lecture: ed pien
lecture: christine shaw
exhibition: a one day art event by sculpture 4 - January 28, 12-2pm
exhibition: recent grad kara firth
lecture: david weaver
exhibition: mark crofton bell
GENERAL HARDWARE CONTEMPORARY is pleased to present:
MAGICAL CONTAGION Mark Crofton Bell November 9 - December 7 Reception: Saturday November 9 from 3 - 6 pm
"Magical Contagion", 2013, oil on canvas, 42" x 52" Mark Crofton Bell’s latest canvases tell of filling up and emptying out. One scene captures the mess after a store has been ransacked by looters; another scans a kitchen overstuffed with hoarding. The paintings are representational, and their vignettes are representative: each has real referents – photos that Bell finds, and modifies – and the capacity to encapsulate a whole story.
Rendered in muted pastel hues, the paintings evoke the ethereal documentation of courtroom sketches, though they’re larger, and better worked: no rushed scribbles, but thoughtful texture. They feel evidentiary. The images are vessels for information, and even the sparse ones brim, subtly. What looks like an empty corner might hold a ghost; an unmade bed is similarly rife with absence.
Of course, the paintings are inconclusive. The full ones censor their details: no numbers are legible on the knobs of the kitchen stove, nor are any labels, on any loot. Missiles lain across a second bed gleam with conspicuous blankness against patterned textiles. The only exterior shot, meanwhile, builds a field of debris out of brushstrokes, a kind of formalist template for the piling up of stuff in space.
The works waver like this between saturation and void, description and definition, between specific and generic, foreign and familiar. Every scene is itself – and also less than itself, standing for more than itself. “Magical contagion” describes the belief that objects store meaning: the spirit of a moment or a place permanently infects what was there. This justifies a hoarder’s compulsion; explains the draw of relics; moves travel souvenirs. The conviction underscores the pain of theft: things aren’t just things, but memories and, sometimes, livelihood. No wonder such magic fascinates the painter, who lives through his medium, conducting meaning through material.
Heather White, Writer
Mark Crofton Bell completed his undergraduate studies at OCAD University in 1988 and received his Masters of Fine Art from Chelsea College of Art in London, UK. He has shown extensively across Canada in artist run centres and public galleries including a solo exhibition at The Art Gallery of Ontario. Bell is one of the founding members of the artist collective Painting Disorders. He lives and works in Toronto.
General Hardware Contemporary 1520 Queen Street West Toronto M6R 1A4 generalhardware.ca
Wed – Sat noon – 6 and by appointment 416 - 821- 3060 Facebook l Twitter l Subscribe to our mailing list
For media inquiries or sales information contact the gallery:
info@generalhardware.ca 416-821-3060
MAGICAL CONTAGION Mark Crofton Bell November 9 - December 7 Reception: Saturday November 9 from 3 - 6 pm
"Magical Contagion", 2013, oil on canvas, 42" x 52" Mark Crofton Bell’s latest canvases tell of filling up and emptying out. One scene captures the mess after a store has been ransacked by looters; another scans a kitchen overstuffed with hoarding. The paintings are representational, and their vignettes are representative: each has real referents – photos that Bell finds, and modifies – and the capacity to encapsulate a whole story.
Rendered in muted pastel hues, the paintings evoke the ethereal documentation of courtroom sketches, though they’re larger, and better worked: no rushed scribbles, but thoughtful texture. They feel evidentiary. The images are vessels for information, and even the sparse ones brim, subtly. What looks like an empty corner might hold a ghost; an unmade bed is similarly rife with absence.
Of course, the paintings are inconclusive. The full ones censor their details: no numbers are legible on the knobs of the kitchen stove, nor are any labels, on any loot. Missiles lain across a second bed gleam with conspicuous blankness against patterned textiles. The only exterior shot, meanwhile, builds a field of debris out of brushstrokes, a kind of formalist template for the piling up of stuff in space.
The works waver like this between saturation and void, description and definition, between specific and generic, foreign and familiar. Every scene is itself – and also less than itself, standing for more than itself. “Magical contagion” describes the belief that objects store meaning: the spirit of a moment or a place permanently infects what was there. This justifies a hoarder’s compulsion; explains the draw of relics; moves travel souvenirs. The conviction underscores the pain of theft: things aren’t just things, but memories and, sometimes, livelihood. No wonder such magic fascinates the painter, who lives through his medium, conducting meaning through material.
Heather White, Writer
Mark Crofton Bell completed his undergraduate studies at OCAD University in 1988 and received his Masters of Fine Art from Chelsea College of Art in London, UK. He has shown extensively across Canada in artist run centres and public galleries including a solo exhibition at The Art Gallery of Ontario. Bell is one of the founding members of the artist collective Painting Disorders. He lives and works in Toronto.
General Hardware Contemporary 1520 Queen Street West Toronto M6R 1A4 generalhardware.ca
Wed – Sat noon – 6 and by appointment 416 - 821- 3060 Facebook l Twitter l Subscribe to our mailing list
For media inquiries or sales information contact the gallery:
info@generalhardware.ca 416-821-3060
exhibition: lyla rye
exhibition: jeannie kim (a&ah student) at gallery 1313
exhibition: lisa neighbor @ g gallery
exhibition: richard sewell @ loop gallery
artist lecture: brendan fernandes
Talking Identities:
The Art of Brendan Fernandes
Thursday October 24 | 5:30 - 7pm
North Borden Building, Rm 229
563 Spadina Crescent
University of Toronto, St. George Campus
*This artist talk is FREE and open to the general public.
Presented by the Blackwood Gallery in partnership with the Jackman Humanities Institute and UofT's Master of Visual Studies (MVS) 2013 Pro Seminar Series.
Brendan Fernandes is based between Toronto and New York. He completed the Independent Study Program of the Whitney Museum of American Art and earned his MFA from the Western University and his BFA from York University. He has exhibited widely including exhibitions at the Solomon R. Guggenheim Museum, the Museum of Art and Design New York, the Musée d’art contemporain de Montréal, the National Gallery of Canada, MASS MoCA, the Andy Warhol Museum, and the Guangzhou Triennial. Fernandes has participated in numerous residency programs including the Lower Manhattan Cultural Council’s Work Space and Swing Space. He was an Ontario representative for the Sobey Art Award. Fernandes is based between Toronto and New York.
Brendan Fernandes will be the Blackwood Gallery's Artist-in-Residence from October 21 to November 1, 2013. For more information about the residency, please click here.
This artist talk is programmed in conjunction with the current exhibition a the Blackwood Gallery:
Red, Green, Blue ≠ White
Until December 1, 2013
Curated by Johnson Ngo
Golboo Amani & Manolo Lugo, Chun Hua Catherine Dong, Aryen Hoekstra, Brendan Fernandes, Kika Nicolela, Jude Norris and Kristina Lee Podesva
Red, Brown, Yellow, Black, White: all colours used to describe people, somewhat contentiously, of culturally diverse backgrounds. Coined by Alice Walker, colourism, or discrimination based on skin colour, is the impetus to examine the relationship between race and colour. Red, Green, Blue ≠ White investigates this fraught territory through the formal considerations of colour offered by colour theory. But that is only its point of departure. The selected works share a sensibility for subtle performative gestures; the marking of bodies through the accumulation of light, the action of a lick, the construction of identities through the application of makeup, the gradation of the skin tone through light exposure, and the critique of white—white, the colour and the race. The performative elements of the works instill shifts in the relationship between the viewer's body, vision, and consequent understanding. As an ensemble, they encourage reflections (in both senses of the word) on the politics of colour. The symbol ‘≠’ is not just presented as a negation here, it engenders a generative conversation about race, extending from an awareness of inequalities to the artistic presentation of shifting perspectives.
Click here for more information on the exhibition.
The Art of Brendan Fernandes
Thursday October 24 | 5:30 - 7pm
North Borden Building, Rm 229
563 Spadina Crescent
University of Toronto, St. George Campus
*This artist talk is FREE and open to the general public.
Presented by the Blackwood Gallery in partnership with the Jackman Humanities Institute and UofT's Master of Visual Studies (MVS) 2013 Pro Seminar Series.
Brendan Fernandes is based between Toronto and New York. He completed the Independent Study Program of the Whitney Museum of American Art and earned his MFA from the Western University and his BFA from York University. He has exhibited widely including exhibitions at the Solomon R. Guggenheim Museum, the Museum of Art and Design New York, the Musée d’art contemporain de Montréal, the National Gallery of Canada, MASS MoCA, the Andy Warhol Museum, and the Guangzhou Triennial. Fernandes has participated in numerous residency programs including the Lower Manhattan Cultural Council’s Work Space and Swing Space. He was an Ontario representative for the Sobey Art Award. Fernandes is based between Toronto and New York.
Brendan Fernandes will be the Blackwood Gallery's Artist-in-Residence from October 21 to November 1, 2013. For more information about the residency, please click here.
This artist talk is programmed in conjunction with the current exhibition a the Blackwood Gallery:
Red, Green, Blue ≠ White
Until December 1, 2013
Curated by Johnson Ngo
Golboo Amani & Manolo Lugo, Chun Hua Catherine Dong, Aryen Hoekstra, Brendan Fernandes, Kika Nicolela, Jude Norris and Kristina Lee Podesva
Red, Brown, Yellow, Black, White: all colours used to describe people, somewhat contentiously, of culturally diverse backgrounds. Coined by Alice Walker, colourism, or discrimination based on skin colour, is the impetus to examine the relationship between race and colour. Red, Green, Blue ≠ White investigates this fraught territory through the formal considerations of colour offered by colour theory. But that is only its point of departure. The selected works share a sensibility for subtle performative gestures; the marking of bodies through the accumulation of light, the action of a lick, the construction of identities through the application of makeup, the gradation of the skin tone through light exposure, and the critique of white—white, the colour and the race. The performative elements of the works instill shifts in the relationship between the viewer's body, vision, and consequent understanding. As an ensemble, they encourage reflections (in both senses of the word) on the politics of colour. The symbol ‘≠’ is not just presented as a negation here, it engenders a generative conversation about race, extending from an awareness of inequalities to the artistic presentation of shifting perspectives.
Click here for more information on the exhibition.
artist lecture: roula partheniou
lecture: amish morrell
lecture: laura krick and ashley st pierre
artist lecture: micah lexier
Art and Art History presents
Micah Lexier
Thursday 10 October 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Micah Lexier will give an illustrated talk using his current Power Plant exhibition,
One, and Two, and More Than Two, as the starting point. He will talk about his solo
practice, his works made in collaboration with writers, and his vitrine-based curatorial
projects.
