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Guy Maddin | Paul Robles

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Lisa Kehler Art + Projects is proud to present Guy Maddin | Front Tooth & Wonder Bread, and Paul Robles | Honey from a Knife. The exhibitions include Maddin’s collages, Robles’ paper cut works, as well as monoprints by both artists.


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Guy Maddin, Storyboard (time), 2016. Collage-based monoprint, 16 x 20 inches.

Guy Maddin | Front Tooth & Wonder Bread, constructed of prints, collages, and journals of culled imagery, presents an exciting new direction for the renowned filmmaker. While Maddin has been steadily creating collage for years, this body of work hinges on what he refers to as ‘storyboards’. Keeping right in time with Seances, his latest project with the National Film Board, he collages faux storyboards from a spectrum of resources including geography books, film anthologies, and natural history texts. For Maddin, aspects of the absurd, the surreal, and the humourous are primary guiding forces. While he jokingly refers to his habit of gluing one image smack dab in the center of another, the resulting collages are cinematic, and intriguing. The sources he is drawn to, the placement, and of course as is relevant with all collage, the juxtaposition of imagery is unique. Perhaps the most understandable approach lies in his recent series of storyboards. “When I make storyboards in collage for a specific movie I need to be savagely ruthless with the images I find in the old books and magazines, I need to bend images completely to my will. No longer can I just stick one small picture in the middle of a larger one. I need to shred out the very contents of a frame, empty it almost entirely of its inclination to impart an image and bring it to its knees.”


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Paul Robles, Honey #1, 2016. Cut/collaged magazine paper on vellum, 28 x 28 inches

Already known for his intricate paper cut works, for his exhibition at LKAP, Paul Robles has expanded his technique to form new sculptural pieces and punctured Inkjet series to create a hypnotic collage of his particular visual vocabulary. The works in Honey from a Knife portray strange metamorphic creatures, serpents of temptation, caught in spaces somewhere between clustered mayhem, orderly Mandalas and shades/scales of skin tones. Combined with newfound images – A "Sporty Life" of leisure, hobbies and vintage pornography from the seventies. The result is new series of complex imagery, though maintaining Robles preoccupation in themes of order and chaos, decoration and disorder, and sin and spirituality. Honey from a Knife is Robles first solo show with the gallery.

The prints presented effectively straddle both exhibitions: both are new formats for the artists. Although created independently, clear stylistic and source correlations emerged including the time period of the material, to the final assemblage of imagery.

For Robles, these prints mark a new direction. Creating collages from abandoned 50s and 60s magazines discovered in a hallway, then scanning and increasing their scale, then re-cutting the original reveals multiple layers of potential reading of the work. Robles notes:

“I was initially drawn to the quality of the imagery- pre-photoshopped/ digital manipulation. The sense of nostalgia seemed to me to be based on reality…real life. Looking at the vintage pornography, I was trying to decode it, a sort of sexual shorthand and the way it's very formulaic. Mixing that with men's hobbies and leisure time - the domesticity of hunting and fishing, Popular Mechanics - I found it fascinating”.

Both exhibitions run until June 30.
Interviews with each artist are now online and can be accessed at www.LKAP.ca/interviews.
For additional images and information please contact the gallery at info@LKAP.ca, or (204) 510-0088.


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Installation image. Photo by Karen Asher


About the artists

Guy Maddin is an installation & internet artist, writer and filmmaker, the director of eleven feature-length movies, including The Forbidden Room (2015), My Winnipeg (2007), The Saddest Music in the World (2003), and innumerable shorts. He has also mounted around the world over seventy performances of his films featuring live elements – orchestra, sound effects, singing and narration.

In April, 2016 he launched his major internet interactive work, Seances, which enabled anyone online to “hold séances with,” or view, randomly combined fragments of canonical lost films remade by Maddin on sets installed in public spaces, most notably during three weeks of shooting at the Centre Georges Pompidou in Paris. In the summer of 2015 The Tibor de Nagy Gallery in New York mounted a two-person show featuring the collage work of Maddin and poet John Ashbery. Maddin is a print journalist and author of three books. He is also a member of The Order of Canada & The Order of Manitoba. Since 2007 Maddin has occupied the position of Distinguished Filmmaker in Residence at the University of Manitoba. He currently holds the position of Visiting Lecturer on Visual and Environmental Studies at Harvard University in Boston, MA.


Born in the Philippines, Paul Robles is a Canadian artist based in Winnipeg. Recognized for his intricate origami cut paper works, Robles combines the delicacy associated with fine and traditionally handwork with psychological and emotional states: ranging from animist familiars, trauma, and grief. He holds a Bachelor of Fine Arts degree (Gold Medal) from University of Manitoba School of Art and Bachelor of Arts degree (Sociology) from The University of Winnipeg. Robles has exhibited in Paris, France (La Maison Rouge & Grand Palais), New York City (Julie Saul Gallery), Ottawa (Rideau Hall), Toronto, (The Drake Hotel), Vancouver (Malaspina), West Hollywood (Antebellum) and Winnipeg (Plug in ICA & Winnipeg Art Gallery). He has worked with Alt-Country band The Crooked Brothers, been featured on CBC’s ArtSpots, produced artist pages for Border Crossings (Winnipeg), Dream the End (New York) and BRANCH Magazine (Toronto), designed artist bike racks, and participated in Plug In ICA’s 2011 Summer Institute Residency.


Lisa Kehler Art + Projects
171 McDermot Avenue
Winnipeg, MB  R3B 0S1
www.LKAP.ca
info@LKAP.ca
(204) 510-0088


Holger Kalberg | Field Portraits of Contemporary Western Culture

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Summer Exhibitions at SAAG

June 24 to September 11, 2016
Opening reception: Friday, June 24 at 7 PM | Sponsored by RBC
Southern Alberta Art Gallery | 601 3 Ave S, Lethbridge, AB, T1J 0H4

For more information on these upcoming exhibitions call 403-327-8770 x 21 or visit www.saag.ca

Holger Kalberg: The Colony

Winnipeg-based artist Holger Kalberg explores the history and legacy of Modernism and its relationship to utopian ideals. In The Colony, a mixed media installation of paintings and sculptural elements, Kalberg challenges the language of abstraction and representation, combining a visual lexicon of Modernism with the aesthetics and materials of craft and DIY.

Throughout the exhibition a subtle tension arises between the handmade quality of Kalberg’s works and their use of formalist modes and sensibilities. Kalberg describes this tension as ‘conflicted appreciation’ for the visual language and ambitious aims associated with modernist utopian ideologies of the 1960s and ‘70s. His process-driven paintings take the form of abstracted and fragmented portraits, calling to mind a historical period of optimism when social change was championed through individual action.

