014 13:43:46 +0000 Susana Reisman - Gallery 44 Centre for Contemporary Photography - September 12th - October 18th <p style="text-align: justify;">For this project, I have chosen to use wood, and more specifically the commodity version of this material &ndash; lumber &ndash; as a means to take a closer look at how standards shape us and our world.</p> <p style="text-align: justify;">Dimensional lumber is largely used by the construction industry worldwide. In North America, a majority of households are built with a wooden structure or frame made from dimensional lumber.</p> <p style="text-align: justify;">This series is about encouraging people to question and understand the reasoning (thought process) and decision-making behind the 'shape' of things. Moreover, it is about the natural resources we harness from the earth and the form, function and role they play in our everyday lives. Economies and industries are built around these decisions and they 'echo' off the center as rings in the core of a tree. Those standards set the 'tone' for future generations.</p> <p style="text-align: justify;">As Lawrence Busch explains in his book, Standards: A recipe for reality, "standards (and technologies) are dangerous because they are so easily naturalized, because in following them we amplify certain aspects of the world while reducing others, and we are thereby overwhelmed by their (and our) power." Standards are also necessary, constructive and productive as long as they are fair, equitable and effective. Standards are essential to civilization and they "shape not only the physical world around us but also our social lives and even our selves."&nbsp;</p> <div class="field-label" style="text-align: justify;">ARTIST BIOGRAPHY:&nbsp;</div> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <div class="field field-name-field-artist field-type-taxonomy-term-reference field-label-hidden"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <div class="ds-1col taxonomy-term vocabulary-artists view-mode-exhibition_bio clearfix"> <div class="field field-name-title field-type-ds field-label-hidden" style="text-align: justify;"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <h6>SUSANA REISMAN</h6> </div> </div> </div> <div class="taxonomy-term-description"> <p style="text-align: justify;">Susana Reisman was born in Caracas, Venezuela in 1977. She received a BA in Economics from Wellesley College (Boston, 1999) and an MFA in photography from the Rochester Institute of Technology (Rochester, 2005). After teaching photography for a number of years, Susana now dedicates her time to making art and running&nbsp;Circuit Gallery. She lives and works in Toronto.</p> </div> </div> </div> </div> </div> </div> </div> Sun, 27 Jul 2014 13:35:03 +0000 Lili Huston-Herterich, Colin Miner, Maggie Groat - Gallery 44 Centre for Contemporary Photography - September 12th - October 18th <div class="field field-name-field-about-the-exhibition field-type-text-long field-label-above"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <p style="text-align: justify;">Resting squarely in the interstices of science, tradition, mythology and nostalgia, the almanac is a particularly&nbsp;unique&nbsp;cultural artifact. As an annual reference for recording and predicting astronomical events (the rising and setting of the Sun, for instance), tides, weather, and other phenomena, or as a collection about a specific subject, this appendage offers a meditation on the&nbsp;cataloguing&nbsp;of time and object, and specific paradigms of accuracy. A kind of museum of the everyday, the populist document was not only meant to help farmers plan the planting of crops, as in the&nbsp;18<sup>th</sup>&nbsp;century these ubiquitous monographs became compendia of folk literature and entertainment. In an era of sparse reading material, the farmer&rsquo;s almanacs of North America and elsewhere became instruments of rural and urban connectivity.</p> <p style="text-align: justify;">Taking the almanac as a point of departure artists&nbsp;Colin Miner, Maggie Groat and Lili Huston- Herterich&rsquo;s site-specific, vitrines installations consider almanac-related themes, visually tracing the dialectic possibilities of informational patterns, text as artifact and alternative research collections.</p> <p style="text-align: justify;">&nbsp;</p> </div> </div> </div> <div class="field field-name-artist-biography field-type-ds field-label-above"> <div class="field-label" style="text-align: justify;">ARTIST BIOGRAPHY:&nbsp;</div> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <div class="field field-name-field-artist field-type-taxonomy-term-reference field-label-hidden"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first " style="text-align: justify;"> <div class="ds-1col taxonomy-term vocabulary-artists view-mode-exhibition_bio clearfix"> <div class="field field-name-title field-type-ds field-label-hidden"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <h6>COLIN MINER</h6> </div> </div> </div> <div class="taxonomy-term-description"> <p>Colin Miner is an artist from Halifax now based in Toronto. Since completing a BFA and MFA at The University of British Columbia he is now finishing a PhD in Visual Arts and Culture at Western University. Miner has presented solo exhibitions nationally and participated in group exhibitions both nationally and internationally in Germany and China. Alongside an art practice Miner works with writing, design, and a curatorial practice through the publication&nbsp;<em>Moire</em>.