Barr Gilmore appointed head of Integrated Design at Haliburton School of The Arts

Feed : Akimbo exhibitions feed
Published on : 2014-03-18 01:00:00



Barr Gilmore. Photo: Erin Simkin Photography                           


Barr Gilmore appointed head of Integrated Design at Haliburton School of The Arts

Haliburton School of The Arts at Fleming College is pleased to announce the appointment of Barr Gilmore as a Professor and Coordinator of the new Integrated Design program which starts  September, 2014.

BARR GILMORE (RCA, MDes) has been a graphic, environmental graphic and industrial designer under his company name Barr Gilmore Art + Design since 2005 with such clients as Gagosian Gallery, Art Gallery of Alberta, Art Gallery of York University, Alberta College of Art and Design, MoCCA, TIFF Bell Lightbox, Scotiabank Photography Award, Design Exchange and Gardiner Museum, among others. He graduated with a Bachelor of Fine Arts in sculpture and printmaking from UBC, Vancouver (1987); was the Studio Assistant to the renowned Canadian art collective General Idea (1991-95); and a Senior Design Associate at Bruce Mau Design (1996-2005). In 2011, he completed his Master of Design in the Interdisciplinary Masters in Art, Media and Design graduate program at OCADU, Toronto for which he won the prestigious Governor General’s Academic Gold Medal. His book and exhibition designs have won numerous awards and in 2009, he was inducted into the Royal Canadian Academy of the Arts for his graphic design work.

DESIGN YOUR FUTURE.   Start this September.    

Fleming College’s new Integrated Design diploma program will give you the fundamental design and critical thinking skills needed to become a successful designer in the 21st century. This one-of-a-kind, accelerated diploma program incorporates a hands-on approach to material culture, sustainability and fine craftsmanship. In three semesters you’ll explore and experiment, collaborate, communicate, and discover your design talent. You will be prepared to apply your knowledge and skills developed in the program to whatever design discipline you choose to pursue. Students will graduate with an Ontario College Diploma and a College Certificate.

Find out more:


Attend a Program Information Session

Barr Gilmore will be hosting program information sessions in Haliburton (April 5th), and Toronto (April 7th). For more information and to register for one or both events:

Saturday, April 5th   10 a.m. – 2 p.m.    Fleming College Open House, Haliburton Campus
Monday, April 7th   1 p.m. – 5 p.m.     Design Exchange, Toronto
The Integrated Design program information session includes a tour of the Design Exchange’s This Is Not A Toy, An Exhibition of Contemporary Art and Collectible Design by co-curator Sara Nickelson.



Haliburton School of The Arts/Fleming College
297 College Dr.
Haliburton, Ontario
K0M 1S0

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Interview with the Center for Creative Activism

Feed : we make money not art
Published on : 2014-03-17 10:59:36

0a0you win_2.jpg
'Imagining a win'. Photo: Flickr/Joe Lafferty (via)

Photos from Arts Action Academy at PSU's Social Practice Arts program

The Center for Creative Activism is a place to explore, analyze, and strengthen connections between social activism and artistic practice. For the past few years, CAA's founders Steve Lambert and Stephen Duncombe have been traveling around the U.S. (and increasingly Europe) to train grassroot activists to think more like artists and artists to think more like activists. The objective isn't to replace traditional strategies with unbridled inventiveness but to use creativity as an additional tool that will help them gain more attention, make activism more approachable and that will, ultimately, make campaigns more effective.

Stephen is an Associate Professor of Media and Politics at New York University. He has received numerous recognitions and awards for his work as a teacher, organiser of activist groups and events. He widely publishes about culture and politics and is the author and editor of six books, including Dream: Re-Imagining Progressive Politics in an Age of Fantasy and the Cultural Resistance Reader. Duncombe is currently working on a book on the art of propaganda during the New Deal.

Steve Lambert, Capitalism Works for Me, True/False

Steve is an artist and activist whose art aims to be relevant, engaging and visible outside the traditional gallery setting. His works are imbued with humour and subtle commentaries on current political and social issues.

The New York Times Special Edition, Capitalism Works For Me! True/False, Add-Art (a Firefox add-on that replaces advertising banners with art) and The Anti-Advertising Agency.
He is currently Assistant Professor of New Media at SUNY Purchase

I've never had the chance to attend any of their workshops but i've been following CCA's tweets and reading their blog posts with great enthusiasm (i would particularly recommend having a look at An open letter to critics writing about political art, whether you are an art critic, a 'socially-engaged' artist or someone interested in political art.) From where i am standing, these two guys are among the most interesting, thought-provoking thinkers. I was eager to pick their brains....


Hi Steve and Stephen! In Europe at least, 'socially-engaged' exhibitions seem to have become very trendy. Is there any way an artist or curator can engage with meaningful artistic activism inside an art gallery or a museum?

This is a good question, but it can never be answered to any asker's satisfaction.

Definitively saying something is or isn't possible would be a mistake. With artistic activism, like anything in the realm of art, there are few concrete and lasting rules. This is why we have no specific "way" we are prescribing. We're offering an articulated approach and a method for thinking through more effective and further reaching work.

Can you engage in meaningful artistic activism from inside an art institution? Sure. Anything is possible. It depends on the goals of the work. Are you planning the violent overthrow of the government? Because creating an exhibit in a museum is probably not the smartest step in reaching that goal. Are you "interested in attempting to re-examine the notions of the institutions role in blah blah blah" then yeah, a museum or a gallery is a great place to start.

