Visual Arts News Summer Issue on Newsstands May 15

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Published on : 2012-05-15 01:00:00

The only magazine dedicated to contemporary art in Atlantic Canada.

Douglas Walker, A-637 "Small Building", oil on paper, 2011. Photo credit: Steve Farmer


Earlier this winter when the streets were cold, the ice on the side walk crackled with winter boot prints and Atlantic Canadians wanted to burrow into warm places, Allison Saunders reviewed Douglas Walker's stunning Other Worlds at Dalhousie Art Gallery in Halifax:

"Descending into the Dalhousie Art Gallery when its walls were papered with Douglas Walker's intricate monochromatic paintings was kind of like falling down the rabbit hole. The world at the bottom of the stairs was an overwhelming one at first. Transfixed by the blanket of that inky, bold cobalt blue and the sheer size of the surrounding works, I had to take a moment to let the exhibit as a whole consume me." Read the full review on pages 6 & 7.


Like the Other Worlds review, references to biology, territory and consumerism thread through out the Summer 2012 issue of Visual Arts News, as our writers explore the impact of materialism on Atlantic Canada's culture, geography, history and economy. Whether it's experiencing the physical materiality of contemporary art or the exploration of trading, trapping, production, the art market or permanent collections, Visual Arts News' takes these matters into a thoughtful and critical exploration.

Audrey Nicoll contextualizes Ruth Cuthand's critical feminist consciousness and colonialist critique in Backtalk (works 1983-2009) at MSVU Art Gallery
Goop, Guck and Globs: Mike Landry gets messy at Beaverbrook Gallery
Katie Belcher assesses Art Gallery of Nova Scotia's Material World
Assembly Lines: Stefan Hancherow reviews the cycle of production at the Confederation Centre for the Arts

Trapping wildly impressions: Cecil Day

PLUS ...
Finding 'Textual Relief' in our summer art book reading list
Capturing the Rabbit Movement in Nova Scotia
Re-imagining newsprint with the Periodical Project


Every issue of Visual Arts News includes engaging exhibition reviews, artist profiles and in-depth features on issues facing arts professionals across Nova Scotia, including regional, national and international reviews of interest to our readership and a comprehensive listing of exhibitions across Atlantic Canada. As one of the oldest cultural publications in Atlantic Canada, it is a well-trusted source of information for readers with a passion for its thriving visual arts scene.

Subscribe Now

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Digital subscriptions available at Zinio.


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Andrew Danson Danushevsky: 150 Grave Stories from the Titanic

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Published on : 2012-05-14 01:00:00

An Earnest Price Exhibition
150 Grave Stories from the Titanic


Of the 1,517 people who perished from the Titanic disaster, the largest number of graves are located in three Halifax cemeteries. After 100 years, Danson Danushevsky’s tombstones photographs bring together those 150 victims on a 33 foot wall in the Museum of the North Atlantic in Halifax. The museum looks towards the harbour where three ships unloaded 209 bodies a century ago.

Passengers on the Titanic paid an earnest price with their lives. A 1st class ticket of $50,000, equivalent in today’s standards, was then an earnest price to cross the Atlantic. Ernest Price was a 17-year-old barman from London who went down with the ship.

The exhibition runs until July 2, 2012 at the Maritime Museum of the Atlantic, 1675 Lower Water Street  Halifax, NS B3J 1S3 (902) 424-7490

ANDREW DANSON DANUSHEVSKY is a Canadian photographer, curator and educator living in Grand Falls-Windsor, Newfoundland. He runs photoworkshops by the sea (4 guests only) on Change Islands, Newfoundland: and in Lunenburg, Nova Scotia:

Further Information:


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Sony World Photography Awards 2012

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Published on : 2012-05-13 04:59:26

Last week, i visited the Sony World Photography Awards 2012 at Somerset House. I object to paying £7.50 to see and exhibition which title starts with the name of a brand. I feel cheated when the show closes with a shop selling goods manufactured by the above-mentioned brand and i don't look kindly to being forbidden to take pictures (which i do mostly because it helps me document an exhibition i plan writing about) because that would mean that i won't shell out more ££ to buy the booklet of the exhibition. That said, the photos selected and exhibited are so remarkable that i still feel like recommending that you go and see the World Photography Awards if you're in London.