Lexier is a Toronto artist who also collects objects and organizes exhibitions. He has
had over 100 solo exhibitions, participated in almost 200 group exhibitions, and
produced a dozen permanent public commissions. This fall, The Power Plant is
presenting a 15-year survey exhibition of Lexier’s work entitled One, and Two, and More
Than Two, which includes solo works, collaborative works, and a major curatorial
project incorporating the work of over 100 Toronto artists. Lexier’s work is in
numerous public and corporate collections including The British Museum (London,
England), the Contemporary Art Gallery (Sydney, Australia), The National Gallery of
Canada (Ottawa) and The Art Gallery of Ontario (Toronto). Lexier is represented in
Toronto by Birch Contemporary.
Image caption: Micah Lexier, detail from Twelve of One, 2010, various found materials
artist lecture: jennifer dorner
Art and Art History Presents Jennifer Dorner
October 3, 2013 / 12:30-1:30
Annie Smith Mezzanine
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Jennifer Dorner was born in Victoria, British Columbia. She received her BFA from the University of Ottawa, and MFA from the University of Western Ontario, successfully defending her thesis on September 11th 2001. The harsh, terrifying reality of that day was in sharp contrast to the calm, amusing, escapist installation in the gallery. The theme of ‘fleeing unrest’ has continued to evolve in Jennifer’s work over the past decade. She spent time in Halifax, Nova Scotia as the Director of Eyelevel Gallery from 2003 – 2005, which is where she began to paint. Now based in Montreal, Quebec, Jennifer is pursuing her artistic career, which is very much separate but influenced by current politics and the rapid decline of the world in general.
Jennifer is the recipient of several grants and awards. In 2004, she was short-listed for the Atlantic region for the RBC National Painting competition. Her work has been supported by the Ontario Arts Council, the Canada Council for the Arts and the Conseil des arts et des letters du Quebec. Her paintings have been exhibited in solo and group exhibitions across Canada. She has taught at the University of Western Ontario, Dundas Valley School of Art and has a strong passion for advocating for the arts and spends a notable amount of time on Parliament Hill.
exhibition: AGM
Anne Wilson and Shawn Decker,Mess, 2006, Edition of 20, A single projection video and sound installation derived from Errant Behaviors. Animator: Cat Solen; Post-production Animators: Mark Anderson and Daniel Torrente. Copyright 2006 Anne Wilson.
F'D UP! The AGM is Fibre'd Up as contemporary directions in fibre-based art create a radical vocabulary around material invention and sculptural ambitions.
XIT-RM | FRANCO ARCIERI ASTRAL NOISE September 26 - November 9, 2013 Opening Reception Thursday, September 26, 6 pm FREE bus from The Gladstone Hotel (1214 Queen St W, Toronto) at 6 pm. RSVP for the Reception | Sign up for the Bus | Share on Facebook
ARTISTS
Franco Arcieri, Claire Ashley, Amanda Browder, Lyn Carter, Kai Chan, Michelle Forsyth, Noelle Hamlyn & Colleen Snell, Hazel Meyer, Ed Pien, Judith Tinkl, Anne Wilson. This exhibition includes periodic and durational performances by Catalina Gonzalez, Sandra Poczobut and Johannes Zits. Original workshops, events and performances will be happening during the exhibitions! Please see the AGM website for updates and a comprehensive list.
The XIT-RM is a project space initiative at the AGM showcasing emerging and regional artists in the GTA.
The XIT-RM is sponsored by The RBC Foundation.
Exhibition Press Release About the Art Gallery of Mississauga The Art Gallery of Mississauga (AGM) is a public, not-for-profit, art gallery located in the Mississauga Civic Centre, across from Square One Mall. The AGM is proud to admit people free of charge, serve communities, and provide positive visual art experiences for all visitors.
Engage. Think. Inspire. This phrase opens the dialogue at the AGM. The Gallery connects with the people of Mississauga through the collection and presentation of relevant works from a range of periods and movements in Canadian art. Expressing multiple ideas and concepts, this visual art translates into meaningful cultural and social experiences for all audiences. The mandate of the Gallery is to "bring art to the community and the community to art."
Directions to the AGM, as well as transit routes and other information, can be found on the website.
you are here: stacy ng kee song & stacey skiba
wednesday september 18th: blackwood opening and sandwich q
artist lecture: meilnna sevilla valenzula
Mentoring w/ Lyla Rye
Visual Arts Mentoring with
Lyla Rye
Programs:
Individual Critiques & Group Programs
Professional Practice Program Studio Boot Camp Critique Intensive Contemporary Gallery Tours
About:
My programs aim to motivate and guide you in taking your art making, technically and conceptually, to the next level. They will help you envision a path for your practice and your career. I am available to provide a second opinion on an application / proposal.
My goal is to balance empathy and guidance with honest feedback. I provide encouragement while questioning assumptions you may have about your work. Challenges are set and tailored to your individual project.
Individual critiques and group programs are designed for recent graduates preparing for graduate school, emerging artists launching their careers, budding artists applying to an arts high school or post-secondary program or renewed artists re-engaging with their practice.
"To move ahead with Lyla's support is a must do!"
Lynne Wynick – artist and dealer
"Lyla's experience and interest in the greater art world makes her a prodigious resource when seeking feedback and furthering your vision."
Angela Leach - painter and teacher
"Lyla's guidance was always firm and insightful."
Tara Bursey - interdisciplinary artist and independent curator
Bio:
I began my studies in architecture, did an undergraduate degree in painting and sculpture at York University, then a Master's degree at the San Francisco Art Institute. My sculpture, video and installation work has been exhibited nationally and internationally for over 20 years.
I have taught at many colleges and universities and have been an admissions juror for both secondary and university programs. For over 5 years I coordinated the post-degree independent studio program at Toronto School of Art (ISP / PASC). www.lylarye.com
Schedule:
Sept 23 - Oct 30: Wednesdays 1-3pm
Wednesdays 6-8pm Contemporary Gallery Tours
Critique Intensive Nov 4 - Dec 11: Wednesdays 1-3pm
Wednesdays 6-8pm Professional Practice Program
Studio Boot Camp
Location:
401 Richmond Street, studio S18
For More Information:
www.mentorlylarye.tumblr.com
Facebook: Mentor Lyla Rye
Contact:
lylarye@sympatico.ca
Lyla Rye
Programs:
Individual Critiques & Group Programs
Professional Practice Program Studio Boot Camp Critique Intensive Contemporary Gallery Tours
About:
My programs aim to motivate and guide you in taking your art making, technically and conceptually, to the next level. They will help you envision a path for your practice and your career. I am available to provide a second opinion on an application / proposal.
My goal is to balance empathy and guidance with honest feedback. I provide encouragement while questioning assumptions you may have about your work. Challenges are set and tailored to your individual project.
Individual critiques and group programs are designed for recent graduates preparing for graduate school, emerging artists launching their careers, budding artists applying to an arts high school or post-secondary program or renewed artists re-engaging with their practice.
"To move ahead with Lyla's support is a must do!"
Lynne Wynick – artist and dealer
"Lyla's experience and interest in the greater art world makes her a prodigious resource when seeking feedback and furthering your vision."
Angela Leach - painter and teacher
"Lyla's guidance was always firm and insightful."
Tara Bursey - interdisciplinary artist and independent curator
Bio:
I began my studies in architecture, did an undergraduate degree in painting and sculpture at York University, then a Master's degree at the San Francisco Art Institute. My sculpture, video and installation work has been exhibited nationally and internationally for over 20 years.
I have taught at many colleges and universities and have been an admissions juror for both secondary and university programs. For over 5 years I coordinated the post-degree independent studio program at Toronto School of Art (ISP / PASC). www.lylarye.com
Schedule:
Sept 23 - Oct 30: Wednesdays 1-3pm
Wednesdays 6-8pm Contemporary Gallery Tours
Critique Intensive Nov 4 - Dec 11: Wednesdays 1-3pm
Wednesdays 6-8pm Professional Practice Program
Studio Boot Camp
Location:
401 Richmond Street, studio S18
For More Information:
www.mentorlylarye.tumblr.com
Facebook: Mentor Lyla Rye
Contact:
lylarye@sympatico.ca
exhibition: red, green, blue ≠ white (curated by Johnson Ngo
Red, Green, Blue ≠ White
September 18 – December 1, 2013
Curated by Johnson Ngo
Golboo Amani & Manolo Lugo, Chun Hua Catherine Dong, Aryen Hoekstra, Brendan Fernandes, Kika Nicolela, Jude Norris and Kristina Lee Podesva
Opening Reception
Wednesday September 18, 5 – 8pm
A FREE shuttle bus will depart from Mercer Union (1286 Bloor Street W) at 6pm and return for 8:30pm. Artists will be in attendance.
Live performance by Golboo Amani & Manolo Lugo.
EXHIBITION STATEMENT
Red, Brown, Yellow, Black, White: all colours used to describe people, somewhat contentiously, of culturally diverse backgrounds. Coined by Alice Walker, colourism, or discrimination based on skin colour, is the impetus to examine the relationship between race and colour. Red, Green, Blue ≠ White investigates this fraught territory through the formal considerations of colour offered by colour theory. But that is only its point of departure. The selected works share a sensibility for subtle performative gestures; the marking of bodies through the accumulation of light, the action of a lick, the construction of identities through the application of makeup, the gradation of the skin tone through light exposure, and the critique of white—white, the colour and the race. The performative elements of the works instill shifts in the relationship between the viewer's body, vision, and consequent understanding. As an ensemble, they encourage reflections (in both senses of the word) on the politics of colour. The symbol ‘≠’ is not just presented as a negation here, it engenders a generative conversation about race, extending from an awareness of inequalities to the artistic presentation of shifting perspectives.
Click here for more information. SPECIAL EVENTS
FREE CONTEMPORARY ART BUS TOUR
Sunday October 20, 12 – 5:30pm
The tour starts at Koffler Gallery’s Off-Site project at the Jack Layton Ferry Terminal (Toronto) at 12noon and then departs for Blackwood Gallery, AGYU and the Doris McCarthy Gallery. Seating is limited. To RSVP email dmg@utsc.utoronto.ca or call 416-287-7007 by Friday October 18.