Whether or not something is meaningful or effective has far more to do with the artist(s) intention. The forms this work can take are so open that they present few limitations to efficacy - you have so many choices. The trick is keeping your focus on impacting power through culture. In some cases that path may lead you through a museum, in others not.

If the artists intention and goal does lead them to a gallery or through a museum, they need to be aware of the context of their practice. Galleries and art museums are, by and large, set up to display works of art that are then looked at or watched by others. This encourages a social relationship of spectatorship, with all its attendant political ramifications. It also can tends to "reify," politics be it social problems or social struggles. In these cases politics becomes an object for contemplation, or - perversely - appreciation, rather than action. As we like to say, political art is not necessarily art about politics, but art that acts politically in the world.

This does not mean that one should avoid art institutions, only that these institutions - like all settings - have their own dynamics and to be aware of and work with, or against, and work through.

The tragedy here is that a majority of the shortcomings of this work are not put in place by institutions attempting to support the work, but by the artists themselves in underestimating their ability, their role in culture, and not fully leveraging their strengths. Crudely, we could say that many artists are plagued by deep seated self-esteem issues that result in us aiming too low. We simply feel that we can't have a great impact outside of the small and insulated worlds of art, so we don't engage on a larger terrain.

This is not to say that institutional support, or lack of it, is not an issue. There is a chicken-or-egg problem here in that the training provided to artists and many of the established ways they are supported through the market and states are profoundly disempowering to artists. The power artists have in shifting culture is rarely acknowledged and popular myths about us as starving, insane, misunderstood outcasts are deeply rooted. In subtle ways these institutions can perpetuate disempowerment and support these myths.

That said, the recent uptick in support for this kind of work is a good thing in many ways. It acknowledges that art is not sequestered to traditional media and sacred institutions, and a recognition that art has tremendous power when it's not decoration for the wealthy or academic navel gazing. And institutions can shift, change, and grow, so who knows what could happen.

This is a very long way of saying we can't answer your question, other than to say that if we are serious about using art, culture and creativity to change the world then no setting should be off limits.



One of the projects run by the CAA is the School for Creative Activism, a training program for grassroots activists. Could you tell us about those workshop? What can activists expect from them?

The School for Creative Activism is a two and a half day weekend workshop. It starts on a Friday evening at a modest retreat center we'll find just outside whatever city we're working in. On Friday we give an overview of what artistic activism is and isn't and cover contemporary examples. Saturday we go through the history of this work - usually going back 2000 years or more with some big gaps along the way. The rest of the day is a mix of lecture, discussion, and activities around cultural, cognitive, and mass communication theory. Sunday is hands-on practice where we put all we've learned into play on a sample campaign.

We're both professors and teachers. Duncombe has a doctorate in sociology and has extensive activist roots and Lambert brings his expertise in communications and fine art. We take all this information, condense it, and make it relevant and useful for working activists. We also get a few artists in the room to add perspective.

Over the past three years we have trained activists working on school desegregation in Mebane NC, prison reform in Houston TX, state budgets in Austin TX, immigration justice in San Antonio TX, tax fairness in Boston MA, and police surveillance of Muslims in New York City. We've worked with faith-based organizers in rural Connecticut and Iraq and Afghanistan war veterans in Chicago IL. We just finished a weekend with The Portland State University Social Practice Arts program. Overseas we've trained East African health activists in Nairobi and Scottish democracy advocates outside of Glasgow. In March of 2014 we are scheduled to work with health care activists in Skopje, Macedonia.

Because of the wildly different geographic and social makeup of these groups, our curriculum really has to work as a framework that can be adapted locally. You can't drop-in to Kenya or Texas or Scotland and use a one-size-fits-all model. Culture is the resource, the raw material, we work with and culture is local. We can't tell people what will work in their area and with the populations they want to organize, they need to tell us what the dominant signs, symbols and stories are, what media outlets they have access to and what creative resources they can muster. This is what makes this work so exciting for us: the activists and artist we work with are the experts in their cultural terrain so we are forever learning new things.

Creativity taps into an expertise that many people possess, but don't think of applying to the "serious business" of politics. Even if most people don't think of themselves as "artists," they don't compose symphonies or paint majestic landscapes, they sing at churches, rap with friend on a street corner, upload videos to YouTube, assemble scrapbooks, of even just know how to throw a kicking party. "I'm not political," is a phrase one hears often; it's a rare person, however, that doesn't identify with some form of culture and creativity. Culture lowers barriers to entry. As something already embraced, it has the capacity to act as an access point which organizers can use to approach and engage people otherwise alienated from typical civic activity and community organization. In fact, cultural creativity is often the possession of those - youth, the poor, people of color - that are most marginalized from formal spheres of politics, law, and education.
How can art help them organize more successful campaigns?

We have a motto at the CAA: "The first rule of guerilla warfare is to know your terrain and use it to your advantage." The political topography of today is one of signs and symbols, stories and spectacles. And for all the limitations of traditional artistic training, it is artists who are the best adapted to working on this political landscape. In order to be a good activist you need to learn to think like an artist.