A sense of nostalgia pervades the exhibition. The works create a longing for a utopian world that may or may not arrive, and a sober realization of the futility inherent therein. The Colony presents a space to reflect on the historical moments where desire for an alternative model of society surfaced, moments where modernist ideals merged with experimentation and play. Within these instances, Kalberg is as much interested in the flaws as in the successes of these utopian models – even the word utopia itself, from the Greek meaning “no place,” reflects this embroiled relationship between optimism and impossibility.

In a sense, Kalberg’s works become anachronistic souvenirs from a future that has not yet come to pass. His exhibition can be seen as a starting point for a conversation about the various concepts of utopia and its relevancy in today’s society. The notion of experimentation, appropriation, craft, and design are central motives for much of the work and will be reflected in a public workshop component that will accompany the exhibition.

Holger Kalberg, born in Germany, lives and works in Winnipeg, Manitoba. He graduated from Emily Carr University in 2001 and received an MFA from Chelsea College of Arts in London in 2007. Recent exhibitions include Reconfiguring Abstraction at the School of Art Gallery (2013), Paint at Vancouver Art Gallery (2007), as well as shows in Agnes Etherington Art Centre at Queens University, Monte Clark Gallery in Vancouver, Clark & Faria in Toronto, Galerie Bertrand & Gruner in Geneva, Switzerland, and Galerie Hellebrand in Duisburg, Germany. He was shortlisted for the RBC Canadian Painting Competition in 2002, 2004, and 2005 and was a juror for the 2013 competition. He received a Canada Council Production Grant in 2006, BC Arts Council grants, as well as a University of Manitoba Creative Works Grant in 2013. Kalberg’s work can be found in collections in Germany, Switzerland, US, UK, and Canada. Holger Kalberg is represented by Monte Clark Gallery in Vancouver.


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Holger Kalberg, Untitled, 2016. Oil on canvas, 20 x 25”. Image courtesy of the artist.


Field Portraits of Contemporary Western Culture
Jon Bowie, Luis Fabini, Blake Little, Collier Schorr, Sheila Spence
Curated by Wayne Baerwaldt

The photographic portrait has taken a leading role in visualizing Western Canadian people and in the making of regional history, whether we like it or not. A piece of each Western photographic portrait, in its styling of subject and décor within the pictorial frame, in the positioning of its subject and their look of self determination, is in every history book of Western Canada. Even those who don’t know anything about studio or field-based photography know the visual template of the portrait of Western rural inhabitants. It can be a complex reading that emphasizes physicality, the body, forms of masquerade and subtle disguise.1

From the mid-19th and well into the 20th centuries, Western portrait photography had been a refined, mostly indoor craft, geared toward people in their Sunday best outfits stopping by the commercial photo studio for a portrait that would reaffirm their human presence on a fragile frontier landscape. Each portrait was likely to be shared with family and friends and reprinted in regional history books.2 With the advent of Polaroids and new forms of digital image exchanges in the late 20th century, the studio-to-field movement became fluent and interchangeable and the photographic portrait took on other values.

Field Portraits of Contemporary Western Culture, presents works by five artists who focus on the essence of 21st century subjects in mostly rural environs, capturing their subjects in the great outdoors, at work, between rodeos, or in temporary, mobile studios. Their photographs exist both within and beyond the photographic template of Western photographic field portraiture. Jon bowie, Luis Fabini, Blake Little, Collier Schorr, and Sheila Spence are conceptually attuned to traditional portraiture and to the social changes in contemporary Western cultures. Each registers these changes in subtle shifts in visual narrative to delimit the traditional poses, gestures, costuming, looks, settings, and compositions. In doing so they direct our attention to a new range of Western subjects and values beyond the mediated average.

1. All of which have been examined to Roland Barthes critique of photography, “of identity, of civil status, of what we might call, in all senses of the word, the body’s formality.” Barthes, Roland, Camera Lucida (New York: The Noonday Press, 1981, 79).

2. Each new generation comes with fresh eyes to the pictorial styling of works by Geraldine Moodie, Edward S. Curtis, and others, and eventually finds the frontal and confrontational portrait styling of Western subjects attributed to Richard Avendon. With an almost modern sensibility, these photographers were part of a small but growing group of roving photographers who humanized the Western landscape


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Luis Fabini. Image courtesy of the artist.

Funding assistance from the Canada Council for the Arts, the Alberta Foundation for the Arts, and the City of Lethbridge.

Melanie Authier: Contrarieties & Counterpoints

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Melanie Authier
Contrarieties & Counterpoints

July 15 – September 11, 2016
opening reception Saturday, July 16 at 8pm
Guest curator: Robert Enright
Accompanying essays by: Sarah Milroy, Ola Wlusek, and Sky Goodden


The Thames Art Gallery has the great pleasure of hosting contemporary Canadian artist Melanie Authier’s exhibition Contrarieties & Counterpoints. A reception will be held on Saturday, July 16 at 8pm where Melanie will present introductory remarks.

My paintings bring together visual contradictions into one imaginary space. Each painting presents a brimming jostle of pictorial oppositions. The work presents a perpetual play between chaos and control, the synthetic and the organic, the technological and the natural, flatness and depth, the atmospheric and the geological. Each work is submitted to a free-form improvisation that draws upon an expansive archive of expressionist and hard-edge histories. These heterogeneous forces mingle and co-exist in a dynamic exchange that stretches the limits of their points of reference. The goal of the work is to conjoin a disparate, contrasted array of painterly facture to create a work that is disjunctive, but eventually resolves itself into a convincing, if disorienting illusionism. This re-combination of elements reveals aspects of the irrational and the evocation of unfathomable space.

The process of a painting occurs as series of contrasts, each mark attempting to usurp the prominence of the previous idea. By taking advantage of the possibilities of paint to function both as surface and also as space, marks are assigned their own degrees of legibility as they are discovered along the spectrum between abstraction and strategies of pictorial representation.

Melanie Authier was born in 1980 in Montreal. She received a BFA from Concordia University, Montreal (2002) and a MFA from the University of Guelph (2006). Authier has exhibited across the country and was recently included in Builders: Canadian Biennial at the National Gallery of Canada (2012). Recent solo exhibitions include Figments and Foils at Georgia Scherman Projects, Toronto (2014) and Grisailles at Rodman Hall, Brock University, St.Catharines (2013). Recent group shows include Young Canadian Painters at Idea Exchange - Cambridge Art Gallery, Cambridge (2014) and The Painting Project at Galerie de l’UQAM, Montreal (2013). Melanie’s paintings are in numerous national and international collections, including the National Gallery of Canada, Canada House – Canadian Embassy in London, UK, the Art Gallery of Guelph, Lotto-Quebec, RBC, TD Canada Trust Collection, BMO, Desjardins, and the Government of Foreign Affairs. Authier was the recipient of the Honourable Mention Prize for the 9th Annual RBC Painting Competition (2007). Melanie is represented by Georgia Scherman Projects, Toronto. For more information please visit www.melanieauthier.com

Contrarieties & Counterpoints will be on exhibition until September11, 2016. This exhibition has been organized by the Thames Art Gallery in collaboration with the Ottawa Art Gallery (Ottawa, Ontario), Art Gallery of Guelph (Guelph, Ontario), Kenderdine Art Gallery (Saskatoon, Saskatchewan), Galerie de I’UQAM (Montreal, Quebec), MSVU Art Gallery (Halifax, Nova Scotia), and the Musee regional de Rimouski (Rimouski, Quebec). Thank you to Georgia Sherman Projects for their assistance in the presentation of this exhibition.