Here's some of my favourite images.
Starting with the ones i'd buy if i could afford it.

Cristina De Middel, The Afronauts series 10, 2012

Cristina de Middel's The Afronauts won 2nd prize in the Conceptual category. The series pay homage to Zambian school teacher Edward Makuka Nkoloso, who started an unofficial space program in his home country in 1964. His ambition was not only to beat the Americans and Russians to the moon but also to send a rocket with twelve astronauts and ten cats to Mars. Fundings for the Zambian space programme never materialized.

Cristina De Middel, The Afronauts series 10, 2012

Cristina De Middel, The Afronauts series 10, 2012

Cristina De Middel, The Afronauts series 10, 2012

Next on my list is the 3rd prize in the Sport category because you don't often see politics and social issues covered in a winning Sport photo series:

Andrew McConnell reports on Gaza Surf Club. Under Israeli blockade, the Gaza Strip is regularly referred as 'the largest open-air prison on earth'. With no recreational space to speak of, the Mediterranean, alluring in spite of the sewage, is an immense source of release for the local population. Surf is still a fledging sport, numbers being kept low by a dearth of equipment.

Andrew McConnell. From the series Leaving Gaza

Andrew McConnell. From the series Leaving Gaza

I was quite taken by the Winner of the Nature and Wildlife category:

Jacek Kusz, Burmese Peacock Softshell Turtle. Zoo Wroclaw, Poland

And now in no particular order:

Alejandro Cartagena's Car Poolers won the 3rd prize in the People category for the images he took between 7 and 9:30 AM on one of the busiest highways in Monterrey, Mexico. They offer an intimate view on how car-pooling is practiced by workers in Mexico but also reflect the excessive growth in Mexico where suburbs are being built far from the urban centers, leading to greater commutes and consumption of fossil fuels.

Alejandro Cartagena, Untitled Car Pooler #3

Alejandro Cartagena, Untitled Car Pooler #13

Donald Weber was one of the first photographer allowed to enter the exclusion zone that surrounds the Fukushima Daiichi nuclear power plant. He's the winner of the Current Affairs category. "Odaka lies on the north-eastern coast of Japan. It was once home to 13,000 people, but today it is almost a ghost town. When the earthquake and tsunami of 11 March (2011) triggered blasts at the Fukushima Daiichi nuclear plant, a 20km radius exclusion zone was imposed by the Japanese government."

Donald Weber, Life in the Exclusion Zone, Fukushima, Japan

Donald Weber, Life in the Exclusion Zone, Fukushima, Japan

Weber's shots find a sad echo in the 3rd prize of the Still Life category. Rena Effendi met some of the people who, 25 years since the Chernobyl nuclear catastrophe, still inhabit the restricted area around Reactor 4, named the Zone of Alienation. They are mostly elderly women who chose, just days after the accident, to return home. They live alone, harvesting contaminated food and berries known to absorb radiation, having outlived their husbands and children.

Hanna Zavorotnya butchered a pig for the New Year holidays in Kapavati village. Chernobyl, Ukraine

Gas masks scattered on the floor of a school lobby in the abandoned city of Prypiats. Chernobyl, Ukraine

Horns of deer in Galina Konyushok's shed, hunted and consumed in the Zone. Hunting and farming is forbidden due to high radioactive contamination levels in local vegetation. Chernobyl, Ukraine

Alessandro Grassani (3rd prize in contemporary issues) spent part of a Winter in Mongolia, a country of 3.000.000 inhabitants, almost half of them living on top of each other in the capital, Ulaan Baator. With the Dzud, the hard Mongolian winter, becoming longer and snowier, thousands of nomad herdsmen, who saw their animals die of cold, were forced to move their Gher to migrate towards Ulaan Baator, in the slum which has developed around the city known as "Gher District".