One of the problems with much of activist work is that it's based in a faulty understanding of political motivation. We do an exercise at the beginning of every training: We ask participants to introduce themselves and give a brief account of what they are working on and tell us about the moment they became politicized. After everyone is done we go back and point out that no one mentioned they became interested in affecting change in the world through signing a petition, reading a factsheet, giving a donation, or even going to a march or rally. Yet that is exactly these means that activists use to approach others to have them "get involved." The politicization experiences people do describe in this exercise are vivid, visceral, and emotional experiences. Dreams, fantasies, emotions. Moments felt rather than just thought. Affective experiences. Well, this is the domain of art.

Unfortunately there's a pressure to do things that are sure to work. With activists especially, the stakes are high. When we're working with healthcare advocates in Eastern Africa, if they take a risk that doesn't work people may literally die. We don't ever advise that people should abandon the standard tactics of activism: the marches, the rallies, the petitions, the knocking on doors and lobbying politicians. What we are suggesting is that artistic activism provides another tool for the activist's tool box. But as any carpenter can tell you, once you have a new tool it opens up possibilities of new jobs to work on.

Members of Iraq Veterans Against the War (IVAW) staged military operations in the United States to give fellow Americans a glimpse of the day-to-day realities of the war (Photo: IndyBay/Ian Paul)

Do you have a couple of examples of workshops that lead to particularly fruitful actions?

We were sitting in a restaurant a few weeks ago getting lunch and one of our former workshop attendees happened to be at another table. We asked what he was working on, and he mentioned he was organizing fast food workers. He then told us. "Oh you know, we're using a lot of what we talked about in the workshop in the Fast Food Workers Strike." What impressed us was two things: one, that some of what we were teaching had some impact on this amazing, high-profile campaign that we had admired from afar; and two, that we would have never known without this chance meeting.

If we've been successful, when we're done with the workshop the participants have a feeling of ownership over the method. When they put it to use they don't often consciously think "Now we're using artistic activism!" Instead they find ideas and methods which resonate and feel true, so they use them. Which is exactly as it should be - part of an overall skill set that activists can tap into and employ when and where it's useful.

It reminds us of what Lao Tzu once wrote:

As for the best leaders, the people do not notice their existence.... But when the best leaders' work is done, the people say 'we did it ourselves'

We think the same is true for teachers too.

Reverend Billy leading mass exorcism in Tate Modern Turbine Hall over BP sponsorship

Which brings me to the question you ask to the artists you interview: "How do you know if it works?" What are the criteria that help you establish whether a work has had any social or political impact?

This is what everyone, including us, wants to know. What is the formula? Is there a checklist to run through? Are there singular and universal right answers to this? And of course, there is not.

While it's helpful to have measureable objectives - a change that is visible - often it's similar to answering the question "what makes a good artwork?" because there's part of artistic activism that has no objective standard and the most important outcomes may be immeasurable.

The first question to ask is "What was the artist trying to do?" If an artist set out to be successful in the art market, there's no real sense in being critical of their lack of political impact because that wasn't their intention. Better questions are, did they succeed in what they set out to do? And were those goals ambitious enough?

For example, we often hear political artists say things like "I'm interested in raising awareness about issues around immigration." This statement is so vague it could also serve as a mission statement for a Nazi propaganda office. Consciousness raising is only useful as a means directed towards something larger. Not addressing a specific, distant goal is a strategic error. Unfortunately merely political content is often what passes for political art, while it has little political impact. If the artist were to be more ambitious and more specific, "I will create a more accepting culture around immigration through my art work" they'd probably be more successful because they'd have a clearer idea of what they were trying to do.

When we work with artists directly, as we do through our Arts Action Academy, we really push artists to think about what they want to have happen through their work. Many will initially say something like "I want to raise awareness of X" or "I want to start a discussion about Y." Fine and good. But then we ask, if you succeed in raising awareness or starting a conversation, what then do you want to have happen as a result? Most of the times there are grander motivations underlying these tame aspirations. It often turns out that the artist doesn't just want to raise awareness or start a conversation about immigration, they want that awareness or conversation to lead someplace: to help stop some particularly heinous law that punishes immigrants and open up the borders between people and nations. Being aware of this helps us sharpen our thinking about our art and its impact, and it also helps us determine whether we've done what we've set out to do.

This thought process also helps us think about creative work as a piece of a extensive campaign. An artwork that raises awareness or starts a conversation is just one tactic; a tactic to be followed by others: perhaps art that aims to empower immigrant communities or embarrass right wing demagogues or pressure lawmakers. And all of this fitting together in a larger strategy aimed toward an ultimate goal of a more humane society. Without this greater strategic understanding there is a disconnect between the action and the, often unacknowledged, desired result. This tends to lead to either delusion: "My piece will change everything!" or depression: "My piece changed nothing." Both are debilitating.

We could go on addressing "what works, and how do we know it does?" forever because we are obsessed with this topic, but of your readers are curious, we've written more in our Open Letter to Critics on Writing About Political Art following the 2012 Creative Time Summit in NYC, and in a short essay, Activist Art: Does it Work? we wrote for the Dutch journal Open.

Oh! I loved that Open Letter, I found it so useful.

Have artists and activists the same definition of what constitutes a successful action?

No. That's both the problem and the promise of artistic activism.

Activism tends to be very instrumental: the goal is to change power relationships and you have clear objectives that result in demonstrable change in the "real world."

Art tends to be expressive, interested in making something new and unique. It's a practice concerned with shifting perspectives and creating spaces for this to happen, what Jacques Rancière calls the "redistribution of the sensible." With art there are indirect results, or perhaps no instrumental result at all. And most art is experienced outside of the "real world," in special refuges like museums and galleries.

