ArtSlant - Recently added en-us 40 Norval Morrisseau, Bonnie Devine, Robert Houle, Keesic Douglas, Michael Belmore, Daphne Odjig - Art Gallery of Ontario - July 26th - November 25th <p style="text-align: justify;">For more than 12,000 years, the Great Lakes region has produced a distinct culture of Anishinaabe artists and storytellers. The Art Gallery of Ontario (AGO) celebrates those artists and stories this summer with&nbsp;<strong><em>Before and after the Horizon: Anishinaabe Artists of the Great Lakes</em></strong>, featuring artworks by leading modern and contemporary artists -- including Norval Morrisseau, Bonnie Devine, Robert Houle, Keesic Douglas, Michael Belmore, Daphne Odjig and others -- who sought to visually express the spiritual and social dimensions of human relations with the earth.</p> <p style="text-align: justify;">The traditional home of the Anishinaabe peoples -- comprised of&nbsp;<strong>Algonquin, Mississauga, Nippissing, Ojibwe (Chippewa), Odawa (Ottawa), Potawatomi</strong>&nbsp;and&nbsp;<strong>Saulteaux nations</strong>&nbsp;-- the region includes Ontario, Manitoba and Quebec in addition to eight U.S. states and has inspired generations of stories and experiences that are spiritual, political and challenge certain accepted accounts of history. These same sources of inspiration are visible in traditional Anishinaabe arts included in the exhibition, including clan pictographs on treaty documents, bags embroidered with porcupine quill, painted drums and carved pipes, spoons and bowls.</p> <p style="text-align: justify;"><strong><em>Before and after the Horizon</em></strong>&nbsp;is co-organized by the AGO and the National Museum of the American Indian. It is curated by David Penney (NMAI) and Gerald McMaster (Plains Cree/Sisika First Nation). To celebrate this important exhibition, Andrew Hunter, the AGO's Fredrik S. Eaton Curator, Canadian Art,has organized a series of complementary interventions and installations to extend the dialogue into the AGO's own collection of Canadian art.</p> <p style="text-align: justify;">&ldquo;This is a powerful exhibition that is very much about this place and its timeless connection to a distinct world view, one that continues to resonate with Anishinaabe,&rdquo; said Hunter. &ldquo;The AGO is situated in the very heart of traditional Anishinaabe territory, and we are honoured to position this exhibition as a catalyst for reimaging our sense of place and community, and to feature the ground-breaking work of a significant group of artists who have lived and work in this area.&rdquo;</p> <p style="text-align: justify;">Bonnie Devine, a noted Objibwe artist and educator, will work with Hunter to transform one of the permanent collection galleries while Robert Houle (Saulteaux) will present a new installation entitled&nbsp;<em>Seven Grandfathers</em>&nbsp;in the AGO's Walker Court.</p> <p style="text-align: justify;">&ldquo;This exhibition is a welcome opportunity to reconsider, through various political and aesthetic interventions by Anishinaabe artists, how Canadian art history has been traditionally presented at the AGO,&rdquo; said Devine. &ldquo;The Anishinaabe have continuously occupied the territory around the Great Lakes for at least 12,000 years, so a survey exhibition of contemporary Anishinaabe art is overdue.&rdquo;</p> <p>&nbsp;</p> Sun, 21 Sep 2014 13:44:46 +0000 Manasie Akpaliapik - Art Gallery of Ontario - June 14th - June 14th, 2015 <p style="text-align: justify;">Manasie Akpaliapik was born in 1955 in a hunting camp near Ikpiarjuk (Arctic Bay), Nunavut, on north Baffin Island. He spent his youth in Arctic Bay, relocated to Montreal, then settled in Toronto where he created all of these carvings. Now based in Ottawa and Montreal, Manasie is known for his animated and ambitious sculptures that sympathetically utilize the unique material and structure of bone, ivory and stone. Deeply connected to the culture and traditions of the Arctic, his works reflect a concern for the vulnerability of his homeland. They offer unflinching depictions of social ills that have impacted northern communities and reflect the belief that humans must live in balance with and respect all living things.</p> Sun, 21 Sep 2014 13:39:59 +0000 David Hartt, Elad Lassry, Nandipha Mntambo, Lisa Oppenheim - Art Gallery of Ontario - September 3rd - January 4th, 2015 <p style="text-align: justify;">The four international finalists for the 2014 Aimia | AGO Photography Prize are David Hartt, Elad Lassry, Nandipha Mntambo and Lisa Oppenheim. The artists all engage with broad historical and cultural forces, such as colonialism, urban planning, advertising, and war. They each approach the history of image-making in distinct ways, using photographs, video, film and even sculptural elements to reconsider how we visualize the world. The environments they create and the materials they deploy express diverse and thoughtful ideas about the ways we process our past and present experiences through images.