</p> <p>ARTIST STATEMENT&nbsp;</p> <p>The relations and connections between the absent and present provide access to the political. The evil eye approaches while keeping distance, signifying a boundary of the in-between. What askew traces might be left in the darkness of the subterranean and the constellation? Coal becomes Aniline: chemical of alchemical properties that bring forth all color. Taken together the brilliant white of stars, of reflection and refraction, is light that shunts back to darkness through blindness and overexposure. Presently we occupy the blue hour, a haunting and anxiety resting within the photographic as a shimmering cloak of silver.&nbsp;My artistic practice seeks to evoke, rather than seize, a photographic state of being. I think of this along philosophical terms as a questioning of the ontology of photography &ndash; as a study of being through an artistic practice. This takes form in the production of photographic prints, sculptural assemblage and video work that investigate the material and conceptual nature of photography. Essential to this investigation is a consideration of the qualities of lightness, darkness, reflection, and refraction. In posing the question of how photography might be, my work attempts to position a conversation in relation to the terms of the anxious, cyclical, and askew.</p> </div> </div> </div> <div class="field-item field-1 odd " style="text-align: justify;"> <div class="ds-1col taxonomy-term vocabulary-artists view-mode-exhibition_bio clearfix"> <div class="field field-name-title field-type-ds field-label-hidden"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <h6>LILI HUSTON-HERTERICH</h6> </div> </div> </div> <div class="taxonomy-term-description"> <p>Lili Huston- Herterich was born and raised in Chicago and lives and works in Toronto. Most recently, she has exhibited a solo exhibition<em>The Pleasure of A Lazy Laity</em>&nbsp;at XPACE Cultural Centre in Toronto, and co-curated&nbsp;<em>Don't Call it a Breakdown, Call it a Breakthrough !</em>, a site-specific one day exhibition with collaborator Nadia Belerique. Forthcoming projects in 2014 include exhibitions at Birch Contemporary (Toronto) and OCAD University (Toronto). With a background in photography and image making, her studio practice is rooted in everyday forms and their inherent connotations, and often takes a multidisciplinary form.</p> <p>ARTIST STATEMENT</p> <p>Huston-Herterich&rsquo;s&nbsp;most recent body of ceramic work,&nbsp;<em>Shards</em>, sources online instructional websites with user generated content and forum-based information databases. These contemporary platforms fill the role of the artisans&rsquo; knowledge passed on through familial generations, or the geographically specific farmer&rsquo;s almanac of communal, experience-based predictions of weather &ndash; the forum is a new space for inherited and nuanced knowledge. As much of the artist&rsquo;s work is produced with the collected technical guidance of strangers&rsquo; posts, the broken ceramic shards serve as an homage to these resources. Imagery, text and graphics sourced from these sites are used to embellish the ceramic surfaces, synchronizing in a constellation of information honouring these evolving, living resources.&nbsp;</p> </div> </div> </div> <div class="field-item field-2 even field-last"> <div class="ds-1col taxonomy-term vocabulary-artists view-mode-exhibition_bio clearfix"> <div class="field field-name-title field-type-ds field-label-hidden" style="text-align: justify;"> <div class="field-items clearfix"> <div class="field-item field-0 even field-first field-last"> <h6>MAGGIE GROAT</h6> </div> </div> </div> <div class="taxonomy-term-description"> <p style="text-align: justify;">Maggie Groat is a visual artist working in a variety of media including collage, sculpture, artists&rsquo; books, site-specific interventions, and field studies. Forming an ongoing research-based practice, Groat's work explores studies for possible futures, salvage practices, relationships and reconnections to place and ancient knowledge systems from an indigenous perspective. Through reconfiguring and recontextualizing found materials, she assembles collages, sculptures and tools that enable moments of envisioning and the potential for action.&nbsp;Maggie studied visual art and philosophy at York University before attending The University of Guelph, where she received an MFA degree in 2010.&nbsp;She is represented by Erin Stump Projects in Toronto.</p> <p style="text-align: justify;">Earlier this year,&nbsp;Groat curated and edited an alternative collection of research published by Art Metropole entitled&nbsp;<em>The Lake</em>, and was included in&nbsp;<em>A Problem So Big it Needs Other People</em>&nbsp;curated by cheyanne turions at SBC galerie d'art contemporain in Montreal. In the coming months, her work will be a part of shows at Republic Gallery in Vancouver, the Elora Centre for the Arts, and the Museum of Contemporary Canadian Art in Toronto. Solo shows at ESP, YYZ and a site-specific project and self-directed residency at Brock University&rsquo;s Rodman Hall in St. Catharines will follow in 2015. Her work has been included or reviewed in Front Magazine, Kolaj Magazine, Cmagazine, The Toronto Star, Akimblog and Canadian Art. &nbsp;Maggie currently lives on the southern shore of Lake Ontario, but will spend Fall 2014 in Vancouver as the Visiting Artist-Scholar-in-Residence at Emily Carr University of Art and Design.</p> </div> </div> </div> </div> </div> </div> </div> </div> Sun, 27 Jul 2014 13:30:08 +0000 Andreea Alta Mihartescu - Gallery 1313 - July 23rd - August 2nd Sun, 27 Jul 2014 13:22:13 +0000 Jody Rogac, Camilla Wills, Lauren Luloff, Jenine Marsh, Olivia Dunbar, Allison Katz, Mira Dancy - Cooper Cole - August 7th - September 6th Sun, 27 Jul 2014 13:13:41 +0000