These are often at cross purposes to one another. They are often hard to reconcile. It's not easy! It is an art. But when you can do it, it makes for powerful activism (and profound art)

I'm also very curious about the Art Action Academy, a workshop to help socially engaged artists become more politically efficacious. What are the skills necessary for political action that no art academy ever teaches you?

Well, schools could teach these things, they just don't. Programs have popped up and they have begun to try. But activism and organizing are real skills - just like painting or dramaturgy - and there are lessons to be learned. Lessons like:

Thinking about audience, particularly audiences unlike yourself
Long term collaboration with groups and institutions
History and theory of social movements
Processes of behavioral change past "awareness."
Research in kindred fields like sociology, psychology, cognition science, and social marketing
Power mapping: knowing who holds what power to effect change
Campaign planning with tactics, strategy, objectives, and goals.

Because we believe in the democratic ideal of the every-day active citizen we tend to downplay the fact that activism is a demanding practice that requires particular skills and substantial practice. Ideally, we will all one day have those skills and practice, and we will live in a world where everyone is an activist (as well as an artist) but until then it is necessary to learn - and to teach.

Rosa Parks sits in the front of a bus in Montgomery, Alabama, in 1956 after the U.S. Supreme Court ruled segregation illegal on the city's bus system. Behind Parks is Nicholas C. Chriss, a UPI reporter covering the event

Now say i'm an artist and i'm interested in political action but i cannot afford to travel to the U.S. to attend one of your workshops, where should i start? Do you have any book, video or other tool to recommend?

We both hold down paying jobs as university professors so we can't do as much, and go as many places, as we'd like. In recent years we've expanded our workshops out of the borders of the US to Europe and Africa and we plan to do more of this. That said, we're only two people with limited time and resources so we can't be everywhere and do everything we'd like. Recognizing our limitations we are working on a book that will take the research we've done and the lessons and exercises from our workshops and make them accessible to more people.

We also have resources for artistic activists on our website: a reading list of texts that we've found useful, and, an open-access, user-generated database of global artistic activism case studies that we created with The Yes Men.

Are there any relevant yet overlooked issues you think activists and artists should approach today?

There's plenty of relevant issues and we come across new ones all the time. Nearly all of them are overlooked in the grand scheme of things.

If you're asking if there are topics we feel artists should be working on, we think it's always best to pick whatever compels you the most. There's always work to be done and if we tried to pick out what was most important, we'd probably be wrong anyway. We're all in it together, so everyone needs to work their hardest on the things they care about most...and support one another


Do you have any plan of coming to Europe by any chance? I think we'd love to have the CAA here.

We were just in Scotland. This Spring we'll be running a five day School for Creative Activism workshop in Macedonia working with health care activists, and it looks like we'll be hosting Art Action Academies in Sweden and Russia too.

While our time is limited, we really enjoy meeting and working with activists and artists working on campaigns and in contexts that are new to us. It's how we lean and grow too. If people are interested in bringing us to Europe - or elsewhere - they can always contact us trough the center at

We're definitely open to it.

And more generally what is next for the Center for Artistic Activism?

We'll continue working with as many activists and artists as we can through our workshops while finishing our book so we can reach even more.

Thanks Stephen and Steve!

Check out also the video of the talk that Stephen Duncombe delivered in Copenhagen on January 23rd, 2013, for activists and NGO workers affiliated with Action Aid Denmark.

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Janna Watson | Joshua Jensen-Nagle

Feed : Akimbo exhibitions feed
Published on : 2014-03-15 01:00:00


MARCH 15 – MARCH 29, 2014:


340 Dundas Street West, Toronto

Opening Reception: Saturday, March 15th, 2-4 PM

Janna Watson in attendance


324 Dundas Street West, Toronto

Opening Reception & Book Launch: Saturday, March 15th, 2-4 PM
Joshua Jensen-Nagle in attendance


Left: Janna Watson, The Milky Way on Gravity, mixed media on panel with resin, 60 x 60 inches
Right: Joshua Jensen-Nagle, A Quiet Light, archival inkjet print face-mounted to plexiglass, 43 x 43 inches


Janna Watson is a shining example of a young emerging artist making a significant mark on the Canadian art scene. Watson has become well-known for her compelling abstract compositions, which use colour, line, and energetic brushstrokes to evoke emotion in the viewer. Watson views her work as a visual expression of emotion, externalized through paint. The work possesses an elegant and peaceful energy, created with a carefully balanced pairing of loose painting and gestural mark-making.

Watson's work has a fresh contemporary impact, which has not gone unrecognized. Her work can be found in several significant collections including the TD Bank Financial Group, CIBC, and the Ritz Carleton Hotel. Most recently, she was selected to create a magnificent 11x31 foot painting for the feature space in AURA, North America's largest condominium building with a strong focus on building a meaningful Canadian art collection. The Toronto-based artist has exhibited across Canada and internationally.

View the exhibition online to see the series in full.

Contact Alissa Sexton, Tess Brean and Nell Crook for more information at or 416 977 0600.


For nearly a decade Joshua Jensen-Nagle has captivated the viewer with his evocative photographs and recognizable aesthetic. Joshua bases his successful full-time art practice in Toronto, and has become a prominent fixture in the arts community. He uses his frequent travels abroad as inspiration for many of his photographic series. Timeless in their compositions, these images are created using a variety of techniques resulting in dream-like impressions, and are presented with the artist's signature plexi face-mount presentation style.