The Thames Art Gallery is open 7 days a week 1-5pm and is located at 75 William Street North, Chatham, ON. N7M 4L4. Admission is by donation.

www.chatham-kent.ca/ThamesArtGallery . sonyab@chatham-kent.ca . 1-519-354-8346 ex. 41 . www.facebook.com/tagck . www.twitter.com/tag_ck

This presentation is made possible in part by grants from the Ontario Arts Council’s Ontario Touring and the Ontario Arts Council’s National and International Touring programs.

Thames Art Gallery exhibitions and programs are generously supported by the Canada Council for the Arts, the Ontario Arts Council, and the Municipality of Chatham-Kent.


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401 Richmond Career Launcher Prize 2016 Winner: Kelly Uyeda

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401 Richmond Career Launcher Prize 2016
Winner: Kelly Uyeda

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Left: Kelly Uyeda, Snow Pea. Right: Kelly Uyeda, Untitled

401 Richmond is pleased to announce that the winner of the 2016 Career Launcher Prize is Toronto-based, emerging artist and recent OCADU graduate, Kelly Uyeda.

“With the hopes of inciting empathy and appreciation for inanimate objects, my work investigates objecthood as a mode of being that is of equal significance to our own. Both inert and lively, objects are imbued with presence and character. They actively participate in everything we do, constantly exerting and exchanging tensions and forces.

The images and objects I create seem as though they have been caught mid-motion, ready to return to their state of flux once you avert your eyes. I use small segments of objects to create figures that are at once real and abstract, familiar and uncanny, ordinary and paranormal. Full of paradoxes, doubts and questions, my work relies on intuition and is subtly suggestive.”– Kelly Uyeda

Kelly will be joining the 401 Richmond community in Studio 260 from September 2016 – August 2017. We look forward to welcoming Kelly and watching how her work develops during her time with us.

Thank you to all applicants who submitted to this year’s Career Launcher Prize.

For more information on Kelly Uyeda, see her website: www.kellyuyeda.com


401 Richmond Street West, Toronto, ON, M5V 3A8
Join us on Facebook + Twitter + Instagram
www.401richmond.net

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Contact: Cynthia Mykytyshyn, Events and Exhibitions Manager
cynthia@urbanspace.org

Imaging Phantoms: Catherine Heard

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Art Gallery of Hamilton presents
IMAGING PHANTOMS: CATHERINE HEARD

Exhibition now on view

Artist Talk with Catherine Heard – TONIGHT!
Thursday, June 23 at the AGH

Exhibition Tour with the Artist: 7:30 p.m.
Artist Talk: 8:00 p.m.
Reception with the Artist: 8:45 p.m.

Cash bar. Free admission.


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Catherine Heard, Myrllen: A Portrait, 2016
mixed media (including fabric and embroidery) with projected animation
Photo: Mike Lalich

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Catherine Heard, Phantom, 2016
mixed media sculpture with projected animation
Photo: Mike Lalich


The Art Gallery of Hamilton is pleased to present the exhibition Imaging Phantoms: Catherine Heard and the fascinating artistic results of a dynamic partnership between the Art Gallery of Hamilton and the St. Joseph’s Healthcare Diagnostic Imaging Department.

On view until September 25, 2016, this exhibition features new work by Toronto-based artist Catherine Heard, whose sculptural figures are often perceived as expressions of anxiety around the fragility of the human body and the complexity of the psyche.

This solo exhibition features new sculptures made of organic and medical materials, as well as embroidered lace pieces that form a sculptural fabric head. Each sculpture is accompanied by a projection of an animation of the layered images of the sculptural interiors. Imaging Phantoms: Catherine Heard builds on Heard’s research into the interior sublime and her desire to depict the human body as fragile, ephemeral and flawed, but ultimately merciful and full of grace.

In a new development of her practice, the exhibition includes digital animations that use CT and MRI scans as source material. Heard continues her explorations of science, medicine and the museum and focuses on how we learn about our bodies in this unique partnership with radiologist Dr. Julian Dobranowski and his team from St. Joseph’s Healthcare Diagnostic Imaging Department.


Admission
AGH Members: Free; Adults, $10; Students/Seniors, $8; Children (6-17), $4; under 5 years, Free. Friday Free Night: Free admission on the first Friday of the month.

Gallery Hours
Tuesday & Wednesday, 11 a.m.–6 p.m.; Thursday, 11 a.m.–8 p.m.; Friday, 11 a.m.– 6 p.m.; Saturday–Sunday, 12 noon–5 p.m.

Art Gallery of Hamilton
123 King Street West, downtown Hamilton, Ontario, Canada L8P 4S8.
[T] 905.527.6610 | [E] info@artgalleryofhamilton.com
www.artgalleryofhamilton.com

Barry Pottle: The Awareness Series

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The Awareness Series
Photographs by Barry Pottle
Extended to July 30th, 2016

Images available for viewing at
feheleyfinearts.com

Click here to read James Adam's review which appeared in
The Globe and Mail.


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AWARENESS I, 2009


This exhibition features 19 photographs by Inuit artist Barry Pottle. Pottle seeks to shed light on the living history of colonization. Through his photographs he attempts to bridge the gap between the government assigned disc or tag numbers and Inuit people as individuals today.

Two distinct components make up the exhibition. The first is a haunting series of photographs of the Eskimo Identification Tag. These tags, or discs, meant to be worn by all Inuit, were developed for census purposes by the Canadian government beginning in the 1940s. The number on the disc was recorded with the name of each Inuk. The Inuit had to wear the tags or memorize the numbers. In his images, Pottle captures fully the repetitive and dehumanized nature of the discs tempered by the efforts of the tag owners to personalize them with their own names, either in English or Inuktitut.

The second component is a series of portraits of Urban Inuit, colleagues and friends of Pottle. "Exhibiting both the E-numbers and portraits of my fellow Inuit gives me the opportunity to bridge the gap between a number and a person - it gives voice and identity to Inuit, to recent history," said Pottle.