</p> <p style="text-align: justify;">Vote for your choice to win the $50,000 prize until October 27 at 11:59 pm. The winner will be announced at the Art Gallery of Ontario on October 29.</p> Sun, 21 Sep 2014 13:27:15 +0000 Scott Lyall - Susan Hobbs Gallery - October 16th - November 22nd <p><img style="vertical-align: text-top; margin-left: 2px; margin-right: 2px; margin-top: 0px; margin-bottom: 0px;" src="" alt="" width="200" /></p> <p><span style="font-size: xx-large;"><strong>Scott Lyall</strong></span></p> <p><strong>opening on Thursday, 16 October from 7 to 9 p.m., </strong>the gallery is pleased to present an exhibition by Scott Lyall.</p> <p>For his fifth exhibition at the Susan Hobbs Gallery, Scott Lyall will present print-works on painted linen and glass. All of the works were made within the technical possibilities of wide format UV-printing using digital colour profiles. Each involves techniques of color compression and sublimation, but then adapts the imprinted colors to very different kinds of effects. These shifting spaces of colour and fully abstracted special effects extend the range of Lyall&rsquo;s reflection on digital colour and print technology into a space of historical difference between painting and photography.</p> <p>Scott Lyall was born in Toronto in 1964, and works in both New York and Toronto. &nbsp;He has exhibited his work widely in the United States and Canada, most recently at PS122 (New York), The SculptureCenter (New York), Contemporary Art Gallery (Vancouver), SITE Santa Fe (Santa Fe, New Mexico), The Power Plant (Toronto), and Le Confort Moderne (Poitiers, France).</p> <p>Susan Hobbs Gallery is open to the public Wednesday to Saturday from 11:00 a.m. to 5:00 p.m. and by appointment.&nbsp; The gallery is located at 137 Tecumseth Street, Toronto.</p> <p>For more information about this exhibition or the Susan Hobbs Gallery, please give us a call at (416) 504.3699 or visit <a href="" rel="nofollow"></a>.</p> Wed, 17 Sep 2014 18:15:38 +0000 - Propeller Centre for the Visual Arts - September 24th - October 5th <p style="text-align: justify;">The works, by exceptional artists, are ANSWERS which respond to the questions:</p> <p style="text-align: justify;">&gt; Did you immigrate to Canada, or are you the descendant of immigrants?&nbsp;<br />&gt; Are you in awe of the massive annual migrations of whales, geese, toads, dragonflies, owls, ospreys,<br />ducks, hawks, butterflies, hummingbirds, bats and - in the Canadian north - colossal animals? (October,</p> <p style="text-align: justify;">RIGHT NOW, is the big migration month! I saw migrating red tailed-hawks yesterday.)</p> <p style="text-align: justify;">&gt; Does the idea of &ldquo;migration&rdquo; feel like a metaphor or symbol for something very meaningful to you?</p> <p style="text-align: justify;">Visitors are invited to ENGAGE with this provocative notion of Migration and the artists&rsquo; thoughtful, remarkable work. Visitors may also PARTICIPATE in expressing their personal experience of their own family migration. They will participate by mapping - on a wall size map of the world - the journey they or their family have taken from country, to country, to - finally - Canada and Toronto. This will provide an exciting mutual discovery of our we now hook up with each other...right here in Propeller Gallery! A unique opportunity for friends and families to share.</p> <p style="text-align: justify;">The philosopher, Alain de Botton, in his current exhibition at the AGO, speaks about how art can address issues that engage us all; how art can help us to understand ourselves and to lead richer lives.</p> <p style="text-align: justify;">MIGRATION, speaking to our common experience, will help us find solidarity with the immigration experience of others.</p> Wed, 17 Sep 2014 15:41:52 +0000 John Hall - Loch Gallery - Toronto - September 27th - October 8th <p style="text-align: justify;">The Loch Gallery is proud to present a selection of paintings from John all's&nbsp;<em>Candela&nbsp;</em>and&nbsp;<em>Flash&nbsp;</em>series. These most recent works reflect the complexity of contemporary global life. Join us on Saturday, September 27th from 2-4pm for the opening reception.</p> <p style="text-align: justify;">John Hall was born in 1943 in Edmonton, Alberta. He did his training in art at the Alberta College of Art, Calgary and the Instituto Allende, Mexico in the 1960s. Since completing his studies in 1966, he has lived and worked in Calgary, Alberta; Delaware, Ohio; New York, New York; San Miguel de Allende, Mexico and, most recently, Kelowna, British Columbia. Hall has held teaching positions in art at Ohio Wesleyan University, the Alberta College of Art and Design, the University of Calgary, where he retired from a full professorship in painting and drawing, and the Okanagan University College. Currently he holds a professorship emeritus at the University of Calgary. He now lives and works in Kelowna, British Columbia.