Alessandro Grassani, Environmental migrants: the last illusion. Ulaanbaatar, Mongolia

Alessandro Grassani, Environmental migrants: the last illusion. Ulaanbaatar, Mongolia

3rd in the Nature and Wildlife category is Palani Mohan's work following the world's last remaining eagle hunters. For centuries, Kazakh nomads have roamed the steppe. When the modern borders were drawn, the Kazakhs found themselves cut off from their homeland, forced to settle on the arid, wind=scoured plains and foothills of the Altai mountains of western Mongolia.

Palani Mohan, Kazakh Eagle Hunters

Palani Mohan, Kazakh Eagle Hunters

I should stop going to these photo exhibitions, they've made me obsessed with Mongolia.

Nature and Wildlife was a very strong category. The 2nd prize went to:

David Chancellor, Safari Club, Dallas, Texas, from the series Hunters

Mitch Dobrowner won the Iris Photographer of the year with a series that portrays storm systems in Tornado Alley.

Mitch Dobrowner, Rope Out. Regan, North Dakota

The Sony World Photography Awards 2012 can be seen at Somerset House, London, until 20 May 2012.

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Dil Hildebrand: Back to the Drawing Board (Reprise)

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Published on : 2012-05-12 01:00:00

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Spire, 2012, oil on canvas, 78" x 58"

Pierre-François Ouellette art contemporain presents

Dil Hildebrand: Back to the Drawing Board (Reprise)

With a special presentation in the video room :

GLENDA LEÓN: Dirigir las Nubes (Addressing the Clouds)

May 12 – June 30, 2012

Pierre-François Ouellette art contemporain is pleased to present a solo exhibition of new work by Dil Hildebrand. Following his critically acclaimed exhibition at YYZ Artist Outlet in 2011, Back to the Drawing Board (Reprise) features new drawings and canvases that further explore this direction. The gallery is equally pleased to show a video by Internationally renown Cuban artist Glenda León.

Artist's Statement by Dil Hildebrand:

Last year I took the opportunity of an exhibition in Toronto to make a series of paintings that I'd had on my mind for some time. The exhibition was called Back to the Drawing Board, and was inspired by a wish to explore a different sort of painting from the deep and atmospheric picturesque style that I had been doing up to that point. While these new paintings did not reject depth entirely, they were relatively flat and minimal. Arranged with grids, dots, and simple geometric shapes, they were devised to attempt a provisional approach to describing visual space, and to resist the temptation to coalesce into transparently recognizable forms. While appearing to be wholly abstract, they were for me indeterminate sketches of images that remained hidden or unfulfilled - diagrams rather than models. Several of the works from that 2011 exhibition - mainly the smallest canvases - appear in this one.

For this exhibition, Back to the Drawing Board (Reprise), I've added to this selection a series of works on paper and canvas that further elaborate this new direction. These newest works play with formal structures that draw from a set of elements around the theme of architectural construction. In the paintings, the structures stand as monuments to the work that went on to create them, their heavily scarred surfaces tracing a broad ranging, palimpsestic course of manufacture. These paintings proceeded without the aid of preliminary studies and found their ultimate form through a dialectic process of marking, erasure and re-marking. The drawings pare down the materials of building to line-like rods, following an arc of creation where each configuration is contingent upon the characteristics of its previous form as the dynamic structure oscillates between a state of destructing and constructing.

A single motif runs throughout the exhibition, which is it's prescriptive palette: the green that appears in these works is meant to evoke the chalkboard, the cutting mat, or the green-screen - surfaces for learning, working out problems, combining ideas and imagining. As a support for operations in general it is a fitting surface for demonstrating a mechanical procedure, which is how I've imagined these works. While they are composed of unscripted actions, they follow a methodological rationale that emphasizes both the optical and tactile qualities of the constructions simultaneously.

A central concern for me in this work is its attitude toward creative action, where the act of building (transforming material) is carried out extemporaneously. In this way, the act of painting or drawing itself runs in parallel with the act of thinking out the problem of how to build the structure at hand, as an equation is drawn out on a chalkboard. I see the two opposing strains within this series - the abstract and the representational - as serving the same research from different ends of the image-making spectrum; somehow, each trying to find its way toward the other. In part, these paintings and drawings are motivated and fuelled by my desire to reconcile the two modes, with a hope that interesting ends will result.