Barry Pottle is an emerging Inuit artist from Nunatsiavut in Labrador (Rigolet), now living in Ottawa, ON, who has worked in, and with, the Ontario Aboriginal arts community for many years. As Inuit strive to bring attention to their contemporary urban realities, culture, traditions, practices and general awareness, Pottle uses the camera as his voice.

He is now taking his work to the next level, moving beyond photo-journalism to explore conceptual photography in his search to reflect contemporary Inuit issues and reality.

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Feheley Fine Arts

Established over fifty years ago, Feheley Fine Arts is considered to be the premier gallery presenting contemporary Inuit Art. From sculpture to drawings to prints and photography, Feheley provides a showcase of contemporary artists from across the Canadian Arctic.


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Feheley Fine Arts
65 George St. Toronto, ON
416 323 1373
feheleyfinearts.com

Gallery Hours:
Tuesday – Saturday, 11 am – 6:00 pm

Exhibition series: see what happens: Darby Milbrath

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Darby Milbrath 'Blinds' 2016

see what happens

June 24 - July 29 Darby Milbrath

August 1 - Sept 2 Laura Mccoy

Sept 30 - Nov 4 Naomi Yasui

Public Window

Curated by: Sagan MacIsaac
www.saganeditions.com


‘see what happens' is a series of three solo exhibitions curated by Sagan MacIsaac featuring artists Darby Milbrath, Naomi Yasui and Laura Mccoy in Public Window, Toronto. Happenstance, play, and pleasure emerge in the multi-disciplinary works, which include ‘failed’ ceramic vessels by Yasui, a ‘boldly linear’ hand-painted installation by Milbrath and ‘poetically impulsive’ sculptural works by Mccoy. The artists will mount these new site-specific works to the Public Window space.

Darby Milbrath
Trained as a contemporary dancer, Darby Milbrath is a multi disciplinary artist currently focusing on drawing and painting. Darby is the chief advisor and Toronto correspondent for The Editorial Magazine. She is based in Toronto, Canada.

Laura Mccoy
Laura Mccoy (b. 1981) works in sculpture, performance, painting and words and looks at the well-trotted dirt at the bottom of the collective shoe of the feminine – in order to consider objects and methods that adhere to a structural precariousness or vulnerability and to reform the fabric of becoming. Her work spans a variety of media including drawing, sculpture, installation, and performance and has been included in various group shows, including showing work with Soi Fischer (Toronto), The Power Plant (Toronto), Mercer Union (Toronto), The Art Gallery of Ontario (Toronto) and as part of the monthly performance show, Doored, organized by Life of a Craphead. In 2015, she showed work at Western Front (Vancouver), Rodi Gallery (New York) and CK2 Space (Montreal.) She holds a BFA in Sculpture and Installation from OCADU and is the Art Director for the upcoming feature film Bugs, directed by Life of a Craphead, which is set to premier in December 2015 at the AGO in Toronto. Her work can be found online at lauramccoy.ca. She currently lives and works in Toronto, Ontario, Canada.

Naomi Yasui
As a ceramic artist, working in sculpture, performance and installation, Naomi Yasui’s conceptual practice revolves around process, form, and happenstance. Her work enforces the notion of an aesthetic and spiritual pursuit rather than a concrete objective, lending insight into an ongoing practice. Focusing on the act of making as an extension of sentient being, she explores the intimate bond between maker and object. Yasui uses the abstraction of traditional techniques to exercise artistic expression, to place side-by-side the domestic object and conceptual art.

Yasui studied Material Art and Design at the Ontario College of Art and Design. She has exhibited nationally and internationally. Recent solo exhibitions include Chapter IV: Painting with Fire presented at ESP Gallery, Toronto (2014); Chapter XI: Vases at Katharine Mulherin Contemporary Art Projects, Toronto (2013); and Wardens Abroad at Sur la Montagne (with Heather Goodchild), Berlin (2012). Recent group exhibitions include The Japaense Canadian Cultural Centre, Toronto (2015); Narwhal Contemporary Art Projects, Toronto (2014); The Power Plant, Toronto (2013); and Battat Contemporary Gallery, Montreal (2013) Yasui was granted an artist-in-residence placement at Guldagergaard in Skælskor,Denmark in 2014. In collaboration with Heather Goodchild, Yasui runs the online project The Wardens Today. She lives and works in Toronto, Canada.


Save the date:
Closing reception on November 4 to celebrate all 3 solo exhibitions. More details to follow at saganeditions.com.

Public Window is a project space mounted in the window of Public Studio, the live/work space of artists Elle Flanders & Tamira Sawatzky. It facilitates the dissemination of contemporary art practices. Public Window is located at 1575 Dundas Street West, and is open 24 hours a day, seven days a week.

Contact:
Sagan MacIsaac
647 228 0846
saganmacisaac@gmail.com
saganeditions.com


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Exhibition series: see what happens: Laura Mccoy


Exhibition series: see what happens: Naomi Yasui

Paul Jolicoeur: Streets of Colour | Group Exhibition: Land & City

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STREETS OF COLOUR // LAND & CITY

Opening Reception : July 7th, 6-8pm

Arta Gallery, located in Toronto’s Historic Distillery District, is proud to be hosting a solo exhibition by Canadian Street Photographer, Paul Jolicoeur.

Originally from Montreal and currently residing in the Eastern Townships region of Quebec, Paul Jolicoeur has been at the forefront of fine art photography and digital graphics for over 20 years. The pieces featured in Streets of Colour can be seen as his homage to the beauty of Senegal after living there for 5 years.

It was on his first trip to the country’s Northwest region, near the Atlantic Ocean, that he discovered the enormous potential offered by the vibrant culture of St. Louis – a city that sits near the mouth of the Senegal River, approximately 320 km outside of the capital of Dakar. Having served as the capital of the French Colony of Senegal (1673 – 1902), the modern-day St. Louis is known for its vast urban culture and fishing quarter, Guet Ndar. This aspect of everyday life became Jolicoeur’s primary source of inspiration.

By travelling between different neighbourhoods and allowing for uncontrollable shooting conditions to dictate his practice, Jolicoeur was able to capture spontaneous moments in which the rich, urban landscape of St. Louis became coupled with the unique character of its inhabitants.

Complementing Streets of Colour will be a fantastic group exhibition designed to push the boundaries of landscape painting. The show entitled, Land & City welcomes artists Carol Loeb, Brianne Service, Carmela Casuccio and Elizabeth Hardinge to our intimate, yet very popular Tank Gallery.