ARTISTS-IN-RESIDENCE
Brendan Fernandes: October 21 – November 1, 2013
Kristina Lee Podesva: November 21 – December 1, 2013
ARTIST TALK: Brendan Fernandes
Thursday October 24, 5:30pm – 7pm
In conjunction with the Masters of Visual Studies (MVS) Pro Seminar
and the Jackman Humanities Institute
North Borden Building, Rm 229
563 Spadina Crescent, Toronto
ARTIST TALK: Kristina Lee Podesva
Wednesday November 27, 6 - 7pm
Co-presented by the Toronto Reel Asian International Film Festival
In conjunction with the Jackman Humanities Institute
170 St. George Street, Rm JHB100, Toronto
2013 BILLBOARD
Chun Hua Catherine Dong, After Olympia, 2011
On view 24/7 from September 3, 2013 to May 1, 2014 outside the William Davis Building, UTM campus.
Click here for more information.
OFFSITE PROJECT
Brown Globe (2007) by Kristina Lee Podesva
Installed at various locations across GTA.
Co-presented by the Toronto Reel Asian International Film Festival
For more information: http://www.reelasian.com
ACKNOWLEDGMENTS
This exhibition is the culmination of Johnson Ngo’s Curatorial Residency supported by the Canada Council for the Arts Grants to Culturally Diverse Curators for Residencies for the Visual Arts.
Generous supported by the Canada Council for the Arts, the Jackman Humanities Institute, the Toronto Reel Asian International Film Festival, University of Toronto Student Housing & Residence Life, and Open Studio.
September 18 – December 1, 2013
Curated by Johnson Ngo
Golboo Amani & Manolo Lugo, Chun Hua Catherine Dong, Aryen Hoekstra, Brendan Fernandes, Kika Nicolela, Jude Norris and Kristina Lee Podesva
Opening Reception
Wednesday September 18, 5 – 8pm
A FREE shuttle bus will depart from Mercer Union (1286 Bloor Street W) at 6pm and return for 8:30pm. Artists will be in attendance.
Live performance by Golboo Amani & Manolo Lugo.
EXHIBITION STATEMENT
Red, Brown, Yellow, Black, White: all colours used to describe people, somewhat contentiously, of culturally diverse backgrounds. Coined by Alice Walker, colourism, or discrimination based on skin colour, is the impetus to examine the relationship between race and colour. Red, Green, Blue ≠ White investigates this fraught territory through the formal considerations of colour offered by colour theory. But that is only its point of departure. The selected works share a sensibility for subtle performative gestures; the marking of bodies through the accumulation of light, the action of a lick, the construction of identities through the application of makeup, the gradation of the skin tone through light exposure, and the critique of white—white, the colour and the race. The performative elements of the works instill shifts in the relationship between the viewer's body, vision, and consequent understanding. As an ensemble, they encourage reflections (in both senses of the word) on the politics of colour. The symbol ‘≠’ is not just presented as a negation here, it engenders a generative conversation about race, extending from an awareness of inequalities to the artistic presentation of shifting perspectives.
Click here for more information. SPECIAL EVENTS
FREE CONTEMPORARY ART BUS TOUR
Sunday October 20, 12 – 5:30pm
The tour starts at Koffler Gallery’s Off-Site project at the Jack Layton Ferry Terminal (Toronto) at 12noon and then departs for Blackwood Gallery, AGYU and the Doris McCarthy Gallery. Seating is limited. To RSVP email dmg@utsc.utoronto.ca or call 416-287-7007 by Friday October 18.
ARTISTS-IN-RESIDENCE
Brendan Fernandes: October 21 – November 1, 2013
Kristina Lee Podesva: November 21 – December 1, 2013
ARTIST TALK: Brendan Fernandes
Thursday October 24, 5:30pm – 7pm
In conjunction with the Masters of Visual Studies (MVS) Pro Seminar
and the Jackman Humanities Institute
North Borden Building, Rm 229
563 Spadina Crescent, Toronto
ARTIST TALK: Kristina Lee Podesva
Wednesday November 27, 6 - 7pm
Co-presented by the Toronto Reel Asian International Film Festival
In conjunction with the Jackman Humanities Institute
170 St. George Street, Rm JHB100, Toronto
2013 BILLBOARD
Chun Hua Catherine Dong, After Olympia, 2011
On view 24/7 from September 3, 2013 to May 1, 2014 outside the William Davis Building, UTM campus.
Click here for more information.
OFFSITE PROJECT
Brown Globe (2007) by Kristina Lee Podesva
Installed at various locations across GTA.
Co-presented by the Toronto Reel Asian International Film Festival
For more information: http://www.reelasian.com
ACKNOWLEDGMENTS
This exhibition is the culmination of Johnson Ngo’s Curatorial Residency supported by the Canada Council for the Arts Grants to Culturally Diverse Curators for Residencies for the Visual Arts.
Generous supported by the Canada Council for the Arts, the Jackman Humanities Institute, the Toronto Reel Asian International Film Festival, University of Toronto Student Housing & Residence Life, and Open Studio.
artist lecture: david vereschagin
Art and Art History presents
David Vereschagin
Tuesday 8 October 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Arriving in Toronto in 1983, graphic designer David Vereschagin was struck not just by the city, not just by its subway, but by the signage in the subway. What was that typeface? The Toronto subway lettering is a unique, mysterious part of the fabric of everyday life in the city. Seen, but not consciously recognized, by hundreds of thousands of people every day, it is an essential part of the flavour of Toronto. Yet it was a part of the city’s heritage perhaps most neglected by its originators: the TTC. Recognizing the lettering’s singularity and concerned over its neglect, Vereschagin set out to record and preserve the lettering as a set of digital fonts. Here Vereschagin will reflect on his decision and his process in creating the Toronto Subway fonts.
Vereschagin is a graphic, book and type designer, born in Edmonton, Alberta, who has made Toronto his home for the past 30 years. He has a BFA in Visual Communication Design from the University of Alberta. An award-winning freelance book designer and self-taught independent digital type designer, he has worked for a wide variety of clients, including the City of Toronto, the Office of the Auditor General of Ontario, Ernst & Young, Random House, Penguin, HarperCollins, Between the Lines, the Department of National Defence and the Canadian Auto Workers. His website and online portfolio is at www.quadrat.com.
David Vereschagin
Tuesday 8 October 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Arriving in Toronto in 1983, graphic designer David Vereschagin was struck not just by the city, not just by its subway, but by the signage in the subway. What was that typeface? The Toronto subway lettering is a unique, mysterious part of the fabric of everyday life in the city. Seen, but not consciously recognized, by hundreds of thousands of people every day, it is an essential part of the flavour of Toronto. Yet it was a part of the city’s heritage perhaps most neglected by its originators: the TTC. Recognizing the lettering’s singularity and concerned over its neglect, Vereschagin set out to record and preserve the lettering as a set of digital fonts. Here Vereschagin will reflect on his decision and his process in creating the Toronto Subway fonts.
Vereschagin is a graphic, book and type designer, born in Edmonton, Alberta, who has made Toronto his home for the past 30 years. He has a BFA in Visual Communication Design from the University of Alberta. An award-winning freelance book designer and self-taught independent digital type designer, he has worked for a wide variety of clients, including the City of Toronto, the Office of the Auditor General of Ontario, Ernst & Young, Random House, Penguin, HarperCollins, Between the Lines, the Department of National Defence and the Canadian Auto Workers. His website and online portfolio is at www.quadrat.com.
artist lecture: ehryn torrell
Art and Art History presents
Ehryn Torrell
Thursday 12 September 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Ehryn Torrell is a Canadian visual artist who lives and works in London, England. Her main practice involves painting and drawing, but she also makes sound and video, sculpture, and digital reproductions. Torrell's artwork examines personal relationships — with one's self, others, objects, memories, or environments. Her work has been exhibited in solo and group exhibitions across Canada, in England, Finland, Norway, and Korea. Torrell is the recipient of numerous awards and grants including the Joseph Plaskett Foundation Award for Painting in 2006. She holds a BA in Visual Art and English from McMaster University and an MFA degree from
NSCAD University. Her new body of work, The Occurrence of You and Me, will be exhibited at
the Grimsby Public Art Gallery from 21 September to 29 October 2013. This solo exhibition signals a new direction for Torrell's practice and includes a wide variety of forms and collaborations.
Image: Ehryn Torrell, Pull (2013), acrylic on canvas, 30 x 24 cm
Ehryn Torrell
Thursday 12 September 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Ehryn Torrell is a Canadian visual artist who lives and works in London, England. Her main practice involves painting and drawing, but she also makes sound and video, sculpture, and digital reproductions. Torrell's artwork examines personal relationships — with one's self, others, objects, memories, or environments. Her work has been exhibited in solo and group exhibitions across Canada, in England, Finland, Norway, and Korea. Torrell is the recipient of numerous awards and grants including the Joseph Plaskett Foundation Award for Painting in 2006. She holds a BA in Visual Art and English from McMaster University and an MFA degree from
NSCAD University. Her new body of work, The Occurrence of You and Me, will be exhibited at
the Grimsby Public Art Gallery from 21 September to 29 October 2013. This solo exhibition signals a new direction for Torrell's practice and includes a wide variety of forms and collaborations.
Image: Ehryn Torrell, Pull (2013), acrylic on canvas, 30 x 24 cm
exhibition: house and home
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House & Home
Cindy Blazevic, Zoe Kreye and Gwenessa Lam
Image credit: House & Home, designed by Zach Pearl
Curated by Katherine Dennis
7 September–30 October 2013
Opening reception: Saturday, September 7th, 2–4 p.m.
What makes a house a home? Built in 1822, the Campbell House is the oldest remaining building from the original town of York. Once a family home, this dwelling is more than an example of Georgian architecture; it is a site of heritage and a relic of personal and collective memory. Contemporary Canadian artists Cindy Blazevic, Zoe Kreye and Gwenessa Lam capture how the physical structure of a space contributes to individual and shared identities. Exhibited in the second floor ballroom surrounding the fireplace – the hearth, the symbolic soul of the family – this exhibition animates a space frozen-in-time, thereby drawing our awareness to the historical performance of "home" within the Campbell House Museum. Together the artworks offer open-ended narratives about the transformation of space into place, house into home.
The photographic series Generational Living Rooms (2005–) by Cindy Blazevic captures thirtysomething males in the home in which they were raised. These portraits tell a story of changing values visible in the divergance between subject and backdrop. The living-room setting stands in for an older generation, while the men represent, with their distinct personalities, quirks and personas, a younger generation trying to define alternative ways of living in the world.