Born in Winnipeg lives in Montréal. Dil Hildebrand works in a range of media including oil and acrylic paint, and charcoal. Winner of the prestigious Royal Bank of Canada National Painting Competition in 2006, Hildebrand has gained the reputation of being among the most talented Canadian painters of his generation. His work has been featured in major group shows such as 'Between the Cracks" (Oboro), the Beijing Biennale (2010), "Ideas of Landscape 2" (Musée d'art contemporain de Montréal), "Carte Blanche Volume 2: Painting" (MOCCA, Toronto) and "EntreVoir" (Galerie de l'UQAM), curated by Louise Déry. His paintings can be found in important museum, public and corporate collections including the National Gallery of Canada, the Musée d'art contemporain de Montreal, the Canada Council Art Bank, the Bank of Montreal, the Royal Bank of Canada, Bennett Jones LLP, Osler Hoskin & Harcourt LLP and McCarthy Tétrault LLP.


Artist's Statement by Glenda León:

Dirigir las nubes (Addressing the Clouds) is based on an idea from quantum physics by which each of us can, through will power and concentration, change the shape of clouds. This event occurs in different parts of the world but has rarely been envisioned, since nowadays almost no one looks carefully at the sky. However, many people have found ways quite accurate forms in the clouds, but remain unaware of their unique origin. In this video, the clouds gradually take the form of a globe...


Glenda León lives and works in Havana, Cuba. Her work represents an emerging voice in Cuban contemporary art and is featured in the permanent collection of the Centre George Pompidou in Paris; Museo Nacional de Bellas Artes, Havana, Cuba; and the Montreal Museum of Fine Arts. León has exhibited her work in KHM/Museum Ludwig, Cologne, Germany; Brooklyn Museum, US; three times as part of the Bienal de la Habana; Il Bienal de Jafre, Girona, Spain; The Mattress Factory, Pittsburg,US among others. León is the recipient of the DAAD scholarship for artists in Germany, and the 2011 Beca MAEC scholarship for research in Madrid, Spain. She is the author of La condition de performance published in 2010 (Éditions Nota bene). A solo exhibition entitled Un Ruido Azul (Blue Noise) was presented at Pierre-François Ouellette art contemporain in 2011. She is currently featured in the XI Bienal de La Habana, Havana, Cuba until June 11th.

Event details:

May 12, 2012: 2:30 pm – 5:00 pm. Dil Hildebrand will be in attendance.

For more information please contact Edward Maloney at 514-395-6032 or

All works are available online at

Pierre-François Ouellette art contemporain

372, Ste-Catherine Ouest #216
Montreal QC H3B 1A2
tel: 514-395-6032

Coming soon to Centre Space in June 2012: KENT MONKMAN: Miss America

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Gary Spearin: iNifiNiTi

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Published on : 2012-05-12 01:00:00


PAINTING BEYOND a body of views
May 12 – August 18, 2012

Public Reception: Friday June 1, 6-8 pm

Since 2007 Gary Spearin has been producing a series of vibrant abstract paintings that are displayed as an installation titled iNifiNiTi. It is conceived as an optical device to explore and to visualize the resonant dynamics of time and our experience and perception of it.

The exhibition and accompanying catalogue is a collaboration between Museum London and the McMaster Museum of Art.

As a complementary installation, PAINTING BEYOND a body of views, Gary Spearin has selected works from the McMaster Museum of Art collection by Art & Language, Marcel Duchamp, Richard Hamilton, Alfredo Jaar, Leon Kossoff and Gerhard Richter to disrupt categorization in a purposeful way and thereby explore "the enigma of things."


The Last Things Before the Last
Curated by E.C. Woodley
May 24 - August 4, 2012

Public Reception: Friday June 1, 6-8 pm
Curator's Talk by E. C. Woodley: Wednesday June 6 at 12:30 pm

Toronto-based artist, composer and curator E.C. Woodley draws on McMaster's art collection in this curatorial project and exhibition. Woodley reconstructs fragments of two previous exhibitions in the Levy Gallery and merges them with other works to become a new, third exhibition based on portraiture and the figure.