Hailing from Montreal, Carol Loeb is both a trained painter and art educator. Inspired by landscapes, she mainly works with acrylics in a fluid, expressive style. Studying how we perceive shapes and colours, she focuses on one aspect of a landscape without moving her eyes, playing with clarity of vision and abstraction. The cityscapes by Carmela Casuccio are wild abstractions inspired by her surroundings. Heavily featuring iron, stone and metal textures, her work emphasizes the industrial aspects of urban living. Hyper-realist painter Brianne Service explores the relationship between architecture and nature, symbolizing transitional phases of growth and transformation. The extreme angular position presents the viewer with an investigation of endings and beginnings at an unusual perspective. Elizabeth Hardinge’s brushstrokes boast confident spontaneity, allowing her the ability to express her desire to transport the viewer to a land of whimsy.


Arta Gallery
14 Distillery Lane
Toronto, Ontario
Canada M5A 3C4
Tel. 416-364-2782

Peter Rowe: Images of the Wild

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For Release: Peter Rowe Solo Exhibition
“Images of the Wild” at Ben Navaee Gallery Jul 15-21.

Peter Rowe travelled to the most remote corners of the earth from 2006 to 2015, filming his television series' "Angry Planet" and "Alien Invaders". He now shows a collection of photographs taken on these distant travels to all seven continents, titled "Images of the Wild". The stunning photos are printed as large format 4 ft wide blow-ups, on glowing acrylic. But wait, there's more! With them are a collection of Peter's colorful, imaginative and inventive paintings of wildlife - sometimes whimsical, sometimes serious - that he calls "Animology".

Join us to see these new photographs and paintings at the opening reception Friday July 15 from 6 to 8, or from Friday July 16 to Thursday, July 21 (1-5 PM or by appointment). Ben Navaee Gallery is at 1107 Queen St. E – 416 999 1030

Peter Rowe is an award-winning filmmaker, a painter, photographer, writer and explorer. His paintings most recently showed at Creeds Coffee Bar; his photographs have been published in the new book "Angry Planet - Photography by Peter Rowe". His series "Angry Planet" plays across Canada on The Weather Network and across the US on Pivot TV. More at www.peterrowe.tv

Megan Morman: Assume the Position

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Megan Morman: Assume the Position

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Opening Reception: Saturday July 9, 2016  7pm
Exhibition Dates: July 12-29  12-4:30pm  Mon-Sat

University of Lethbridge M.F.A. Thesis Exhibition
Penny Gallery
321 5th Street South, Lethbridge, AB

Working with diverse media including lenticular digital images, ‘magic eye’ pictures, fused plastic beads, and digital video, Assume the Position’s molecular maximalism queers time and space. Artist and audience are implicated in tensions between insider and outsider, visible and invisible, now and then. Unsettled performative images suggest playful approaches and new attitudes toward temporality as strategies for mediating contemporary anxious affects.

KIDS AND YOUTH WELCOME
BRING YOUR GLASSES
WATCH YOUR HEAD

About the artist:
Over the past twelve years, Megan Morman’s visual work has shown in solo exhibitions and festivals across Canada, including at the Art Gallery of Alberta (Edmonton), Gallery 101 (Ottawa), Stride (Calgary), Neutral Ground (Regina) and Galerie Sans Nom (Moncton). Morman has a B.A. in Sociology from the University of Saskatchewan (2003); born in Minnesota, she was based in Saskatoon until moving to Lethbridge in 2012. Morman is currently completing an M.F.A. in Art at the University of Lethbridge.

“The then that disrupts the tyranny of the now is both past and future.” José Esteban Muñoz, Cruising Utopia


For inquiries:
Phone: 403-394-3997
Email: art@uleth.ca
To learn more about the U of L Department of Art: http://www.uleth.ca/finearts/art


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Images: Stills from Hamster Cheeks, 2015

Liz Magor | Lizzie Fitch and Ryan Trecartin

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Liz Magor and Lizzie Fitch/Ryan Trecartin at the MAC
A look at the everyday: the raw material of art


The Musée d’art contemporain de Montréal is very proud to present an exhibition devoted to one of the most influential Canadian artists of her generation, Liz Magor. Habitude, as well as the installation Priority Innfield by the young American artists Lizzie Fitch and Ryan Trecartin. In keeping with its commitment to offer continually stimulating experiences, the Musée invites the Montréal public and the many tourists visiting the city this summer to discover artistic practices that ponder and question, using totally different conceptual and material approaches, our daily routines of life. Both exhibitions will run from June 22 to September 5, 2016.


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Liz Magor, Pearl Pet, 2015
Polymerized gypsum, polyethylene. 27 x 29 x 26 cm. Courtesy of the Shlesinger-Walbohm Family Collection, Toronto. Photo: Toni Hafkenscheid

LIZ MAGOR: EXAMINING THE HUMAN CONDITION THROUGH MATERIAL

Canadian artist Liz Magor is unquestionably one of the most important artists of her generation. Liz Magor. Habitude is a non-chronological survey, the most ambitious ever presented, that brings together at the MAC sculptures and installations produced over the last forty years. It sheds light on the recurring themes, emotional range and materials explored by the artist, enabling visitors to observe her judicious assembling of objects of everyday life, which gives rise to a disturbing feeling of absence. Shifting between the intimate and the monumental, the works on view illustrate the scope of a practice “whose concerns include interior psychological states of addiction and desire, of compulsion and consumption as well as and how meaning is constructed through material forms and objects,” observes John Zeppetelli, Director and Chief Curator of the Musée.

Between the classic concerns of minimal art and a visual vocabulary that she opens up to ideas of social identity, among others, Magor demonstrates a conceptual rigour which she combines with an intense investigation of materials, while also playing with the notion of scale. The show reveals the conceptual and formal aspects of the work of this remarkable artist, with very recent pieces displayed alongside others from earlier in her career. Her combinations of cast and found objects⎯such as Burrow, 1999, Chee-to, 2000, Carton II, 2006, and Still Alive, 2016⎯conjure notions of attraction and repulsion. Also included are large-scale installations like Production, 1980, Messenger, 1996, and the superb wall-based installation Being This, 2012, a series of boxes containing found garments that have been meticulously mended and embellished by the artist, as well as Violator, 2015, an old woollen blanket that has also been subtly altered. Co-curators Lesley Johnstone and Dan Adler state : “It’s remarkable given the diversity of materials – everything from twigs to tweeds, from chocolate to cigarettes – that Magor has maintained the same level of procedural rigour and conceptual complexity for more that forty years.”

Organization and co-production
The curators of the exhibition are Lesley Johnstone, Curator and Head of Exhibitions and Education at the MAC, and Dan Adler, Guest Curator and Professor at York University in Toronto.

Coproduction between the Musée d’art contemporain de Montréal, the Migros Museum für Gegenwartskunst, Zürich, and the Kunstverein in Hamburg.