View the exhibition online to see the series in full.

Bau-Xi Photo is also thrilled to announce the launch of the Joshua Jensen-Nagle hard cover book, featuring 130 pages of the artist's work from each of his prominent series.

Please contact us to pre-order the book now ($60 tax incl.)

Contact Julie Piotrowski and Danielle Park for more information at or 416 977 0400.



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Chris Walsh: Found Edges

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Published on : 2014-03-15 01:00:00

Walnut Contemporary presents

Found Edges – recent works by Chris Walsh


Chris Walsh, Attic, Oil on canvas (2 panels), 48 x 74 in.

March 15 to April 12, 2014

Opening reception:

Thursday, March 20
6 to 9 pm

Walnut Contemporary is pleased to present Found Edges, an exhibition of recent works by Toronto-based artist Chris Walsh.

Walsh returns to the gallery for his second solo show with paintings that invite viewers on a journey of discovery. In his recent works, the artist engages with his characteristic affinity for observed geometric shapes and grid formations. But while a grid's repetitive design immediately reveals itself, his use of negative space and complex forms challenges viewers to uncover and explore. In doing so, they encounter paintings that expose their own processes through gestural brushstrokes and perceptible sites of revision. Working their way across the surface of the canvas, audiences become excavators as they find evidence of Walsh's previous compositional decisions, reminiscent of a city's layers of history.

Born in New Hampshire near the Appalachian Mountains, Chris Walsh worked as a professional artist in Brooklyn for twenty-five years before moving to Toronto. The impact of his surroundings is evident in his current paintings, in which natural imagery, inspired by butterfly wings and Da Vinci's observational studies, meet the influences of urban design.

Initially trained in Printmaking and Drawing, Walsh graduated from Pratt Institute in 1983 with an MFA in Painting. His art has been exhibited in solo and group shows in New York, Toronto, and New Hampshire and is featured in private, public, and corporate collections including PepsiCo, the Port Authority of New York/New Jersey, and the Yale University Art Gallery.


Walnut Contemporary

201 Niagara St
Toronto, ON M5V 1C9

Gallery hours:

Wednesday to Saturday
11 am to 5:30 pm (or by appointment)


Jordana Franklin - Artistic Director

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Jeanette Johns: Perspectives from Above

Feed : Akimbo exhibitions feed
Published on : 2014-03-14 01:00:00



Jeanette Johns, Considered Views 01, 2012

1. Exhibition opening in the MAIN Gallery Friday, March 14, 2014, 7-10 pm:
Jeanette Johns
Perspectives from Above
Curated by Jim Riley

Exhibition Run: March 14 - April 26, 2014

Jeanette Johns is from Winnipeg, Manitoba. Her artistic practice is rooted in the observation and the experience of two-dimensional representations of space. Fascinated by the subject of landscape, she uses both empirical and theoretical knowledge to consider its intersections with attributes of mathematics, patterning and geometry.

Perspectives From Here includes the series Considered Views comprised of photographs that she took with a half-frame camera while flying between her hometown, Winnipeg, and her current place of residence, Montréal. The images present views from the windows of commercial airplanes travelling between the two cities – during takeoff, flight and landing. Johns states, "I love the feeling of being suspended in space, of having a privileged view of the earth – a perspective that is out of the ordinary. Looking out into the clouds below, to the clear blue sky above, we are hovering in space. Oblique aerial sightlines offer a view of the surface of the earth that fades to meet the sky at the horizon."

Jeanette Johns has taken part in exhibitions and residencies across Canada and the U.S. Her numerous awards and grants include a Graduate Scholarship from the Social Science and Humanities Research Council (SSHRC). Johns holds a BFA (honours) from the University of Manitoba, and is completing her MFA at Concordia University in Montréal.

Gallery hours: Tuesday to Friday 11am to 6 pm, Saturday 11am to 5pm

2. Artists' Talk with Justseeds'
Mary Tremonte and Jesse Purcell
on Saturday, March 22nd, 2014 @ 5pm, PWYC
Justseeds is a decentralized network of 24 artists committed to making socially conscious print and design work. In their talk, Mary and Jesse will discuss the activities of Justseeds as well as their respective practices.
For more information on their exhibitions check

3. SPRING Courses and Workshops at Centre3 for Print and Media Arts,

For information contact




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Josh Schwebel: [Caché]

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Published on : 2014-03-14 01:00:00


A solo exhibition by Josh Schwebel
March 14th, 2014 to April 19th, 2014
Opening reception March 14th @ 8 PM.
Artist's talk: Saturday, March 15th @ 1 PM
Screening of Caché (Hidden), dir. Michael Haneke, at the Broadway Theatre: Sunday, March 30th @ 7 PM


Image credit: Google Street View, 2014.

Josh Schwebel will be presenting work that had its genesis during a three-month artist's residency in Paris, France, but that will also incorporate a Saskatoon –based component created during his time in the city. The subject of this work is partially reflected in its form – it is about the secret, or what cannot be experienced – the collected pieces (slides, video, drawings and print) are also documents of an event that cannot be re-presented.