</p> Wed, 17 Sep 2014 15:35:33 +0000 Kim Dorland - Angell Gallery - October 3rd - November 8th <p style="text-align: justify;">The callow seeming title of this, Kim Dorland&rsquo;s eighth solo exhibition with Angell Gallery, is a bluff. In his Toronto studio in August, Kim told me that he likes both poetry and TV. Its false braggadocio rings with second-wave nostalgia for the receding prior nostalgia of an early incarnation of the artist who habitually slipped into the indications of a former adolescent cockiness. Today he nestles the intimate, ephemeral now-ness of time as he watches his children and family (and self) live through instances that occur and vanish in a flicker.<br /><br />Yet, while the title is not literally true, it is otherwise apropos. Dorland chooses not to paint with poetic embroidery or temerity. His imagery is prosaically undisguised; his vocabulary reflexively automatic, journalistic, matter-of-fact; his palette ALLCAPS attention-grabbing, vivid, even lurid; and his mark making emphatic with punctuation as much as description. That punctuation inflects&hellip;no, directs the amassments of colour on his canvases and it crucially articulates the stories that emerge from his pictures. Dorland&rsquo;s claimed affinity to television speaks to the day-by-day mesmerisation of far and near exotica (and the commonplace) denatured and re-naturalized by the keyed-up glow of the household screen.<br /><br />Home plays a bit role in these latest paintings, all from 2014, insofar as it is only one of many settings for family life, its events, activities and passages. Because, it seems, the artist&rsquo;s observations of his family might occur anywhere or anytime. His profoundly immersive, psychic recognition of the simultaneous presence, difference and absence of those closest to heart powerfully relocates and envelopes the benchmark portraits of his self-possession (versus their self-possession) in an array of locations. So, even when he is away from home, it feels local and proximate to a specific moment. An image snatched during an evening run, High Park, connotes what Dorland acknowledges as &ldquo;a melancholic year [as an artist] that doesn&rsquo;t reflect [his] point of view with respect to his family or his responsibilities&rdquo;&mdash;a not uncommon refrain from a forty-year-old man.<br /><br />Digital photography is an essential tool and reference for Dorland&rsquo;s ongoing image archive of daily life passing into the subjects for his paintings. It naturally fits such a prolific and prodigiously gifted artist. Pictorial prowess and facility such as Dorland&rsquo;s allows for the gradual, uncontrived seeping of meaning into one&rsquo;s work. For all its outrageous stylizations and exaggerations of colour and form, Dorland&rsquo;s paintings remain essentially objective. Therefore he does not prefigure or predestine his attitude to their content. By constant return to themes and real views, not only does he gauge the changes of his subjects, but also notices his variances in perceptive and emotional state. Sometimes key incidents shimmer in through placid and routine surroundings, such as a hazy and distant police car parked in the centre of the aforementioned High Park. Similarly, the efflorescent sparkle and fuming of Fireworks almost completely occlude a pair of humble witnesses meekly standing against the back fence of the concrete yard, Dorland&rsquo;s sons, Seymour, eight, and Thomson, five.<br /><br />The compositional reference to cell phone images gains consonant ordinariness in that such devices are ubiquitous, possessed by his subjects too. His wife, Lori, is plausibly aglow as she looks to her screen in the winter evening of After the Party. Crystalline flares and a voltaic underpainting refer to how Dorland recorded the scene. In Bleeding Heart, the small screen isolates and rebalances the image, deepening and thickening a garden around Seymour into jungle, where he sits oblivious to its ominous foliage, inspecting a blossom gently with his fingertips, not absorbed in a video game as it might initially appear.<br /><br />March Break and Don&rsquo;t Give Up are two of Dorland&rsquo;s most effectively pared-down paintings, each with an abstracted, horizontal banding that yields classic, stacked, rectangular order. The elegant simplicity of each is a feat of artistic restraint, nerve and hard-won experience. In March Break, Seymour stretches upward in preparation for a dive into a pool, with concentration, determination, perhaps some trepidation. His taut body and arms are mimicked above by the upright trunks and limbs of bare trees, and contrasted by an unbelievably limber and confident graffiti tag on the grey wall behind. His face, as is standard for Dorland&rsquo;s figurative treatments, is a slathered impasto of relief-map planes in oil paint which still conveys a specific portraiture. This technique conveys the vertical musculature of his son&rsquo;s body and