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Ryan Trecartin, Still from CENTER JENNY, 2013
Courtesy the artist and Regen Projects, Los Angeles, and Andrea Rosen Gallery, New York. (c) Ryan Trecartin

LIZZIE FITCH AND RYAN TRECARTIN: PRIORITY INNFIELD

Young American artists Lizzie Fitch and Ryan Trecartin are among the most iconic artists of their generation who according to John Zeppetelli, “chart with great dexterity and courage new social and aesthetic territories.” Since meeting in 2000, the two artists have employed video, sculpture, sound and installation to brashly address the changing nature of interpersonal relationships brought about by technology and social media. The resulting works present a potential vision of the future where our sense of place in the world is determined by an increasingly difficult to navigate set of factors. As Trecartin says: “I love the idea of technology and culture moving faster than the understanding of those mediums by people.”

The MAC is presenting the North American premiere of Priority Innfield, a “sculptural theatre” composed of four movies, each projected in its own pavilion. These movies⎯Junior War, Comma Boat, CENTER JENNY and Item Falls (all from 2013)⎯each represent a chapter in a pseudo-science-fiction narrative that relates a history of future civilizations inspired by an inventive recasting of the theories of evolution. Comprising sequences filmed by Trecartin in the 1990s when he was still in high school, Junior War documents the excesses of adolescence and serves as a prologue to the series. In Comma Boat, Trecartin casts himself as a dictatorial filmmaker ineffectively directing an apathetic cast. CENTER JENNY and Item Falls showcase students (all called Jenny) learning about the “human past” while aspiring to climb the rungs of society.

Carefully scripted and shot in sets and costumes created by the artists, the movies are also the product of contributions by numerous collaborators. The pavilions of Priority Innfield, fabricated while the movies were being shot, take up their themes and visual elements: a reality show set, a bathroom or a suburban park. They act as viewing areas and observation platforms and emit an ambient sound track to the installation. “By presenting the movies this way, Fitch and Trecartin create a fluid, open experience in a unified space sealed off from the rest of the world⎯all the better to underscore the phenomenological and semantic shifts that lie at the heart of their works,” notes Mark Lanctôt, curator of the exhibition and at the MAC.

It is to be noted that the films are presented in original English version. French versions of the synopsis are available in the exhibition rooms.

Organization and partnership
Exhibition organized by the Musée d’art contemporain de Montréal and co-produced with the Zabludowicz Collection, London.

The installation Priority Innfield was produced and presented at the 55th Venice Biennale in 2013 and the Zabludowicz Collection, London, in 2014. The presentation at the Musée d’art contemporain de Montréal was organized by Mark Lanctôt, curator at the MAC.


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Musée d’art contemporain de Montréal
185, rue Sainte-Catherine Ouest
Montréal (Québec) H3X 3X5
www.macm.org
info@macm.org

Simone Jones: Warden and McNicoll

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The Doris McCarthy Gallery presents:

SIMONE JONES: WARDEN AND MCNICOLL

July 7 – August 6, 2016
Doris McCarthy Gallery
University of Toronto Scarborough

Opening Reception: Thursday, July 7, 6 – 8 pm
Free shuttle bus to the DMG departs OCADU (100 McCaul) at 5:30 pm. First come, first served.

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Simone Jones, Warden and McNicoll, 2014, three-screen synchronized projection with sound

The Doris McCarthy Gallery is proud to announce the recent acquisition of Warden and McNicoll, (2014), a three screen, synchronized video projection by Simone Jones.

The scene largely takes place in a Scarborough hydro corridor where a wrestling match between two boys creates heightened tension. The drama unfolds from three points of view, but is unresolved in this prosaic setting. Warden and McNicoll was originally commissioned for the Art Gallery of Ontario’s 2014 exhibition Alex Colville, and Jones has impressively rendered Colville’s preternatural atmosphere.

The exhibition is accompanied by a full colour publication with a commissioned essay by Andrew Hunter.


For more information, please contact Julia Abraham: 416-208-2766, jabraham@utsc.utoronto.ca.

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With thanks to the Office of the Vice-President and Principal, UTSC

Doris McCarthy Gallery
1265 Military Trail, Toronto, ON M1C 1A4
416-287-7007
www.utsc.utoronto.ca/dmg

Gallery Hours
Monday to Thursday, 11 am to 4 pm
Wednesday open late to 8 pm
Saturday, 12 to 5 pm
Closed Friday & Sunday
Closed on statutory holidays

Admission is FREE.

The gallery is wheelchair accessible.

Matt Schust: Working Space

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Matt Schust: Working Space

July 9–August 21, 2016
Opening Reception: Friday, July 8, 7–9pm
Artist Talk: Thursday, August 11, 7pm
Location: Open Sesame, 220 King Street West, Kitchener, ON

My painting is concerned with the tradition of formalism and rooted in geometric abstraction, colour field painting, minimalism, and neo-geo. The optical effects I strive to create through the use of space, colour, and line are complicated by characteristics that allude to things outside the domain of “pure” abstraction, such as diagrams and commercial design. These external elements are not literal representations of real-world structures; rather, they serve as the armature through which an exploration of space, composition, and colour occurs.

—Matt Schust

About the artist

Matt Schust (b. Kitchener-Waterloo, ON) is currently based in Toronto. His work has been exhibited at G Gallery, Xpace, and Olga Korper Gallery, among other Toronto galleries; Idea Exchange (Cambridge, ON); and many other galleries and institutions. Schust holds a BA in Studio Art from the University of Waterloo and an MFA from the University of Guelph. In 2015, he received an Emerging Artist Grant from the Ontario Arts Council.


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Open Sesame
220 King Street West
Kitchener, ON N2G 1A9
Tuesday–Saturday: 11am–6pm
519-954-7722
info@opensesameshop.com
Facebook and Instagram: @OpenSesameShop
Twitter: @OpenSesameKW
opensesameshop.com


Gary Evans: Farther Afield

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MACLARENARTCENTRE, BARRIE
RECEPTION FOR SUMMER EXHIBITIONS
THURSDAY, JULY 7, 7 TO 9 PM

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Gary Evans
Farther Afield
July 2 to October 30, 2016
Janice Laking Gallery and The Carnegie Room
Curators: Renée van der Avoird and Stuart Reid
Reception: Thursday, July 7, 7 to 9 pm
Artist Talk: September 23, 12:15 to 1 pm, Rotary Education Centre at the MacLaren. Admission free

Regional artist Gary Evans is widely recognized for his distinctive painting practice that spans two decades. This summer, the MacLaren presents a survey of the artist’s oil paintings from the mid-2000s to the present, complemented by a selection of recent collages.

Evans’ vibrant paintings challenge traditional notions of perception and our experience of the landscape. His inventive approach references historical painting—Arcadian subjects and lively Baroque brushwork—as well as contemporary themes such as consumerism and urban sprawl. Layered with dense colours and shifting points of perspective, Evans’ paintings challenge us to view the world around us from an alternative vantage point.