"...Of course, knowledge never ceases to butt against its own frontiers, its own limits. This movement seems to found its energy and is the principle motor of its development. The trope of the beyond: it agitates to go always further in the revelation of the hidden mechanisms of the world in an attempt to force open the doors. But there rest zones, passionate and vertiginous, that are by definition, impenetrable, unresolvable paradoxes, conceptual situations imaginable but in excess of all possible experience..."

Joshua Schwebel is a conceptual artist working through methods of public intervention, private or institutional provocation, and counterfeit insertions. He typically works outside of the expected settings for art in order to evade how these settings affect the encounter. Separated from the classification of art, Schwebel's interventions address an incidental public, exposing the fragility at the intersection of significance and communication. Through insistent and precise repetition, these intentional discrepancies accumulate significance, producing the spectator as a coincidental interpreter of events.

You can read more about Josh's work in this engaging interview:


AKA artist-run
424 20 St W
Saskatoon, SK S7M 0X4

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Edward Maloney

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Published on : 2014-03-13 01:00:00


Pierre-François Ouellette art contemporain

John Player at Volta New York

Pierre-François Ouellette art contemporain is pleased to have presented young emerging Canadian artist John Player at VOLTA New York - an invitational solo project fair for contemporary art from March 6 to 9, 2014. Last Summer, John Player had his first exhibition at the gallery in Montreal in conjunction with a presentation of Inversion, a video by Glenda Leon who participated in the Cuban Pavilion at the Venice Biennale 2013.

The body of work shown in New York focuses on a continuing theme in Player's work: documenting military and industrial surveillance via aerial monitored landscapes. The work as a whole is rooted in history, unveiling new forms of technology and the human desire to master it along with the modern colonized world. We invite you to view the presentation of the works by visiting the gallery website.


The gallery wishes to thank the Canada Council for the Arts for its support in this initiative.

LAST WEEK IN TORONTO - Not to be missed in our Toronto venue: EDWARD MALONEY


Edward Maloney

until March 15, 2014
Meet the artist for a tour of the exhibition on Friday and Saturday March 14th and 15th

Pierre-François Ouellette art contemporain Toronto

Centre Space 65 George Street, Toronto M5A 4L8




For more information please contact

Image credits:

John Player, Remnants, 2013, oil on canvas, 36" x 48"
John Player, installation view, Volta New York, 2014
Edward Maloney, installation view of Toronto exhibition

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Pages Festival + Conference

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Published on : 2014-03-13 01:00:00


Pages Festival + Conference, 2014, Unbound

March 13–15

Books + Screens + Music + Art + Talk
Randolph Theatre, 736 Bathurst St.
Tranzac Club, 292 Brunswick Ave.

A Literary Festival for the 21st Century

Presenting three days of mixed media events combining contemporary Canadian artists and writers with practitioners from film, graphic design and digital media.

A Very Good Friday at the Pages Festival + Conference

Friday, March 14, 9am to 6pm, at the Tranzac Club

A conference on the future of the book

Featuring Keynote Speaker Bob Stein, 9-10am

In a bracing and startling talk, digital pioneer and creative visionary Bob Stein, the director of the Institute for the Future of the Book, will assess the state of publishing today and offer new directions for screen and print culture.

Other speakers at the Conference talking from 10am-6pm include poet and futurist Adeena Karasick, Mike O'Hanlon – VP of, Smart Book developer Greg Van Alstyne, Caitlin Fisher-Co-founder of York's Future Cinema Lab and Watt Pad thinkers Caitlin O'Hanlon and Ashleigh Gardner.


Friday, March 14, 7pm, at the Randolph Theatre

Atom Egoyan: Screenwriting Secrets

Acclaimed filmmaker Egoyan shares tips and clips on writing for the screen with Pages' artistic director Marc Glassman.

Canada's iconic director Atom Egoyan is an award-winning scriptwriter, who has a deep appreciation of narrative and how it works on the page and the screen. Over a 30–year career, he has successfully adapted Russell Banks' The Sweet Hereafter and William Trevor's Felicia's Journey, created such original scripts as Exotica and Calendar and directed pieces by screenwriters like Erin Cressida Wilson (Chloe).

Pages' Artistic Director Marc Glassman will interview Egoyan about the creative process involved in directing and often scripting challenging material for the screen. Their conversation will be interspersed with clips from Egoyan's biggest hits.


Friday, March 14, 9pm at the Randolph

Artists & the Book: a crazy love affair.

Gorgeous visuals highlight these presentations by Derek Sullivan, Jo-Anne

McArthur, Carole Condé, Karl Beveridge and Jim Miller

Derek Sullivan, Jo–Anne McArthur, Carole Condé and Karl Beveridge are highly acclaimed visual artists who love the creative interaction and validation provided by a book. Each will present their work on screens and discuss the power of the book.

Definitely inspired by books, Sullivan has collaborated with Micah Lexier on a bookwork, made an accordion foldout book inspired by California-based artist Ed Ruscha and has created a four unit structure entitled Four Notable Booksellers celebrating Paris' iconic second-hand bookshops located on the Seine.

McArthur's recently published book We Animals caps an impressive year in which the committed photographer and animal rights activist starred in the award-winning documentary Ghosts in our Machine.

Veteran Conceptual artists Condé and Beveridge create narratives with their photographs, which extol the rights of workers and calls into question the nature of capitalism. They will be joined by film producer and artist Jim Miller who will present excerpts of his latest project, an online catalogue raissoné of Condé and Beveridge's work.