Works by Stephen Andrews, Ernst Barlach, Max Beckmann, Ken Currie, Max Dean, Otto Dix, Lucian Freud, Antony Gormley, Ernst Ludwig Kirchner, Ludwig Meidner, Edvard Munch, Christiane Pflug, Gerhard Richter, Daniel Spoerri, and others

The research, exhibition and brochure were produced in collaboration with University of Toronto MVS Curatorial Studies Program, where E.C. Woodley is a candidate; and with the support of the Ontario Arts Council and Justina M. Barnicke Gallery.

Images (from top): Gary Spearin with iNifiNiTi installation in progress at McMaster Museum of Art;
City of Landau identity card, 1924. Herman H. Levy Fonds, McMaster Museum of Art

McMaster Museum of Art

Alvin A. Lee Building
McMaster University
1280 Main Street West
Hamilton, ON L8S 4L6
Admission is Free
Museum hours: Tue/Wed/Fri 11am-5pm, Thu 11-7, Sat 12-5


The Museum's Blog


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Greg Curnoe | Jaclyn Conley

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Published on : 2012-05-12 01:00:00

caption:Greg Curnoe Large Colour Wheel 1980, watercolour and graphite on paper 75X75inches

Greg Curnoe

Sheila, Colour Wheels and The Great Canadian Sonnet
Paintings and Works on Paper
North Gallery
May 12 - June 2, 2012

We are pleased to announce an exhibition Greg Curnoe, Sheila, Colour Wheels and The Great Canadian Sonnet.

Greg Curnoe's work often chronicled his place, family and surrounds. This exhibition focuses on his life and in part at the portraits of his wife Sheila. Included in the exhibition are two major portraits of Sheila rarely seen.

Also included in the show is the significant work, Large Colour Wheel. Curnoe's interest in circle and wheels, colour and bicycle, continued throughout his life. His two passions, cycling and art intermingle in this very significant work.

Featured in the exhibition is a collection of very rare drawings. Curnoe collaborated with Dave McFadden for The Great Canadian Sonnet, a small art book of stories by McFadden with drawings by Curnoe. In the 60's and 70's, Coach House Book Publishing Company was at the height of its publishing strength in Toronto. Many writers, poets and artists worked closely with the press and collaborated on significant volumes. Such was the case with The Great Canadian Sonnet, published in 1968.

Curnoe's works are represented in numerous major public and private collections across Canada and abroad and can be seen regularly in extended installations at such galleries as the Art Gallery of Ontario, the National Gallery of Canada and the London Regional Art Gallery, Ontario.

Recent publications include: Cutout, "Greg Curnoe, Shaped Collages, 1965-1968", the catalog for the exhibition of the same name, exhibited at the Museum London, curated by Robert Fones

Building on this practice of print, collage, drawing and painting, performance and writing, continuing to record everyday life around his hometown of London Ontario, Curnoe traveled far and influenced many. His work is among the most important and innovative produced in Canada. And still it is as fresh and vital as ever. Curnoe died tragically in a cycling accident in 1992.

The Art Gallery of Ontario's major retrospective, Greg Curnoe, Life & Stuff, 2001. The substantial book which was published to accompany the exhibition includes the essay by Sarah Milroy, Greg Curnoe: Time Machines, from which the following passages are taken:

"------Curnoe's entire body of work from his art school days onwards can be seen as a series of exercises in stripping away clutter and preconceptions to reveal the raw flesh of perception, to get at its white-hot instantanity, before feeling, before thought, before understanding---- you work with what is in front of you. But the ultimate mystery of Greg Curnoe's work is that so much piling up of anecdotal detail could yield a testimony that is so poignant. In his willful triviality, he approached the profound.-----

Work by Greg Curnoe was included the exhbition, Lights Out!, February 18, 2012 – April 29, 2012 Vancouver, BC. at the Vancouver Art Gallery and included paintings from the 60's in the VAG's permanent collection. Follwoing is an escerpt from the VAG's press release;

"Lights Out! Canadian Painting from the 1960's celebrates the verve and energy of this decade as expressed on canvas. Featuring nearly ninety paintings, Lights Out! Reflects the vibrancy of this exceptional era"

caption: Jaclyn Conley The Volcano, Oil on Canvas, 40X43 inches

Jaclyn Conley

The Social And The Domestic
New Paintings
South Gallery
May 12 - June 2, 2012

We are pleased to present for the first time the work of Jaclyn Conley.