In stark contrast, Gwenessa Lam's Interiors (2010–11) are haunting, void of individuality, yet uncannily provoke an intimate connection. These hyperrealistic but subtly distorted paintings of an interior space depict doorways, floors and walls empty of any signifiers of a family home. The paintings encourage a quiet need to understand why this room remains empty. What stories would be told if walls could speak?
Positioned between the void of Lam's paintings and the fullness of Blazevic's photographs, Kreye's Audio Blueprint, Grifford House (2004 –13) presents the shell of a family home constructed from adult recollections of childhood memories. The interview, which plays alongside the sculpture, provides the blueprint for this model home. Kreye's architectural structure frames the transformation where a physical space – a house – built with lived experiences and reconstructed through memory, becomes a home.
The placement of contemporary photography, painting and sculpture in the Campbell House Museum – a space of artifact and preserved history – reveals a discord and dialogue between changing concepts of home and family. Blazevic, Kreye and Lam explore memories, representations and reality experienced: in the transition from house to home, in the shift from physical structure to community, and in changing ideas of selfhood and societal values.
About the artists: Cindy Blazevic is a Toronto-based, Canadian-Croatian visual artist who uses photography to document private narratives within the shifting landscapes of larger social and political spaces, exploring themes of identity, authority, and access. York University's Osgoode Hall Law School named Blazevic the inaugural Artist in Residence for the 2013/14 academic year. Zoë Kreye's art works looks to engage the public in relations beyond aesthetics, with the goal of building inclusive, bottom-up associations that have the potential to be small catalysts for change within dominant social systems. She is currently based in Vancouver and teaches studio and Social Practice at Emily Carr University of Art & Design. Gwenessa Lam is a visual artist and educator. Her artwork stems from interests in perception and the compression of time and memory within images. Gwenessa lives and works in Vancouver, BC.
About the Curator: Katherine Dennis is a Toronto-based independent curator, writer and researcher. Dennis won the inaugural Middlebrook Prize for Young Canadian Curators at the Elora Centre for the Arts and will curate an exhibition, As Perennial as the Grass, for the gallery in October 2013.
The Campbell House Museum
160 Queen Street W., Toronto,
ON M5H 3H3
For information on the exhibition contact the curator, Katherine Dennis
Email: kath.dennis@gmail.com
Phone: 416-827-9190
A special thank you to all the men of the Generational Living Rooms and to David Gifford who revisited his childhood memories ten years after the original creation of Audio Blueprint, Grifford House. This exhibition would not be possible without the support of the Republic Gallery and the private and corporate collections that loaned Lam's Interiors for this exhibition.
We would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario, the City of Toronto through the Toronto Arts Council and the Sir William Campbell Foundation.
House & Home
Cindy Blazevic, Zoe Kreye and Gwenessa Lam
Image credit: House & Home, designed by Zach Pearl
Curated by Katherine Dennis
7 September–30 October 2013
Opening reception: Saturday, September 7th, 2–4 p.m.
What makes a house a home? Built in 1822, the Campbell House is the oldest remaining building from the original town of York. Once a family home, this dwelling is more than an example of Georgian architecture; it is a site of heritage and a relic of personal and collective memory. Contemporary Canadian artists Cindy Blazevic, Zoe Kreye and Gwenessa Lam capture how the physical structure of a space contributes to individual and shared identities. Exhibited in the second floor ballroom surrounding the fireplace – the hearth, the symbolic soul of the family – this exhibition animates a space frozen-in-time, thereby drawing our awareness to the historical performance of "home" within the Campbell House Museum. Together the artworks offer open-ended narratives about the transformation of space into place, house into home.
The photographic series Generational Living Rooms (2005–) by Cindy Blazevic captures thirtysomething males in the home in which they were raised. These portraits tell a story of changing values visible in the divergance between subject and backdrop. The living-room setting stands in for an older generation, while the men represent, with their distinct personalities, quirks and personas, a younger generation trying to define alternative ways of living in the world.
In stark contrast, Gwenessa Lam's Interiors (2010–11) are haunting, void of individuality, yet uncannily provoke an intimate connection. These hyperrealistic but subtly distorted paintings of an interior space depict doorways, floors and walls empty of any signifiers of a family home. The paintings encourage a quiet need to understand why this room remains empty. What stories would be told if walls could speak?
Positioned between the void of Lam's paintings and the fullness of Blazevic's photographs, Kreye's Audio Blueprint, Grifford House (2004 –13) presents the shell of a family home constructed from adult recollections of childhood memories. The interview, which plays alongside the sculpture, provides the blueprint for this model home. Kreye's architectural structure frames the transformation where a physical space – a house – built with lived experiences and reconstructed through memory, becomes a home.
The placement of contemporary photography, painting and sculpture in the Campbell House Museum – a space of artifact and preserved history – reveals a discord and dialogue between changing concepts of home and family. Blazevic, Kreye and Lam explore memories, representations and reality experienced: in the transition from house to home, in the shift from physical structure to community, and in changing ideas of selfhood and societal values.
About the artists: Cindy Blazevic is a Toronto-based, Canadian-Croatian visual artist who uses photography to document private narratives within the shifting landscapes of larger social and political spaces, exploring themes of identity, authority, and access. York University's Osgoode Hall Law School named Blazevic the inaugural Artist in Residence for the 2013/14 academic year. Zoë Kreye's art works looks to engage the public in relations beyond aesthetics, with the goal of building inclusive, bottom-up associations that have the potential to be small catalysts for change within dominant social systems. She is currently based in Vancouver and teaches studio and Social Practice at Emily Carr University of Art & Design. Gwenessa Lam is a visual artist and educator. Her artwork stems from interests in perception and the compression of time and memory within images. Gwenessa lives and works in Vancouver, BC.
About the Curator: Katherine Dennis is a Toronto-based independent curator, writer and researcher. Dennis won the inaugural Middlebrook Prize for Young Canadian Curators at the Elora Centre for the Arts and will curate an exhibition, As Perennial as the Grass, for the gallery in October 2013.
The Campbell House Museum
160 Queen Street W., Toronto,
ON M5H 3H3
For information on the exhibition contact the curator, Katherine Dennis
Email: kath.dennis@gmail.com
Phone: 416-827-9190
A special thank you to all the men of the Generational Living Rooms and to David Gifford who revisited his childhood memories ten years after the original creation of Audio Blueprint, Grifford House. This exhibition would not be possible without the support of the Republic Gallery and the private and corporate collections that loaned Lam's Interiors for this exhibition.
We would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario, the City of Toronto through the Toronto Arts Council and the Sir William Campbell Foundation.
exhibition: richard sewell to exhibit in group show at KWAG
exhibition and artist talk: (Da bao)(Takeout)
John Armstrong and Paul Collins, Galataxa Bridge Corner (2012) oil on chromogenic print 20 x 30 Inches ((50.8 x 76.3 cm)
(Da bao)(Takeout) April 6, 2013 to June 2, 2013 Opening reception: April 5, 2013 - 7:00pm to 11:45pm
Artist talk with John Armstrong: March 30, 2013 - 3:00pm to 4:00pm Artist talk with Cathy Busby: April 14, 2013 - 3:00pm to 4:00pm Curator talk with Doug Lewis: April 6, 2013 - 3:00pm to 4:00pm
Curated by Shannon Anderson and Doug Lewis with assistance from Selena Yang and organized and circulated by the Varley Art Gallery of Markham. Plug In ICA presents (Da bao)(Takeout), an exhibition attempting to locate a cross-cultural and social dynamic between China and the West, specifically Canada. It focuses on artists who investigate, adapt and instill ideas from abroad into their practices, while appreciating the palpable slippages that occur in the transference of ideas from one ethnicity to another. Artists include: Sara Angelucci, Han Xu, John Armstrong, Paul Collins, Cathy Busby, Gang Chen, Brendan Fernandes, Nan Hao, Ming Hon, Knowles Eddy Knowles, Laiwan, Minjeong Oh, Ed Pien, Shen Yi Elsie, Laurens Tan, Xiaojing Yan, and Zhang Zhaohui. The title of the exhibition refers to occurrences of social and cultural shifts between people and places, using food as a metaphor for how we “digest” other cultures. Throughout China, Western fast-food chains are spreading quickly (including McDonald’s, KFC and Starbucks), keeping pace with the country’s hunger for economic growth. In North America, Chinese food has long been a favourite takeout food. Ironically, the ubiquitous white cardboard container used in the West for takeout Chinese food is completely unknown in China, and thus, the box becomes an iconic symbol of everyday misunderstandings. Culture, in general, can be regarded as a system of delivering ideas from one group of people to another. In this way, (Da bao)(Takeout) addresses the metaphorical concept of delivery and interpretation of cultural identity. Artworks from both countries challenge and play with the different cultural conventions and restrictions that exist between East and West. The seventeen artists in this exhibition are a mix of second-or-third-generation Chinese-Canadians, Chinese who have travelled abroad to study art, and Canadians who have travelled to China for residencies or exhibitions. They share the experience of being “taken out” of familiar environments and encountering a strikingly different culture. While their individual voices occupy a unique position, collectively, they speak to issues of cultural transference, highlighting the gaps, distances and misunderstandings inherent in communication across cultural divides. Artist John Armstrong will speak on aspects of contemporary art in China on Saturday, March 30 at 3 pm at Plug In ICA. For more info see: http://plugin.org/events/201303/artist-talk-john-armstrong Exhibition co-curator Doug Lewis will give a talk on Saturday, April 6 at 3 pm at Plug In ICA. Artist Ming Hon will give a talk on Wednesday, April 10 at 7 pm at MAWA. Artist Cathy Busby will give a talk on Sunday, April 14 at 3 pm at Plug In ICA. The exhibition and programs are free and everyone is welcome to attend! Please note Plug In ICA has new extended gallery hours effective April 2!
Plug In Institute of Contemporary Art Unit 1 - 460 Portage Avenue Winnipeg, Manitoba R3C 0E8 Canada Phone 204 942 1043 Fax 204 944 8663 info@plugin.org Parking available on-site. Wheelchair accessible. Free to all.
exhibition: carmelo arnoldin
Art and Art History faculty member Carmelo Arnoldin and Art and Art History alumna Rhonda Weppler (with Trevor Mahovsky) will be exhibiting in Shine, an exhibition curated by Natalia Nekrassova and Sarah Quinton that runs from Mar 27, 2013 - Sept 2, 2013 at the Textile Museum of Canada,
55 Centre Avenue (Dundas St. W & University Ave., St. Patrick subway)
Toronto. Opening: Wednesday 27 March, 6:30 – 8:00 PM. All are welcome.