Evans’ collages comprise excised imagery from fashion magazines arranged into carefully constructed spatial collisions. Decontextualized, these fragments depict abstracted formal structures that echo the mysterious and furtive energies of his paintings.

Gary Evans was born in Weston Super Mare, England and lives in Alliston, Ontario. He has had over twenty solo exhibitions including Seeing Things: The Paintings of Gary Evans, which toured across Canada between 2000 and 2002. Evans is a graduate of OCADU and is the Coordinator at the School of Design And Visual Art, Georgian College in Barrie. He is represented by Paul Petro Contemporary Art. The exhibition is accompanied by an essay by Guelph writer and artist Pearl Van Geest.


Road Trip
IAIN BAXTER&, Deanna Bowen, Jason Brown, Rafael Goldchain, April Hickox, Justin Newhall, Jeff Thomas
July 7 to November 6, 2016
Gallery 3
Curator: Emily McKibbon
Reception: Thursday, July 7, 7 to 9 pm

When Jack Kerouac mused that “the road is life,” he captured the ethos that an open stretch of highway embodied a certain opportunity for personal myth-making in North American culture. In this group exhibition of Canadian and international artists, drawn largely from the holdings of the MacLaren Art Centre, each body of work demonstrates some uniquely Canadian aspect of this popular pastime.

IAIN BAXTER&’s and Jason Brown’s work addresses the provincial highway systems that mark the Canadian landscape. BAXTER& takes a deliberately banal approach to the street signs and highway stops that cater to travellers, while Brown’s series Alone Together provides a careful record of the expansion of Ontario’s Highway 69. Conversely, Justin Newhall’s project Northern Studies takes Glenn Gould’s The Idea of North as its inspiration, with Newhall travelling by train to Churchill, Manitoba. Like many other towns so far north, this centre for military, ecological and other research exists outside of the highway systems crisscrossing Southern Canada. Jeff Thomas’s series, Indians on Tour, represents a different take on the road trip: for Thomas, a self-described “urban Iroquois,” it is in the city and not in the wilderness where he—and his plastic figurines—discover themselves. Rafael Goldchain’s series, Nostalgia for an Unknown Land, presents a road trip the artist took through Latin America, demonstrating the ways in which hyphenated Canadian identities are enmeshed in our origin stories and homelands. Deanna Bowen’s sum of the parts: what can be named is a deeply personal case study of the African diasporic movement. In this performed oral history, Bowen traces her family’s history from their first documented appearance in Clinton, Jones County, Georgia in 1815 to the near present in Toronto. April Hickox’s Rose, Winds and Other Stories presents a different kind of travel: filmic in scope, the series highlights a retreat inwards, a journey within.


Laura Moore
one man’s junk
July 7 to October 16, 2016
Massie Family Sculpture Courtyard
Curator: Emily McKibbon
Reception: Thursday, July 7, 7 to 9 pm

one man’s junk is a series of limestone sculptures hand-carved to resemble computer monitors the artist found abandoned in front yards and alleyways throughout Toronto. Moore uses this classical material to memorialize the orphaned screens, highlighting the accelerating pace—and waste—of digital obsolescence. As Moore notes, stone is the material of the “monuments and sculptures that tell our history.” Moore’s installation places the sculptures in the garden courtyard, evoking the chance discoveries of her source material.

Laura Moore is a multidisciplinary artist working primarily in sculpture. Moore received her BFA from the Nova Scotia College of Art and Design and her MFA from York University in Toronto. She has shown her work internationally, most recently at Sculpture by the Sea in Aarhus, Denmark; the Indianapolis Art Centre; the Cotton Factory, Hamilton, Ontario; and the Art Gallery of Windsor. Moore resides in Toronto, where she is represented by Zalucky Contemporary. This exhibition is accompanied by a digital publication featuring an essay by Toronto writer Adam Lauder.


The Henri Robideau Gianthropological Resource Centre
July 7 to October 9, 2016
Molson Community Gallery
Curator: Emily McKibbon
Reception: Thursday July 7, 7 to 9 pm
Artist Talk: September 30, 12:15 to 1 pm, Rotary Education Centre at the MacLaren. Admission free

In 1973, self-proclaimed “gianthropologist” Henri Robideau set out to document the outsized statuary of North America in a series of pseudo-scientific “digs.” Robideau’s series The Pancanadienne Gianthropological Survey, highlights the ways in which Canadian artists have critically and conceptually interrogated the landscape tradition from the 1970s onwards. With photographic postcards and bookworks from the MacLaren’s Permanent Collection, this exhibition highlights the contribution of Vancouver-based photographer Henri Robideau to this evolving form.

Henri Robideau is a senior Canadian photographer. His work is in the collections of the National Gallery of Canada, the Robert Frank Collection at the Museum of Fine Arts, Houston, and the Surrey Art Gallery. Recent exhibitions include grunt gallery and Presentation House Gallery in Vancouver. Robideau taught at Emily Carr University from 1979 to 2015.


Images: Gary Evans, Two, 2015, oil on canvas, 107 x 137 cm. Photo: Hailey Mulhall (left); IAIN BAXTER&, Dialogue, Jasper National Park, Alberta, 1969, printed later, chromira print, 49.5 cm x 72.4 cm. Photo: Andre Beneteau (right).


GENERAL INFORMATION

About the MacLaren Art Centre
The MacLaren Art Centre is the major public art gallery in central Ontario serving the residents of Barrie, the County of Simcoe and the surrounding area. The Gallery has a permanent collection of over 27,400 works of art and presents a year-round programme of innovative world-class exhibitions, education activities and special events.

Acknowledgements
The MacLaren Art Centre gratefully acknowledges the ongoing support of its Friends, Patrons, Donors, Sponsors, Partners, the City of Barrie, the Ontario Arts Council, the Government of Ontario and the Canada Council for the Arts, Canadian Heritage and exhibition sponsor Stewart Esten.

Gallery Location
37 Mulcaster Street, Barrie, Ontario, L4M 3M2, 705-721-9696 www.maclarenart.com
From Toronto: From highway 400 north, 90K north of Toronto, take the Dunlop Street East exit to Mulcaster Street and turn left. The MacLaren is one block north on the right hand at the intersection of Collier Street and Mulcaster Street.

Gallery Admission
Suggested admission $5

Gallery Hours
Monday to Friday 10:00 am to 5:00 pm
Wednesday 10:00 am to 7:00pm
Saturday and Sunday 10:00 am to 4:00 pm
Closed August 1, September 5 and October 10

Wheelchair accessible

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Group Exhibition: Road Trip

Laura Moore: one man's junk

Toronto Outdoor Art Exhibition

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July 8 - 10
Toronto Outdoor Art Exhibition
Celebrating 55 Years

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Works by 314 Visual Artists
Troika by Max Streicher
A movement installation choreographed by Jenn Goodwin
Cascading Beer Garden

Toronto Outdoor Art Exhibition, July 8 -10, Nathan Phillips Square


On July 8 – 10, 314 artists and more than 100,000 visitors will converge at Nathan Phillips Square to celebrate the Toronto Outdoor Art Exhibition’s 55th year as Canada’s largest and longest running outdoor art exhibition. This free public event showcases works by contemporary visual artists, ranging in medium from painting, photography and mixed media to jewellery and ceramics.