Friday, March 14, 10 pm, The Tranzac Club

Sounding Off: Contesting Contemporary Music

With Dalton Higgjns, Stuart Berman, Vivek Shraya and Misha Bower

The worlds of music, literature and social media collide hard when a motley crew of music making & inspired authors muse, screen, highlight and observe music styles that influence and impact their writing, all the while being engaged by our participatory social media imbued audience. Manipulating Twitter, YouTube and great writing in imaginative ways, music savants Higgins, Berman, Shraya and Bower will talk and screen the best musical moments they've ever seen and heard. Audiences will tweet for prizes, choosing the best music and text pieces expressed to them during the event.

Tickets are available through

All Festival Events Pass $60

Individual Event tickets $ 15

Half price rates with a valid student I.D.

Conference tickets are $40
Student price: $20
More information on the conference:

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Art 14. A photo report

Feed : we make money not art
Published on : 2014-03-12 13:18:26

Jealous Gallery

Art14 is "London's global art fair." It took place a couple of weekends ago and it is my favourite art fair in London. Not that i'm a big fan of fairs but, you know, "In the country of the blind," blablabla. Art14 changes its name every year. Last year was its first edition and it was called, you guessed it, Art13. If i had to compare it to Frieze i'd say that catering is far better at Art14 (which for me means "WOW! there's a juice bar, here!"), the public is much younger and the art is more accessible and not just financially. Last but not least, there's no Jeff Koons inflated glitter in sight. I did see too many Botero though. At least one.

Thorsten Brinkmann, Karl Schrank von Gaul, 2008

Installation view of Art14 London, Photography: Written Light

The reason why Art14 defines itself as "London's global art fair" is that the 180 participating galleries come from all over the world. Europe of course but also Asia, the Middle East, Africa and South America. 38 different countries in total.

What follows is a long series of images of works i discovered at the fair. Most of them are photography because that was the medium that stood out at the fair for me.

Jason Larkin, Pressurised Water, Krugersdorp, Johannesburg, 2013. Flowers Gallery

Johannesburg was founded on the wealth that came flooding in from a gold rush beginning in 1886. The mines didn't just create the fortunes, they also generated six billion tonnes of waste dumped outside the city's poorer areas. Some 400,000 people now live surrounded by these mountains of waste.

In his series Tales From the City of Gold, Jason Larkin documents life in these impoverished areas.

Hirohito Nomoto, Facade Pachinko, 2013. Tezukayama Gallery

Hirohito Nomoto, Façade 05 (ed.7) 2011

Hirohito Nomoto, Façade 02 (ed.7) 2011

This series records some of the structures damaged by the 2011 earthquake and tsunami in Japan. Hirohito Nomoto explains: The photographs of the facade of each building were taken using techniques of architecture photography that allowed me to keep my emotions at bay, in order to depict the scene as naturally as possible. The aim of this work was to present the viewer an image of what happened there on the day. Most of the buildings in the series were pulled down and do not exist anymore.

Ohad Matalon, Tower, Egypt-Israel Border, 2011-2013. Podbielski Contemporary

Ohad Matalon, Tower, Egypt-Israel Border, 2011-2013. Podbielski Contemporary

Ohad Matalon. Podbielski Contemporary

Ohad Matalon, P.o.v., Jaffa, 2007

Shen Chao-Liang, STAGE #97, 2011. AKI Gallery

Shen Chao-Liang, STAGE #14, 2011. AKI Gallery

Shen Chao-Liang photographed the extravagant stage trucks employed by cabarets and other performers to travel across Taiwan. In less than an hour, the stages turn from mundane vehicles into 50-foot sensory spectacles complete with powerful sound systems, neon lights, and splashing painted stage sets. And back into trucks again until their next destination.

Francesco Jodice, Capri #3, 2013

Jeff Liao, Luna Park (Coney Island series), 2010. Crane Kalman Brighton

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Helene Schmitz, Alabama Fields

Hazem Harb, We Used to Fly on Water, 2014,Athr Galleryt.jpg
Hazem Harb, We Used to Fly on Water, 2014. ATHR GALLERY

Albert Renger-Patzsch, Schubert & Salzer factory, Ingolstadt, Germany, 1950. Kleinschmidt Fine Photographs

Albert Renger-Patzsch, Schubert & Salzer factory (Blow room machine, Cotton Mill Machine. Untitled), Ingolstadt, Germany, 1950 (Blow room machine, Cotton Mill Machine. Untitled)

Bauhaus artist Albert Renger-Patzsch looked for beauty and dignity of prosaic industrial machines.

Nelli Palomäki, Baawo at 30, 2011. Galerie Les Filles du Calvaire

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Michael Ormerod, Child with Mask, Hillrose, Colorado, 1989. Crane Kalman

Abdul Abdullah, You see monsters, 2014. Fehily Contemporary

Abdul Abdullah's Siege refers to the 'siege mentality'; a state of mind in which one feels under attack. Abdullah feels this is a condition suffered by many minorities and marginalized groups, particularly young Muslims who live in traditionally 'Western' societies. Growing up in the post 9/11 era, Abdullah has stated that he believes that if there is a 'bad guy' in the popular imagination, it would be Muslims, and as a Muslim he has felt obligated to defend his position.