Conley graduated from the University of Guelph with her MFA in 2004. Her undergraduate degree were at the Nova Scotia School of Art and Design and The Ontarion College of Art. Conley is Assistant Professor of Art, Painting and Drawing, HartfordArtSchool, University of Hartford, Hartford, CT. Her practice revolves around everyday life occurrences often quoting incidences and ephemera found on the internet.

Conley says about her work in a recent statement;

"The Social And The Domestic, 2012

Initially animals roamed into the composition as figures that were not aged, gendered, of a specific time or place but which held a rich history of associations within cultural narratives. Their introduction positions these accounts clearly outside of reality or the everyday and into an imagined, but nonetheless familiar, space.

In recent painting, familial conflicts are played out by both domesticated and predatory animals. I've been focusing on the bed as a stage, seeing this as a site of significant or heightened moments of human intimacy; birth, death, sleep, reflection, illness and ecstasy. Whether suggesting bouts of passion, violence or play, these pairings bring forth the emotion characteristically felt or enacted within the domesticated space, animalizing the human and humanizing the animal."

Greg Curnoe

Sheila, Colour Wheels and The Great Canadian Sonnet
Paintings and Works on Paper
North Gallery
May 12 - June 2, 2012

Jaclyn Conley

The Social And The Domestic
New Paintings
South Gallery
May 12 - June 2, 2012

Opening Reception: Saturday May 12, Artist Present 2-5pm

Please note: on Saturdays, free parking for building visitors is available in the 401 Richmond building lot, located at the rear of the building. Enter off Richmond St., at the east end of the building. The building and gallery can be accessed from the back entrance, off the parking lot. There is also parking available in several lots off Peter St. and on the north side of Richmond St, across from the building.

For more information please contact:

Wynick/Tuck Gallery
401 Richmond St. W suite 128
Toronto, Ontario

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J.C. Heywood: In Living Colour

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Published on : 2012-05-12 01:00:00




Exhibition Runs May 12 – June 9, 2012
ARTIST TALK: Thursday, May 10, 7pm

J. C. (John Carl) Heywood has been making art for over 50 years, concentrating primarily on printmaking using screenprint, etching, lithography, vectographs and digital prints. This exhibition showcases his exuberant and varied approaches to working with colour, composition, form and texture, in both prints and paintings. In Living Colour provides an opportunity for discussion on the origins, relationships, and processes of Heywood's creations, was well as his multiple approaches to image-making. Admission to exhibit and all events are free, and all are welcome.


Born in Toronto, and spending a great deal of time in Galt, J. C. Heywood has an art career that spans 50 years. Since beginning at the Ontario College of Art in 1959, he has continuously made art. According to Heywood, "Creating images is the most wonderful of games...It is like swinging on a rope out into a river: a focus that engages me mentally, sensually, physically, spiritually...a meditation, a joy." His work has been shown in exhibitions around the world, and is included in numerous pubic collections. For more information about J. C. Heywood and his work visit


435 King Street East
Cambridge ON N3H 3N1


Monday to Thursday 12 - 8:30pm
Friday 12 – 5:30pm
Saturday 9:30am 5:30pm
Sunday 1 – 5pm*
*closed Sundays Victoria Day weekend through to Labour Day weekend


Victoria Ford
Publicity and Promotions Specialist
Cambridge Libraries and Galleries
519.621.0640 x 187

Images: J. C. Heywood, New Hi-Power (KV321), 2010-2011. Acrylic and Giclée on canvas.