Image: Carmelo Arnoldin, The Last Supper (2013), weaving of strips of aluminum beverage cans, 80 x 2
Image: Carmelo Arnoldin, The Last Supper (2013), weaving of strips of aluminum beverage cans, 80 x 2
artist lecture: tonia di risio
Tonia Di Risio
Thursday 21 March 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
During the summer of 2006, Tonia Di Risio traveled to a small town in Italy and recorded a series of women preparing a variety of local dishes in their kitchens. The videos were prompted by her desire to learn family recipes from her Italian relatives in the absence of a fluent common language by observing them working and cooking in their home kitchens. Her recent video installation Feed includes single channel pieces as well as a multi-channel projection highlighting an edited compilation of cooking sessions which bring together generations of women through the language of food, while also examining the tradition of passing and sharing of family recipes. Di Risio’s practice has involved an investigation of gendered domesticity in relation to housekeeping, home maintenance, and interior decoration primarily through time-based media including photography, video and audio recording.
A multi media artist who lived and worked in Halifax for 15 years, Di Risio relocated to Southern Ontario in 2012. She received an Honours BA in Art and Art History from the University of Toronto Mississauga and Sheridan, and an MFA from the University of Windsor. She has exhibited across Canada and has been the recipient of Canada Council and Nova Scotia arts grants. While in Halifax, Di Risio worked at the Anna Leonowens Gallery at the Nova Scotia College of Art and Design University as Exhibition Coordinator for seven years and was the Gallery Director for five years. She was also actively involved in the Halifax artist-run community. She currently holds the position of Cultural Supervisor with
the Town of Oakville at the recently opened Queen Elizabeth Park Community and Cultural Centre and is a new member of Red Head Gallery in Toronto.
Image: Tonia Di Risio, video still from Feed: Cooking In Italy (2010)
Thursday 21 March 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
During the summer of 2006, Tonia Di Risio traveled to a small town in Italy and recorded a series of women preparing a variety of local dishes in their kitchens. The videos were prompted by her desire to learn family recipes from her Italian relatives in the absence of a fluent common language by observing them working and cooking in their home kitchens. Her recent video installation Feed includes single channel pieces as well as a multi-channel projection highlighting an edited compilation of cooking sessions which bring together generations of women through the language of food, while also examining the tradition of passing and sharing of family recipes. Di Risio’s practice has involved an investigation of gendered domesticity in relation to housekeeping, home maintenance, and interior decoration primarily through time-based media including photography, video and audio recording.
A multi media artist who lived and worked in Halifax for 15 years, Di Risio relocated to Southern Ontario in 2012. She received an Honours BA in Art and Art History from the University of Toronto Mississauga and Sheridan, and an MFA from the University of Windsor. She has exhibited across Canada and has been the recipient of Canada Council and Nova Scotia arts grants. While in Halifax, Di Risio worked at the Anna Leonowens Gallery at the Nova Scotia College of Art and Design University as Exhibition Coordinator for seven years and was the Gallery Director for five years. She was also actively involved in the Halifax artist-run community. She currently holds the position of Cultural Supervisor with
the Town of Oakville at the recently opened Queen Elizabeth Park Community and Cultural Centre and is a new member of Red Head Gallery in Toronto.
Image: Tonia Di Risio, video still from Feed: Cooking In Italy (2010)
artist lecture: kate wilson
Art and Art History Presents Kate Wilson
March 12, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Kate Wilson is a Toronto based multidisciplinary artist whose practice includes
painting, animation, large-scale wall drawing installation, and sound composition. Wilson has exhibited nationally and internationally and is a recipient of awards from the Toronto Arts Council, Ontario Arts Council and the Canada Council for the Arts including the Canada Council Paris Studio.
Recent exhibitions include Beyond/ In Western New York 2007 at the University at Buffalo Center for the Arts, organized by the Albright-Knox Art Gallery, Buffalo, NY, USA, Canadian Club, the Canadian Cultural Centre, Paris, France, Real Estate Flowers at the Kelowna Art Gallery, Kelowna, British Columbia, Microbial Baroque, St. Mary’s University Art Gallery, Halifax, CAFKA.09: Veracity, Contemporary Art Forum Kitchener and Area,
Kitchener, Ontario, Collages in Motion and Artificial Dreams at the Art Gallery of Greater Victoria, Victoria, British Columbia.
March 12, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Kate Wilson is a Toronto based multidisciplinary artist whose practice includes
painting, animation, large-scale wall drawing installation, and sound composition. Wilson has exhibited nationally and internationally and is a recipient of awards from the Toronto Arts Council, Ontario Arts Council and the Canada Council for the Arts including the Canada Council Paris Studio.
Recent exhibitions include Beyond/ In Western New York 2007 at the University at Buffalo Center for the Arts, organized by the Albright-Knox Art Gallery, Buffalo, NY, USA, Canadian Club, the Canadian Cultural Centre, Paris, France, Real Estate Flowers at the Kelowna Art Gallery, Kelowna, British Columbia, Microbial Baroque, St. Mary’s University Art Gallery, Halifax, CAFKA.09: Veracity, Contemporary Art Forum Kitchener and Area,
Kitchener, Ontario, Collages in Motion and Artificial Dreams at the Art Gallery of Greater Victoria, Victoria, British Columbia.
annie smith: television interview
Art and Art History presents
Annie Smith on Drawing and Bearing Up with Cancer in a 2006 TVO interview
Thursday 4 April 2013
12:30 – 1:00 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON
I n 2006, TVO broadcast a 28-minute interview with Annie Smith focusing on her struggle with cancer and her creation of a book of drawings and commentary on the experience. In 2004, Second Story Press published Professor Smith’s Bearing Up with Cancer.
The Annie Smith Arts Centre, home to the Art and Art History Program's painting, drawing and sculpture departments, is named in honour
of Professor Annie Smith, who guided the Art and Art History Program from 1976 on through a period of remarkable growth and transformation.
Annie Smith on Drawing and Bearing Up with Cancer in a 2006 TVO interview
Thursday 4 April 2013
12:30 – 1:00 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON
I n 2006, TVO broadcast a 28-minute interview with Annie Smith focusing on her struggle with cancer and her creation of a book of drawings and commentary on the experience. In 2004, Second Story Press published Professor Smith’s Bearing Up with Cancer.
The Annie Smith Arts Centre, home to the Art and Art History Program's painting, drawing and sculpture departments, is named in honour
of Professor Annie Smith, who guided the Art and Art History Program from 1976 on through a period of remarkable growth and transformation.
artist lecture: ryan park
Art and Art History Presents Ryan Park
February 28, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON.
Toronto based artist, Ryan Park starts from a commitment to art making in close communication with moments encountered in everyday life. He approaches each project open to the material, contextual and poetic possibilities suggested by specific subjects. The pared-down elements in the works are simultaneously matter-of-fact and suggestive, oscillating between serious and playful, clinical and poetic, analytical and emotional. His interdisciplinary practice results in a variety of media including videos, photographs, and manipulations of found materials that suggest presences and absences, urges and constraints. He holds a BSc from the University of British Columbia, a BFA from NSCAD, and an MFA from the University of Guelph. He has exhibited across Canada and internationally and currently has work in exhibitions at the Justina M. Barnicke Gallery (Toronto), and MKG127 (Toronto).
February 28, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON.
Toronto based artist, Ryan Park starts from a commitment to art making in close communication with moments encountered in everyday life. He approaches each project open to the material, contextual and poetic possibilities suggested by specific subjects. The pared-down elements in the works are simultaneously matter-of-fact and suggestive, oscillating between serious and playful, clinical and poetic, analytical and emotional. His interdisciplinary practice results in a variety of media including videos, photographs, and manipulations of found materials that suggest presences and absences, urges and constraints. He holds a BSc from the University of British Columbia, a BFA from NSCAD, and an MFA from the University of Guelph. He has exhibited across Canada and internationally and currently has work in exhibitions at the Justina M. Barnicke Gallery (Toronto), and MKG127 (Toronto).
lecture: dot tuer
Art and Art History presents
Curator Dot Tuer on her recent AGO exhibition
Frida and Diego: Passion, Politics and Painting
Tuesday 12 February 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Dot Tuer is a writer and cultural historian whose research focuses on Canadian and Latin American art,
with a specialty in photography and new media. She also has a research interest in colonial Latin American
history and the theorization of mestizaje as a site of intercultural exchange between European and
indigenous cultures. At the core of her reflective writing practice on art is an investigation of how
disparate acts of making and witnessing serve as counterpoints to underscore the relationship of the
reception of images to political agency. For this lecture, Tuer reflects on the process of curating the
exhibition on Mexican artists Frida Kahlo and Diego Rivera at the Art Gallery of Ontario and how her
decision to juxtapose of the artists’ artworks in relation to photography revealed the affinities as well as
differences in their creative visions.
Tuer holds a Ph.D. from the University of Toronto and is Full Professor at OCAD University, where she
has served as the Director of the MFA program and Chair of the undergraduate program in Criticism and
Curatorial Practice and as the Acting Dean of Liberal Studies. Tuer has published widely on contemporary
art in anthologies and journals, and written for major museums and biennales, including National Gallery
of Canada, the DIA Centre for the Arts, the Art Gallery of Ontario, the ICA in London, and the Sydney
and Sao Paulo Biennales. Her book, Mining the Media Archive: Art, Technology and Cultural Resistance, was
published in 2006. She has received numerous awards for her writing on art, including the OAAG
Curatorial Writing Award, Toronto Arts Award, National Magazine Award, and Canada Council and
Ontario Arts Council grants.
Curator Dot Tuer on her recent AGO exhibition
Frida and Diego: Passion, Politics and Painting
Tuesday 12 February 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Dot Tuer is a writer and cultural historian whose research focuses on Canadian and Latin American art,
with a specialty in photography and new media. She also has a research interest in colonial Latin American
history and the theorization of mestizaje as a site of intercultural exchange between European and
indigenous cultures. At the core of her reflective writing practice on art is an investigation of how
disparate acts of making and witnessing serve as counterpoints to underscore the relationship of the
reception of images to political agency. For this lecture, Tuer reflects on the process of curating the
exhibition on Mexican artists Frida Kahlo and Diego Rivera at the Art Gallery of Ontario and how her
decision to juxtapose of the artists’ artworks in relation to photography revealed the affinities as well as
differences in their creative visions.