also the horizontal surface plane and concealed depth of the water, of which the human body is largely composed. Don&rsquo;t Give Up, by contrast, is utterly unpopulated. It depicts the fenced-in tennis courts found in Toronto&rsquo;s Trinity Bellwoods Park. The chain-link has been meticulously stenciled and sprayed, an extruded screen through which appear side-by-side court lines, posts and nets, at once substance and mirage. The foreground is a clover-pocked lawn. Above the fence line, an orange sky churns with latent energy. A bedraggled message, woven into the fence links with ribbon, is the tattered remnant of youthful spontaneity, long since departed. Each painting renders depth ambiguously, treated in distinct zones of colour and technique that are monolithic and gradated at the same time, conjuring the mists or mystery of the imminent future.<br /><br />The crowning painting of a glorious show is a portrait of his muse and most frequent subject, Lori. She poses in Bay Blanket #3, as so often, in the nude, however wrapped in a recognizable wool blanket of the Hudson&rsquo;s Bay Company that she clasps to her breasts and resplendently spreads down her kneeling figure and across the top of the couple&rsquo;s bed. The painterly treatment of the blanket makes a transition from the thickly-painted flesh and defacement into impasto folds of heavy cloth, especially so around Lori&rsquo;s torso and gently easing out to reveal some of the textile weave of the canvas on which the paint is brushed, with the signature green/red/yellow/black stripes running up and down or forward and back according to the blanket&rsquo;s crumpled tumble. The bed is strewn with other rustic red/black patterns of quilting and tossed red pillows beneath her. On the wall behind Lori is a galaxy of framed family photographs, hung with a celebratory disregard for regulated order. Dorland renders each of these photos, so similar to, perhaps identical with, the sources for so many of his paintings, with tender attention to its individual distinction, its specific reference and instance in the artist&rsquo;s life. He can&rsquo;t help himself. He strives to keep up with evanescent life by constantly resetting and starting over.<br /><br />Ben Portis<br />September 2014<br /><br /><br />Artist&rsquo;s biography<br /><br />I Hate Poetry, but I Love TV is Kim Dorland&rsquo;s first solo exhibition of new work in Toronto since the milestone success of You Are Here: Kim Dorland and the Return of Painting, at the McMichael Canadian Art Collection in Kleinburg, Ontario (October 2013 to January 2014). That exhibition, in which his paintings, many created during a residency at the McMichael, were shown alongside those of iconic Canadian landscape painters such as Tom Thomson, David Milne, Emily Carr and members of the Group of Seven, was covered in a national story in Macleans and subsequently lauded in reviews by the Toronto Star and the Globe andMail. In addition, in December, the Globe and Mail named Kim Dorland 2013 Artist of the Year. In Spring 2013, Canadian Art ran a feature profile on Dorland and, in Winter 2014, Border Crossings published an in-depth interview with the artist by Robert Enright. Kim Dorland: Homecoming, an early-career survey mounted in his native Alberta, opens at Contemporary Calgary on October 16 and runs through January 18, 2015. On October 3, Kim Dorland, an 184-page monograph is available from Figure 1 Publishing, with an introduction by Jeffrey Spalding, artistic director and chief curator of Contemporary Calgary, an essay by Katerina Atanassova, chief curator of the McMichael Canadian Art Collection, and an expanded, updated version of Robert Enright&rsquo;s interview. Internationally, Dorland&rsquo;s art is on view this fall in Peahead, a group exhibition at Franklin Parrasch Gallery, New York, which runs until October 11. In 2015, he will be given in a solo exhibition at MCA Denver, Colorado.<br /><br />Kim Dorland was born in Wainwright, Alberta in 1974. Dorland received his BFA from the Emily Carr Institute of Art and Design, Vancouver, and received his MFA from York University, Toronto. He has exhibited globally, including shows in Milan, New York, Chicago and Los Angeles, receiving reviews in the New York Times and the Los Angeles Times. Dorland&rsquo;s art is in numerous prestigious public and private collections in Canada and abroad, including the Bank of Montreal; Beth Rudin DeWoody Collection; Blanton Museum of Art at the University of Texas, Austin; Eileen S. Kaminsky Family Foundation, New York; Glenbow Museum, Calgary; Montreal Museum of Fine Arts; Mus&eacute;e d&rsquo;art contemporain, Montr&eacute;al; Neumann Family Collection, New York; Oppenheimer Collection, Nerman Museum of Contemporary Art, Kansas City, Kansas; Royal Bank of Canada; and Sander Collection, Berlin. Dorland works in Toronto, where he lives with his wife Lori and their two sons, Seymour and Thomson.</p> Wed, 17 Sep 2014 14:39:23 +0000