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Art in Public Places Kingston | Launch tour

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Published on : 2012-05-12 01:00:00


APP Kingston

May 12 – June 8




           Guided Bus Tour of APP Kingston sites       Saturday 12 May, 1:30 pm
           Public Roundtable                                           Thursday 7 June, 7 pm


Great public art can define a city. With this in mind, APP or Art in Public Places Kingston presents six concurrent public art installations at various sites throughout Kingston. Presenting three Kingston-based artists, and three artists exhibiting nationally the project anticipates the City of Kingston's development of a Public Art Policy and takes spectacle as its theme—examining spectacle as device and phenomena. APP Kingston is curated by xcurated curatorial collective (Jocelyn Purdie, Riva Symko and Matthew Hills).

Featured Kingston artists and associated sites include Shayne Dark at the Pump House Steam Museum (23 Ontario Street), Michael Davidge at the Swamp Ward Window, a residential gallery space located at 448 Bagot Street, and a billboard presentation of Catherine Toews' work located on Taylor Kidd Boulevard between Gardiners Road and Bexley Gate. These installations are in dialogue with the work of Robert Hengeveld at Lemoine Point Conservation area, Steven Laurie at Cataraqui Centre, and artist duo Millie Chen and Warren Quigley presenting a work commissioned by the Toronto Sculpture Garden at the site for the Anna Lane Downtown Condos at Bagot and Queen Streets.

The project will be launched on May 12 at 1:30 pm with a guided bus tour of installation sites leaving from the parking lot at Food Basics, Barrack and Wellington St. A map of all sites, with directions can be found at APP Kingston will culminate with a public roundtable discussion of public art in the context of Kingston presented at the Market Square Amphitheatre.

For further information go to, follow @xcurated on twitter, or email

APP Kingston is grateful for the support of Union Gallery, the City of Kingston and the Kingston Arts Council through the City of Kingston Arts Fund. xcurated further acknowledges community partners including Anna Lane Downtown Condos, the Swamp Ward Window Project, Cataraqui Centre, the Cataraqui Region Conservation Authority, and Tourism Kingston.

Image: Michael Davidge, Pretty Vacancy. Courtesy the artist

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Goethe-institut / LIFT Announce Filmmaker in Residence Dagie Brundert

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Published on : 2012-05-12 01:00:00


(L)"Counting cats counting sheep" and (R)"Ambassadors of Coincidence (Berlin)"
by Dagie Brundert

Goethe-institut / LIFT Filmmaker in Residence with Dagie Brundert

The Liaison of Independent Filmmakers of Toronto (LIFT) and the Goethe-Institut Toronto are pleased to announce Dagie Brundert (Berlin) as the inaugural Goethe-LIFT Artist-in-Residence this May. One of Germany's most prolific filmmakers working with small format Super 8 film Dagie has produced a wide range of films that break from genre, convention and expectation. During her stay in Toronto Dagie will be working on a series of new films exploring the city and responding to its built and social environments.

Complimenting her production process - Super 8 cameras and handprocessed film - LIFT and the Goethe will present a series of public workshops, games and screenings to connect her work with the local community. The first event (May 12th and 13th) is a game of film chance—Ambassadors of Coincidence—where small groups of participants will navigate Toronto through chance operations documenting the experience as collaborative Super 8 films. On May 19th and 20th, Dagie will run a second edition of this "city walk game" within the Goethe-Institut's series on The Future of Mobility. A workshop on alternative processing methods for black and white motion picture film will be held at LIFT, using washing soda, instant coffee and vitamin C, creating an ecological alternative to standard developing. These events will be followed by two retrospective screenings of Dagie's work with new material made during her residency. The first will be held Saturday May 26th in Windsor, Ontario as part of the Media City Film Festival and the second at Toronto's CineCycle on Thursday May 31st.

I was born in a small town in the middle of West Germany. Beautiful nature, but boring after a while...I moved to Berlin and studied visual arts / experimental film. Fell in love with my super 8 camera (Nizo) in 1988. Since then I've tried to be a particle-finder, a wave-catcher and a good story-teller. I try to absorb weird beautiful things from this world. Chew them and spit them out again. -Dagie Brundert

For more information about Dagie Brundert see:

Ambassadors of Coincidence: A city walk game
Saturday May 12 and Sunday May 13, 11:00am-5pm at LIFT, 1137 Dupont Street
Enrolment limited to 8

Ambassadors of Coincidence is a collaborative film production game conceived by Dagie Brundert as a way of tempting fate and challenging coincidence. This weekend will begin with an introduction and viewing of the Berlin edition and a short overview of Super 8 equipment before the group is split into teams of three. Each group will generate a randomized route through the city and use Super 8 film to document the trip.