Animating the space are internationally renowned artist, Max Streicher’s Troika, an installation of three colossal horses, Roman Milo & Jano Badovinac’s Giant Canadian Picnic Table and If I Should Stumble, an evocative movement installation by Jenn Goodwin and Collaborators.

Awards - On Friday, July 8 at 5:30 PM, more than $30,000 in awards will be presented to artists at the 2016 Exhibition, including the $5,500 Founding Chairman’s Award and the $5,500 Best of Exhibition Award.

Art Hear is a series of free informal talks and walks for the everyday art lover by a roster of curators, art directors and community leaders. Topics include Not a Millionaire, Not a Problem: A Frugal Guide to Buying Art by William Huffman of Dorset Fine Arts (July 9); Art for Interiors, the Practical Guide to Living Artfully by Sara Levine Petroff and Kelly Dickinson of Petroff Design (July 10); Emerging Artists Under 33 to Watch according to YTB Gallery, a walking tour by Humboldt Magnussen and Marjan Verstappen of Younger Than Beyoncé Gallery (July 9); and Who, What, Wear-able Art, a walking tour by Sarah Dougall of Made You Look Jewellery (July 10). All Art Hear events start at 3 PM at the Art Picnic Area. Space is limited. Pre-register at www.torontooutdoorart.org/exhibition/art-hear.

Beer Garden - New this year, the stage of Nathan Phillips Square will be transformed into the city’s first cascading Beer Garden – a la Rome’s Spanish Steps – in partnership with Toronto’s award-winning Henderson Brewing Co. In honour of the Toronto Outdoor Art Exhibition’s 55th anniversary, Henderson has crafted a special brew for the event and has collaborated with artist Nicole Moss who has designed a custom label for the legacy brew.


Toronto Outdoor Art Exhibition runs rain or shine July 8 -10 (Fri. & Sat. 10AM – 8 PM; Sun. 10 AM – 6 PM) at Nathan Phillips Square, Toronto City Hall, 100 Queen Street West. Admission is free.


Toronto Outdoor Art Exhibition gratefully acknowledges the support of:
Henderson Brewing Company, The Rudolph P. Bratty Family Foundation, Murray & Marvelle Koffler, artsVest - Business for the Arts, Shopify, City of Toronto, Government of Ontario, Aird & Berlis LLP, Extrudex Aluminum, Al & Malka Green, Lindy Green, Aaron Milrad & Brenda Coleman, Higgins Event Rentals, PI Fine Art, Pari Nadimi Gallery, and our many loyal donors, in-kind supporters and community partners.

Official Media Sponsor: NOW Magazine

Media Partners: Akimbo, Canadian Art, Classical 96.3 and Indie88


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About Toronto Outdoor Art Exhibition

Founded in 1961, Toronto Outdoor Art Exhibition was established to nurture artistic excellence and artists’ entrepreneurial spirit, and to showcase contemporary art to the general public. From July 8 -10 at Nathan Phillips Square, Toronto Outdoor Art Exhibition celebrates its 55th year as Canada’s largest and longest running outdoor art exhibition. This free public event showcases works by 314 contemporary visual artists, ranging in medium from painting, photography, and mixed media to jewellery and ceramics, and attracts 100,000 visitors each year.

For information and the full artist roster visit http://torontooutdoorart.org/artists

Toronto Outdoor Art Exhibition
401 Richmond Street West, Unit 264
Toronto, ON M5V 3A8
416-408-2202 | info@torontooutdoorart.org
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Group Exhibition: Terraforming

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Terraforming
6 July - 25 August 2016


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Anna Eyler
Kristina Guison
Melissa General
Safiya Randera
Trudy Erin Elmore

Curated by Maria Alejandrina Coates

Opening Reception: 6 July, 5 - 7 pm
Trinity Square Video (401 Richmond St. W., Suite 121)


Trinity Square Video (TSV) and SAVAC (South Asian Visual Arts Centre) are pleased to announce a joint exhibition of recent work by their members curated by Maria Alejandrina Coates.

Originating in science fiction, terraforming is a term that refers to the alteration of foreign environments in outer space in order to make them suitable to support human life. The term represents an outward horizon for colonialist projects of expansion and hegemony. In addition to political and social encroachment, terraforming can also be seen as a way to describe human encroachment onto the natural world. This exhibition directs attention to the process of terraforming found not only in the physical manipulation of environments, but also in the systems of thought shaped by language and culture that give order to society. These works re-position subjectivities to highlight their entanglement within their environments, and to critique current capitalist and machine-based systems that governs humans' relationship with the land.

Featuring artists Melissa General, Kristina Guison, Trudy Erin Elmore, Anna Eyler, and Safiya Randera, this exhibition encounters Nature as a medium for creating options in relation to the established socio-economic order. From the physical movement of bodies from one place to another, through the regenerative qualities of fire and water; to expanded virtual landscapes and digital subjects; these artists engage with the elements of nature to alter, transfer, move, and reorganize established social systems or prescribed modes of thinking and acting. In resisting the naturalization of socio-political hegemonies, these works find in the earth the tools to rethink our histories and futures.


More info: www.savac.net/terraforming/
Facebook event


Image: Anna Eyler, How to Explain Love to a Tape Measure (2016). Machinima. Canada. 9 min, 48 sec.






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Trinity Square Video is a space to re-imagine media arts. Founded in 1971, it is one of Canada’s first artist-run centres and its oldest media arts centre. As a not-for-profit, charitable organization Trinity Square Video aims to meaningfully engage diverse creative voices through its accessible production, post-production, and exhibition support. Trinity Square Video champions an evolving definition of video by presenting challenging contemporary art that inspires its members and audiences to expand their understanding of media art. We strive to create a supportive environment, encouraging artistic and curatorial experimentation with video that challenges notions of medium specificity and advances media art as a creative discipline.

www.trinitysquarevideo.com
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SAVAC (South Asian Visual Arts Centre) is the only non-profit, artist-run centre in Canada dedicated to supporting South Asian artists. For over two decades, SAVAC has increased the visibility of culturally diverse artists by curating and exhibiting their work, providing mentorship, and facilitating professional development. We encourage work that is challenging, experimental and engaged in critical discussions that offer new perspectives on the contemporary world.

www.savac.net
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For more info and press inquiries, contact:
Nahed Mansour
Programming Coordinator, SAVAC
nahed@savac.net
416-542-1661

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