Tuer holds a Ph.D. from the University of Toronto and is Full Professor at OCAD University, where she
has served as the Director of the MFA program and Chair of the undergraduate program in Criticism and
Curatorial Practice and as the Acting Dean of Liberal Studies. Tuer has published widely on contemporary
art in anthologies and journals, and written for major museums and biennales, including National Gallery
of Canada, the DIA Centre for the Arts, the Art Gallery of Ontario, the ICA in London, and the Sydney
and Sao Paulo Biennales. Her book, Mining the Media Archive: Art, Technology and Cultural Resistance, was
published in 2006. She has received numerous awards for her writing on art, including the OAAG
Curatorial Writing Award, Toronto Arts Award, National Magazine Award, and Canada Council and
Ontario Arts Council grants.
exhibition: yet not a double
YET NOT A DOUBLE
Hazel McCallion Academic Learning Centre, UTM
January to August 2013
Samantha Hanrath, Ebony Jansen, Matthew Morales, Joanna Di Nunzio, AnnaLiisa Ollila,
Ashley St. Pierre
Curated by Julia Abraham, Blackwood Gallery
AnnaLiisa Ollila, Infinite Jest, 2012
Yet Not a Double brings together six artists that engage with a disjuncture of position. The
exhibition is the second in a series of three exhibitions at the University of Toronto Mississauga’s
Hazel McCallion Academic Learning Centre for students in the Art & Art History program. The
exhibition follows Not a Panopticon, the first in this series that opened in 2012, which included
artists Sera Bannon, Kara Firth, and Sarah Lalonde.
The art works function as interventions that disturb routine and transform the library into an
alternative exhibition site. Not a Panopticon demonstrated the extent to which panoramic views in
the library are visually dissected and cropped from full view. Yet Not a Double responds to these
visual dissections by doubling and displacing objects, slicing them into two positions, and
suggesting an infinite multiplicity. The first exhibition emphasized the interruptions of the library’s
sightlines. The second exhibition makes use of these multiple sightlines and places them
alongside one another.
The third and final exhibition in this series will open in the fall of 2013.
Hazel McCallion Academic Learning Centre, UTM
January to August 2013
Samantha Hanrath, Ebony Jansen, Matthew Morales, Joanna Di Nunzio, AnnaLiisa Ollila,
Ashley St. Pierre
Curated by Julia Abraham, Blackwood Gallery
AnnaLiisa Ollila, Infinite Jest, 2012
Yet Not a Double brings together six artists that engage with a disjuncture of position. The
exhibition is the second in a series of three exhibitions at the University of Toronto Mississauga’s
Hazel McCallion Academic Learning Centre for students in the Art & Art History program. The
exhibition follows Not a Panopticon, the first in this series that opened in 2012, which included
artists Sera Bannon, Kara Firth, and Sarah Lalonde.
The art works function as interventions that disturb routine and transform the library into an
alternative exhibition site. Not a Panopticon demonstrated the extent to which panoramic views in
the library are visually dissected and cropped from full view. Yet Not a Double responds to these
visual dissections by doubling and displacing objects, slicing them into two positions, and
suggesting an infinite multiplicity. The first exhibition emphasized the interruptions of the library’s
sightlines. The second exhibition makes use of these multiple sightlines and places them
alongside one another.
The third and final exhibition in this series will open in the fall of 2013.
artist lecture: ron benner
Art and Art History presents
Ron Benner
Thursday 14 March 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
In August 2012, The Justina M. Barnicke Gallery hosted a corn roast by London, Ontario artist Ron Benner. The roast of freshly picked corn is an integral part of the artist’s special summer-long garden installation, titled Your Disease Our Delicacy (cuitlacoche), at Hart House, University of Toronto. The celebration of the sumptuous garden is one of several such projects by Benner, whose research into
agriculture—its interface with bioengineering, patenting, world food heritage, capitalization of bio-diversity in the context of colonial and indigenous histories, and contemporary politics—spans over 35 years.
Over the summer Benner’s garden grew into a cornucopia of flowers and edible plants. Accompanied by photo-murals and specimen labels, the garden draws on the rich, but often forgotten history of precolonial indigenous cultivation in the Americas and its contribution to contemporary world food production (tomatoes, peppers, tobacco, potatoes, beans, etc). Your Disease Our Delicacy (cuitlacoche) involved encouraging the growth of cuitlacoche, a pathogenic plant fungus that forms on corn and is commonly known as Mexican ‘corn smut.’ Viewed as a disease by some peoples and a delicacy by others, cuitlacoche serves as an apt metaphor for the contentious issues surrounding global food production and
consumption.
A recent installation is presently on view at the Jackman Humanties Institute, University of Toronto in an exhibition titled Bread and Butter curated by Sandy Saad. This project is part of the Institute’s 2012/2013 academic research theme of food.
Benner is the recipient of numerous awards and his work is in both Canadian and international public collections. He is an Adjunct Professor in Visual Arts at Western University, London, ON.
Image: Ron Benner Transmission Vectors (2011), installation view
Ron Benner
Thursday 14 March 2013
12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
In August 2012, The Justina M. Barnicke Gallery hosted a corn roast by London, Ontario artist Ron Benner. The roast of freshly picked corn is an integral part of the artist’s special summer-long garden installation, titled Your Disease Our Delicacy (cuitlacoche), at Hart House, University of Toronto. The celebration of the sumptuous garden is one of several such projects by Benner, whose research into
agriculture—its interface with bioengineering, patenting, world food heritage, capitalization of bio-diversity in the context of colonial and indigenous histories, and contemporary politics—spans over 35 years.
Over the summer Benner’s garden grew into a cornucopia of flowers and edible plants. Accompanied by photo-murals and specimen labels, the garden draws on the rich, but often forgotten history of precolonial indigenous cultivation in the Americas and its contribution to contemporary world food production (tomatoes, peppers, tobacco, potatoes, beans, etc). Your Disease Our Delicacy (cuitlacoche) involved encouraging the growth of cuitlacoche, a pathogenic plant fungus that forms on corn and is commonly known as Mexican ‘corn smut.’ Viewed as a disease by some peoples and a delicacy by others, cuitlacoche serves as an apt metaphor for the contentious issues surrounding global food production and
consumption.
A recent installation is presently on view at the Jackman Humanties Institute, University of Toronto in an exhibition titled Bread and Butter curated by Sandy Saad. This project is part of the Institute’s 2012/2013 academic research theme of food.
Benner is the recipient of numerous awards and his work is in both Canadian and international public collections. He is an Adjunct Professor in Visual Arts at Western University, London, ON.
Image: Ron Benner Transmission Vectors (2011), installation view
artist lecture: renee lear
Art and Art History Presents Renée Lear
February 7, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON.
Renée Lear is a video artist, performer, photographer and filmmaker. She holds a BFA in New Media from the School of Image Arts at Ryerson University and received an MFA from York University in Toronto. Her recent work explores a number of different approaches to video including experimental single-channel video, site-specific video installation, video performance and video mixing in live environments. She works both solo and in collaboration with other artists including musicians, DJ’s, chefs and dancers. Her work has been shown in art galleries, festivals, underground cinemas, performance spaces, dance clubs, music venues, ad hoc public spaces and has been exhibited in Canada, the United States and Europe. Renée teaches video at York University in Toronto.
February 7, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON.
Renée Lear is a video artist, performer, photographer and filmmaker. She holds a BFA in New Media from the School of Image Arts at Ryerson University and received an MFA from York University in Toronto. Her recent work explores a number of different approaches to video including experimental single-channel video, site-specific video installation, video performance and video mixing in live environments. She works both solo and in collaboration with other artists including musicians, DJ’s, chefs and dancers. Her work has been shown in art galleries, festivals, underground cinemas, performance spaces, dance clubs, music venues, ad hoc public spaces and has been exhibited in Canada, the United States and Europe. Renée teaches video at York University in Toronto.
artist lecture: letha wilson
Art and Art History Presents Letha Wilson
January 31, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Letha Wilson is a part of a new, exciting school of artists engaging landscape, who are applying a tactile, sculptural approach to their practice with the aim of both reasserting the artist’s hand in the digital age and bringing attention to environmental issues. Her approach consists of “taking a landscape photograph and then punching it in the face.” She uses a broad range of techniques and materials are used – photography, collage, sculpture,
installation, video – in work that strikes a balance between abstraction and representation, landscape and architecture. Her work is currently on display at Gallery 44 – 401 Richmond Street West. gallery44.org/clearcut
Letha Wilson is a mixed media artist who was born in Honolulu, raised in Colorado and currently lives in Brooklyn. She earned her BFA from Syracuse University, and an MFA from Hunter College in New York City. Letha's artwork has been shown at many venues including the Bronx Museum of the Arts, Socrates Sculpture Park, Exit Art, White Box, Fredrieke Taylor Gallery and the Aldrich Museum of Contemporary Art. In 2009 Letha was a resident at the Santa Fe Art Institute, the Skowhegan School of Painting and Sculpture, and was nominated for the Louis Comfort Tiffany Biennial Award.
Image: Letha Wilson, Rock Face, 61 x 51 x 13 cm Aqua Resin, fibreglass, paint, unique chromogenic print, hole, 2011
January 31, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Letha Wilson is a part of a new, exciting school of artists engaging landscape, who are applying a tactile, sculptural approach to their practice with the aim of both reasserting the artist’s hand in the digital age and bringing attention to environmental issues. Her approach consists of “taking a landscape photograph and then punching it in the face.” She uses a broad range of techniques and materials are used – photography, collage, sculpture,
installation, video – in work that strikes a balance between abstraction and representation, landscape and architecture. Her work is currently on display at Gallery 44 – 401 Richmond Street West. gallery44.org/clearcut
Letha Wilson is a mixed media artist who was born in Honolulu, raised in Colorado and currently lives in Brooklyn. She earned her BFA from Syracuse University, and an MFA from Hunter College in New York City. Letha's artwork has been shown at many venues including the Bronx Museum of the Arts, Socrates Sculpture Park, Exit Art, White Box, Fredrieke Taylor Gallery and the Aldrich Museum of Contemporary Art. In 2009 Letha was a resident at the Santa Fe Art Institute, the Skowhegan School of Painting and Sculpture, and was nominated for the Louis Comfort Tiffany Biennial Award.