Groups will travel by bike, car or transit and collect film and audio impressions of the sites on their list. This scavenger hunt for audiovisual gems will be collected and assembled into a short film, which will premiere at CineCycle May 30th.

To register email

Processing Black and White Film with Coffee Workshop
May 16, 6:00-10:00pm at LIFT, 1137 Dupont Street
Enrolment limited to 4
Cost $35/LIFT members, $45 non-members

In this one evening workshop participants will work in the LIFT darkroom processing black and white motion picture film with instant coffee, vitamin C and washing soda. This replacement for commercial developers provides an ecological alternative with ingredients available from the grocery store.

Register in person or by phone with LIFT

The Films of Dagie Brundert Media City (Windsor) Screening
Saturday May 26, location and time TBA

The 2012 Media City Film Festival in Windsor Ontario will present a screening of old and new Super 8 films by Dagie Brundert. This late night program celebrates the continued vitality of small-gauge film as a platform for Dagie's unique film style.

For full festival schedule see:

The Films of Dagie Brundert CineCycle (Toronto) Screening
Thursday May 31, 7:30pm at CineCycle, 129 Spadina Ave
Admission $6

Closing this residency the Goethe and LIFT are pleased to present a program of Dagie's films selected by the artist herself. From the 1990s to work produced May 2012 in Toronto this screening will offer rare chance to see her work projected as it was made, on Super 8 film. The screening will also include the premiere of the collaborative film produced through the Ambassadors of Coincidence events.

For 50 years, the Goethe-Institut Toronto has been presenting the latest arts and ideas from Germany. The Institut actively promotes an ongoing dialogue and exchange between Canadian and German artists and experts and brings the best in contemporary German culture, seen through a global lens and across the genres, with a programming focus on German film. The Goethe-Institut is proud to collaborate with other major players across Canada and the world.

LIFT is Canada's foremost artist-run production and education organization dedicated to celebrating excellence in the moving image. LIFT exists to provide support and encouragement for independent filmmakers and artists through affordable access to production, post-production and exhibition equipment; professional and creative development; workshops and courses; commissioning and exhibitions; artist-residencies; and a variety of other services. LIFT is supported by its membership, Canada Council for the Arts, Ontario Arts Council, Ontario Trillium Foundation, Ontario Arts Foundation, the Government of Ontario and the Toronto Arts Council.

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New exhibition of Emily Carr masterworks

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Published on : 2012-05-12 01:00:00

Emily Carr
Wood Interior, 1932-1935
oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Opening May 12 at the Art Gallery of Hamilton

Nature and Spirit: Emily Carr's Coastal Landscapes

Organized and circulated by the Vancouver Art Gallery

Curated by Ian Thom, Senior Curator, Historical, Vancouver Art Gallery

A significant touring exhibition of works by Emily Carr, Nature and Spirit traces her evolution as an artist and includes many of the painter's recognized masterworks. The paintings span Carr's early experiments with European modernism, to her powerful first encounters with Canadian First Nations art and culture, through her mature landscapes, to a final series of works from the period 1940-1942 when she returned to First Nations subjects with a new confidence and strength.

Highlights of the exhibition can be seen in Carr's early translations of European ideas to a Canadian context in a superb series of paintings made in 1912, including Totem Poles, Kitseukla. The major works of her maturity such as Zunoqua of the Cat Village, Big Raven, and The Little Pine form the central section of the exhibition and are complemented by a series of oil on paper works from the 1930s. These remarkably free studies of the landscape were painted directly from life and illustrate a more expressive and fluid style than in her works on canvas.

Art Gallery of Hamilton
123 King Street West, downtown Hamilton L8P 4S8
[w] [e]
[t] 905.527.6610

Emily Carr in Her Studio. Photograph by Harold Mortimer-Lamb

Emily Carr
Skidegate, 1928
oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

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