Image: Letha Wilson, Rock Face, 61 x 51 x 13 cm Aqua Resin, fibreglass, paint, unique chromogenic print, hole, 2011
curator lecture: monica flip
Art and Art History presents Mona Filip Tuesday 29 January 2013 12:30 – 1:30 p. m.
Sheridan, Annie Smith Arts Centre Mezzanine 1430 Trafalgar Road, Oakville, ON
Mona Filip is the Curator of the Koffler Gallery at the Koffler Centre of the Arts, Toronto. In January 2009, she launched the Gallery’s Off-Site program – a series of site-specific projects presented across the city, exploring urban history and memory. In this context, Filip developed a wide range of exhibitions, including Honest Threads by Iris Häussler, Auguststrasse 25 by E.C. Woodley, Vagabond Vitrine by Panya Clark Espinal, Swing Stage by Lyla Rye, Museum of the Represented City by Flavio Trevisan, and Summer Special, an intervention by six Canadian artists at Toronto’s iconic discount store, Honest Ed’s. Filip received her BFA from the Corcoran School of Art, Washington DC, and her MFA from SUNY at Buffalo. She has served on granting and public art juries, as well as on the Board of Directors of Mercer Union. Mona Filip: Several notions inform my curatorial practice: the cultural context of my position at the Koffler, my training as a visual artist, and my experience as an immigrant to Toronto. Reflecting diverse cultural, material and aesthetic directions, Koffler Gallery exhibitions explore the contemporary Jewish experience within a global dialogue, inviting comparative investigations of narratives among people of diverse heritages within a broader discussion of identity, memory and place. Since 2009, my Off-Site curatorial projects have involved artists and artistic practices that focus on mining the contemporary urban environment and its multilayered histories, exploring domestic, public and heritage sites, and stimulating dialogue on social issues. My intention has been to engage with artists and ideas to facilitate situations of encounter in which art seeks its audience and reaches out into everyday life. Outside the white cube, I see the city as more than a setting for creative production, as a material and subject to be constantly created by and transformed through art and audiences. Image: Summer Special installation detail: Ron Terada,
No Midwife, A Lazy Lout, Won’t Squeal, 2012 . Photo: Nick Kozak.
Sheridan, Annie Smith Arts Centre Mezzanine 1430 Trafalgar Road, Oakville, ON
Mona Filip is the Curator of the Koffler Gallery at the Koffler Centre of the Arts, Toronto. In January 2009, she launched the Gallery’s Off-Site program – a series of site-specific projects presented across the city, exploring urban history and memory. In this context, Filip developed a wide range of exhibitions, including Honest Threads by Iris Häussler, Auguststrasse 25 by E.C. Woodley, Vagabond Vitrine by Panya Clark Espinal, Swing Stage by Lyla Rye, Museum of the Represented City by Flavio Trevisan, and Summer Special, an intervention by six Canadian artists at Toronto’s iconic discount store, Honest Ed’s. Filip received her BFA from the Corcoran School of Art, Washington DC, and her MFA from SUNY at Buffalo. She has served on granting and public art juries, as well as on the Board of Directors of Mercer Union. Mona Filip: Several notions inform my curatorial practice: the cultural context of my position at the Koffler, my training as a visual artist, and my experience as an immigrant to Toronto. Reflecting diverse cultural, material and aesthetic directions, Koffler Gallery exhibitions explore the contemporary Jewish experience within a global dialogue, inviting comparative investigations of narratives among people of diverse heritages within a broader discussion of identity, memory and place. Since 2009, my Off-Site curatorial projects have involved artists and artistic practices that focus on mining the contemporary urban environment and its multilayered histories, exploring domestic, public and heritage sites, and stimulating dialogue on social issues. My intention has been to engage with artists and ideas to facilitate situations of encounter in which art seeks its audience and reaches out into everyday life. Outside the white cube, I see the city as more than a setting for creative production, as a material and subject to be constantly created by and transformed through art and audiences. Image: Summer Special installation detail: Ron Terada,
No Midwife, A Lazy Lout, Won’t Squeal, 2012 . Photo: Nick Kozak.
artist lecture: chris down
Art and Art History Presents Chris Down
January 22, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON.
Chris Down is an artist, teacher and writer living in Sackville, New Brunswick. He has exhibited his work nationally at the Art Gallery of Calgary, Museum of Canadian Contemporary Art, Museum London, Forest City Gallery, the Owens Art Gallery and the Art Gallery of Windsor among others. He has written features, reviews and catalogue essays for a variety of publications in Canada. He is currently assistant professor in painting and drawing at Mt. Allison University.
January 22, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine, 1430 Trafalgar Road, Oakville, ON.
Chris Down is an artist, teacher and writer living in Sackville, New Brunswick. He has exhibited his work nationally at the Art Gallery of Calgary, Museum of Canadian Contemporary Art, Museum London, Forest City Gallery, the Owens Art Gallery and the Art Gallery of Windsor among others. He has written features, reviews and catalogue essays for a variety of publications in Canada. He is currently assistant professor in painting and drawing at Mt. Allison University.
exhibition: Barnicke / Blackwood
The Justina M. Barnicke Gallery and the Blackwood Gallery present:
VOLUME: HEAR HERE January 16 - March 10, 2013
Curated by Christof Migone
AT JUSTINA M. BARNICKE GALLERY
Mitchell Akiyama, crys cole, Marla Hlady, Neil Klassen, David Lieberman, Rafael Lozano-Hemmer, Sylvia Matas, David Merritt, Ryan Park, Juliana Pivato, Alexandre St-Onge, Chiyoko Szlavnics, John Wynne
AT BLACKWOOD GALLERY
Dave Dyment, Alexis O'Hara, Darsha Hewitt, John Oswald, Ian Skedd, Charles Stankievech
Opening Reception at Justina M. Barnicke Gallery
Thursday January 17, 7 - 9pm
Artists will be in attendance.
Opening Reception at Blackwood Gallery
Wednesday January 16, 5 - 8pm
A FREE shuttle bus will depart at 5:30pm from Mercer Union (1286 Bloor St W.) and return at 8pm. Artists will be in attendance.
CURATORIAL STATEMENT
From the utterance stems the establishment of the category of the present, and from the category of the present is born the category of time. The present is precisely the source of time. It is that presence in the world that only the speech act makes possible, since (if we reflect on this) man has no other way of living “now” at his disposition besides the possibility to realize it through the insertion of discourse in the world.
- Émile Benveniste
Volume: Hear Here is conceived around the vexed question of presence in its entwine with absence. An ontological discussion considered through the tenuous objecthood, but resolute materiality of sonic phenomena. Benveniste's epigraph gives primacy to the speech act, here the intent is to supplant it with the sound act. The event of language taking place in time is replaced by sound as infiltrator, enveloper, occupier of both time and space. This is a moment akin to Tony Smith's famed conclusion following his experience of driving on an unfinished and unmarked portion of the New Jersey Turnpike: "There is no way you can frame it, you just have to experience it." The incompleteness which is a corollary of the decision to dwell on unframed experience is what Michael Fried in "Art of Objecthood" so vehemently resisted and is the condition of possibility of this exhibition project. Returning to the epigraph, the other bias it foregrounds is the role of discourse which also performs a framing function. There is a desire in the twenty-four works by nineteen artists assembled here, however temporary and fraught the exercise of this desire might be, to go beyond meaning, beyond interpretation. Why this desire to seemingly bypass the straight path to knowledge? Hans-Georg Gadamer spoke of a poem speaking not only through a "meaning intention" but that simultaneously a "truth lies in its performance." Serendipitously, he dubbed this dimension volumen.
SPECIAL EVENTS AND PROGRAMMING
SOUND BY ARTISTS: Book Launch and Panel Talks
Sunday February 3, 12 – 6pm
Music Room, Hart House, University of Toronto
Join us for a series of talks and come celebrate the launch of a facsimile edition of Sound by Artists (edited by Dan Lander & Micah Lexier), originally published in 1990 and now re-published by Blackwood Gallery & Charivari Press. Invited speakers and moderators include Seth Kim-Cohen, Martin Arnold, Dan Lander, Jim Drobnick, Marla Hlady, David Merritt, Juliana Pivato, Adi Louria-Hayon, Barbara Fischer, Nicole Gingras and Christof Migone. For more information and the talk schedule, please visit the Justina M. Barnicke website here.
FREE Contemporary Art Bus Tour
Sunday February 10, 12 – 5pm
The tour starts at Koffler Gallery’s off-site project at General Hardware Contemporary (1520 Queen St W) at 12noon and then departs for Blackwood Gallery, AGYU, Doris McCarthy Gallery and Justina M. Barnicke Gallery. Seating is limited. To RSVP call Suzanne Carte at 416-736-2100 ext. 44021 or email scarte@yorku.ca by Friday February 8 at 4pm.
Performances by Erin Sexton (Montreal) and Vikas Kohli (Mississauga)
Saturday February 23, 5 – 6pm
Blackwood Gallery, UTM
Blackwood Talks: Brandon LaBelle “Acoustic Territories”
Monday February 25, 2 – 4pm
University of Toronto Mississauga, CCT 2130
Artist Talk: Ryan Park
Thursday February 28, 12:30 – 1:30pm
Sheridan College, Annie Smith Mezzanine
1430 Trafalgar Road, Oakville
CONFERENCE
RUNNING WITH CONCEPTS: THE SONIC EDITION
February 23 & 24,10 – 6pm
Blackwood Gallery, UTM
A two day hybrid event with 13 selected presentations led by three distinguished mentors:Marc Couroux (composer, Associate Professor, Time-Based Art, York University), Marla Hlady (artist, lecturer at UTSC) and Brandon LaBelle (Berlin-based artist, writer, professor at Bergen National Academy of the Arts, Norway). Moderated by Steph Berntson (PhD candidate, Centre for Drama, Theatre and Performance Studies, UofT). Hosted by Christof Migone (artist, lecturer, Director/Curator Blackwood Gallery).
For more information on the conference, including how to register (spaces are limited!) and the full list of presenters click here.
Justina M Barnicke Gallery
Hart House, University of Toronto
7 Hart House Circle
Toronto, ON M5S 3H3
www.jmbgallery.ca
jmb.gallery@utoronto.ca
416.978.8398
Gallery Hours
Monday to Sunday: 12 – 5pm
Wednesday until 8pm
Blackwood Gallery
University of Toronto Mississauga
3359 Mississauga Rd. N.
Mississauga, ON L5L 1C6
www.blackwoodgallery.ca
blackwood.gallery@utoronto.ca
905.828.3789
Click here for bus, shuttle and car directions.
Gallery Hours
Monday to Friday: 12 – 5pm
Wednesday until 9pm
Saturday & Sunday: 12 – 3pm
Generously supported by the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council, the Hal Jackman Foundation, Student Housing and Residence Life at the University of Toronto Mississauga and the Department of Visual Studies, UTM.
Justina M. Barnicke Gallery
Hart House, University of Toronto
7 Hart House Circle
Tel: 416-978-8398
For more information visit http://www.jmbgallery.ca
Artist Lecture: Letha Wilson
Art and Art History Presents Letha Wilson
January 31, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Letha Wilson is a part of a new, exciting school of artists engaging landscape, who are
applying a tactile, sculptural approach to their practice with the aim of both reasserting the
artist’s hand in the digital age and bringing attention to environmental issues. Her approach
consists of “taking a landscape photograph and then punching it in the face.” She uses a broad range of techniques and materials are used – photography, collage, sculpture, installation, video – in work that strikes a balance between abstraction and representation,
landscape and architecture. Her work is currently on display at Gallery 44 – 401 RichmondStreet West. gallery44.org/clearcut
Letha Wilson is a mixed media artist who was born in Honolulu, raised in Colorado and currently lives in Brooklyn. She earned her BFA from Syracuse University, and an MFA from Hunter College in New York City. Letha's artwork has been shown at many venues including the Bronx Museum of the Arts, Socrates Sculpture Park, Exit Art, White Box, Fredrieke Taylor Gallery and the Aldrich Museum of Contemporary Art. In 2009 Letha was a resident at the Santa Fe Art Institute, the Skowhegan School of Painting and Sculpture,
and was nominated for the Louis Comfort Tiffany Biennial Award
Image: Letha Wilson, Rock Face, 61 x 51 x 13 cm Aqua Resin, fibreglass, paint, unique chromogenic print,
hole, 2011
January 31, 2013 / 12:30-1:30
Sheridan, Annie Smith Arts Centre Mezzanine
1430 Trafalgar Road, Oakville, ON
Letha Wilson is a part of a new, exciting school of artists engaging landscape, who are
applying a tactile, sculptural approach to their practice with the aim of both reasserting the
artist’s hand in the digital age and bringing attention to environmental issues. Her approach
consists of “taking a landscape photograph and then punching it in the face.” She uses a broad range of techniques and materials are used – photography, collage, sculpture, installation, video – in work that strikes a balance between abstraction and representation,
landscape and architecture. Her work is currently on display at Gallery 44 – 401 RichmondStreet West. gallery44.org/clearcut
Letha Wilson is a mixed media artist who was born in Honolulu, raised in Colorado and currently lives in Brooklyn. She earned her BFA from Syracuse University, and an MFA from Hunter College in New York City. Letha's artwork has been shown at many venues including the Bronx Museum of the Arts, Socrates Sculpture Park, Exit Art, White Box, Fredrieke Taylor Gallery and the Aldrich Museum of Contemporary Art. In 2009 Letha was a resident at the Santa Fe Art Institute, the Skowhegan School of Painting and Sculpture,
and was nominated for the Louis Comfort Tiffany Biennial Award
Image: Letha Wilson, Rock Face, 61 x 51 x 13 cm Aqua Resin, fibreglass, paint, unique chromogenic print,
hole, 2011
Screening: VIDEO FEVER @ Trinity Square Video
Exhibition: Nethermind
Artist Lecture: Lee Henderson
Art and Art History Presents Lee Henderson
January 17, 2013 / 12:30-1:30
Annie Smith Mezzanine
Lee Henderson was born in Saskatoon in 1979, and has studied art in Canada and Germany, with talented professionals including Maria Vedder, Brian Eno, and Ellen Bromberg. Since completing his MFA in Intermedia at the University of Regina, Henderson has been furthering his time- and lens- based artistic practice while teaching Media Art, Computer Science, and Conceptual Photography at the postsecondary level, currently at OCAD University.
Mortality, impermanence and the confluence of the bodily and the metaphysical continue to be the major themes of his work and his primary areas of research; through installation, video, performance and photography he negotiates the persistence of collective histories and the brevity of individual lives.
Image: Refinement Pavilion #1 [Nabokov, Vladimir Vladimirovich. The Original of Laura (Dying is Fun). PS3527.A15 O75 2009]
Wood urn, ash, aluminium plate
2010
January 17, 2013 / 12:30-1:30
Annie Smith Mezzanine
Lee Henderson was born in Saskatoon in 1979, and has studied art in Canada and Germany, with talented professionals including Maria Vedder, Brian Eno, and Ellen Bromberg. Since completing his MFA in Intermedia at the University of Regina, Henderson has been furthering his time- and lens- based artistic practice while teaching Media Art, Computer Science, and Conceptual Photography at the postsecondary level, currently at OCAD University.
Mortality, impermanence and the confluence of the bodily and the metaphysical continue to be the major themes of his work and his primary areas of research; through installation, video, performance and photography he negotiates the persistence of collective histories and the brevity of individual lives.
Image: Refinement Pavilion #1 [Nabokov, Vladimir Vladimirovich. The Original of Laura (Dying is Fun). PS3527.A15 O75 2009]
Wood urn, ash, aluminium plate
2010
Artist Lecture: Rod Strickland
Art and Art History Presents Rod Strickland
January 15, 2013 / 12:30-1:30
Annie Smith Mezzanine
Rod Strickland is an artist and educator working through the University of Windsor School of Visual Arts in sculpture, public art and collaborative community projects. With a conceptual focus on discovering, understanding and communicating ‘the local’ Strickland’s research and creative practice has evolved from traditional disciplinary production to a hybrid creative practice incorporating students and community partners in the research, creation and production of public events, sculptures, and interventions. Projects include the Green Corridor initiative to re-image the busiest international border crossing between Canada and the United States. Projects within this initiative include: Poets Blox a public artwork utilizing green energy and a repurposed shipping container to create a laboratory for artist and scientists to observe and comment on the state of the environment. Drive Thru Symphony is a site-specific, performance work that incorporates sight and sounds of the traffic with a musical performance from community musicians in a serenade of the passing trucks. Earthships an initiative to introduce affordable off the grid housing built by the community from recycled materials to the community.
January 15, 2013 / 12:30-1:30
Annie Smith Mezzanine
Rod Strickland is an artist and educator working through the University of Windsor School of Visual Arts in sculpture, public art and collaborative community projects. With a conceptual focus on discovering, understanding and communicating ‘the local’ Strickland’s research and creative practice has evolved from traditional disciplinary production to a hybrid creative practice incorporating students and community partners in the research, creation and production of public events, sculptures, and interventions. Projects include the Green Corridor initiative to re-image the busiest international border crossing between Canada and the United States. Projects within this initiative include: Poets Blox a public artwork utilizing green energy and a repurposed shipping container to create a laboratory for artist and scientists to observe and comment on the state of the environment. Drive Thru Symphony is a site-specific, performance work that incorporates sight and sounds of the traffic with a musical performance from community musicians in a serenade of the passing trucks. Earthships an initiative to introduce affordable off the grid housing built by the community from recycled materials to the community.
Artist Lecture: Sara Graham
Art and Art History Presents Sara Graham
January 10, 2013 / 12:30-1:30
Annie Smith Mezzanine
Sara Graham has been primarily concerned with the issues and ideas of the contemporary city. One of her central engagements in her practice is in the mapping of systems and networks and how their interconnectivity effects everyday lives. She is specifically engaged in a cross-disciplinary approach that incorporates philosophical, cultural, sociological and architectural criticism of the nature and condition of the city and city life.
Mapping has long been a central tenet of Graham’s artistic practice, and over the past several years she has created a series of diagramatic drawings and sculptural models that describe and represent urban networks, traversing that liminal space between the real and the imagined. The diagrams and narratives that she charts show her interest in mapping of geographic terrains and of the plethora of systems and networks that lie beneath and behind the surfaces of everyday life. Graham holds a BFA from the Nova Scotia College of Art and Design and an MFA from the University of Guelph. Her works have been exhibited wide across Canada with upcomming exhibitions at MKG127, Toronto (2013), Prairie Art Gallery, Grand Prairie (2013), Art Souterrain/ Nuit Blanche, Montreal (2013), and a public art commission through the City of Richmond (2013). Graham has recently exhibited at the Museum London, London, Ontario (2010), Museum of Contemporary Canadian Art, Toronto (2010), and Kenderdine Art Gallery, Saskatoon (2010), Dalhousie Art Gallery, Halifax (2009), Nuit Blanche Toronto 2007, Kitchener Waterloo Art Gallery (2007), and The Rooms Provincial Art Gallery, St John’s (2006).
January 10, 2013 / 12:30-1:30
Annie Smith Mezzanine
Sara Graham has been primarily concerned with the issues and ideas of the contemporary city. One of her central engagements in her practice is in the mapping of systems and networks and how their interconnectivity effects everyday lives. She is specifically engaged in a cross-disciplinary approach that incorporates philosophical, cultural, sociological and architectural criticism of the nature and condition of the city and city life.
Mapping has long been a central tenet of Graham’s artistic practice, and over the past several years she has created a series of diagramatic drawings and sculptural models that describe and represent urban networks, traversing that liminal space between the real and the imagined. The diagrams and narratives that she charts show her interest in mapping of geographic terrains and of the plethora of systems and networks that lie beneath and behind the surfaces of everyday life. Graham holds a BFA from the Nova Scotia College of Art and Design and an MFA from the University of Guelph. Her works have been exhibited wide across Canada with upcomming exhibitions at MKG127, Toronto (2013), Prairie Art Gallery, Grand Prairie (2013), Art Souterrain/ Nuit Blanche, Montreal (2013), and a public art commission through the City of Richmond (2013). Graham has recently exhibited at the Museum London, London, Ontario (2010), Museum of Contemporary Canadian Art, Toronto (2010), and Kenderdine Art Gallery, Saskatoon (2010), Dalhousie Art Gallery, Halifax (2009), Nuit Blanche Toronto 2007, Kitchener Waterloo Art Gallery (2007), and The Rooms Provincial Art Gallery, St John’s (2006).