Ramune Pigagaite, Feuerwehrmann (Menscher meiner Stadt), 2004. Kleinschmidt Fine Photographs

Ramune Pigagaite, Fischer III (Menscher meiner Stadt), 2001. Kleinschmidt Fine Photographs

Ramune Pigagaite, Bahnwärterin, (Menscher meiner Stadt), 2000. Kleinschmidt Fine Photographs

Ramune Pigagaite was born in Varena, a small town in Lithuania. People of my Town is a series of forty small sized colour photographic portraits of people from Varena. Their professions seem antiquated, strange and curious: baker, beekeeper and poet.

0Hstacyperaltain valeeyH27.jpg
Hugh Holland, Stacy Peralta in the Valley, 1977. Crane Kalman

Hugh Holland, Skate Shooter, Kenter Canyon Elementary, Brentwood, 1976. Crane Kalman

Hugh Holland documented the early days of the skating culture in California. The young people he photographed in the 1970's became legendary names of the sport.

Sofia Borges

0churchgatestation salgado.jpg
Sebastiao Salgado, Church Gate Station, Western Railroad Line, Bombay India, 1995. Sundaram Tagore Gallery

It would be unfair to reduce the fair to photography:

Dominic Harris, Ruffled. Privatekollektie Contemporary Art

He An. Tang Contemporary, Beijing

Anton Goldenstein, Rocket Summer. Coates and Scarry

Anton Goldenstein, There Will Come Soft Rains. Coates and Scarry

Anton's works are a cultural fusion of African/European cultural references and phenomena. Influenced by his family's history with tales of deterritorialisation, migration, displacement and assimilation his practice is multiplicitous, presenting an ongoing exploration, a type of meta-anthropology, a broad sweep of culture(s), conglomerations of many themes, histories and ideas (from natural/world/art histories, language and media).

Linus BILL, Weniger Jugend, mehr Polizei, 2011. Christophe Gute Galerie

Penny Byrne, Gaddafi's Girl Guards, 2011. Fehily contemporary

Ding Chien Chung, Église Vide (幽蕩之堂). Galerie Grand Siecle

At Jealous Gallery

At Jack Bell Gallery

Photography: Written Light

Photography: Written Light

Yinka Shonibare, Cannonball Heaven

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Generations of Queer

Feed : Akimbo exhibitions feed
Published on : 2014-03-12 01:00:00


Insite Exhibition Tour with Richard Fung, Associate Professor, OCAD U
Wednesday, April 30 at 6:30 p.m.

Richard Fung is a video artist, writer and an Associate Professor in the Faculty of Art at OCAD University. His award-winning videos have been widely presented and collected internationally, and his essays have been published in numerous journals and anthologies. He is the co-author with Monika Kin Gagnon of 13: Conversations on Art and Cultural Race Politics. His interests have included the role of the Asian male in gay pornography, colonialism in the Caribbean and Canada, migration, food, HIV/AIDS and his own family history.

Insite Exhibition Tour with Wendy Coburn, Associate Professor, OCAD U
Wednesday, May 14 at 6:30 p.m.

Wendy Coburn is an artist and arts educator who teaches in the Sculpture Installation Program and Art & Social Change Minor at OCAD University. Coburn's work spans the mediums of photography, sound, video, installation and sculpture. With a primary focus on queer and feminist issues, Coburn's work has engaged a broad range of concerns including whiteness, mob violence and the law, patient safety, social isolation, animal experimentation and mental health. Wendy Coburn served for several years as an Associate and Assistant Dean in the Faculty of Art at OCAD University and is currently a Fellow in the Marks S. Bonham Centre for Sexual Diversity Studies at University of Toronto.

Insite Exhibition Tour with Andrea Fatona, Associate Professor, OCAD U
Wednesday, May 14 at 6:30 p.m.

Andrea Fatona is an Assistant Professor in the Criticism and Curatorial Practice program at OCAD University in Toronto. She was the former curator of contemporary art at the Ottawa Art Gallery, and has worked as the programme director at Video In, Vancouver, Co-Director of Artspeak Gallery, Vancouver, and Artistic Director of Artspace Gallery, Peterborough. Fatona is equally concerned with the pedagogical possibilities of art works produced by 'other' Canadians in articulating broader perspectives of Canadian identities. At its core, her curatorial practice is concerned with creating spaces of engagement – inside and outside of the gallery walls. Some examples of her curatorial projects are: Queer Collaborations (1993), Across Borders (1995/6), Cadboro Bay: Index to an Incomplete History (1999), The Attack of the Sandwich Men (2001), a national touring exhibition entitled, Reading the Image: Poetics of the Black Diaspora (2006-2008), Fibred Optics (2009-10), Will Work for Food (2011), and Land Marks (2013-14).

Generations of Queer: Robert Flack/ John Greyson/ Elisha Lim/ Kiley May
March 12 to June 28, 2014
Curated by Lisa Deanne Smith

Generations of Queer presents vital narratives through the works of Toronto-based artists Robert Flack, John Greyson, Elisha Lim and Kiley May. Influenced by age, background, current context and health, each of these artists has different stories to tell. Inherent in all is the telling. It may sound simple but as these artists know, the right to have a public voice, exactly as you are, while flexible to change, is critical to living fully.

"When I finally hitchhiked back to Canada in the spring of 1974 I knew I couldn't live with this kind of trauma drama. I had to either come out or jump off a bridge." - Tim McCaskell.

Read this story and many more on The Queer Pride Chronicles blog.

Robert Flack (1957-1993) was born in Guelph, ON, and moved to Toronto to study at York University (BFA 1980). He began employment at Art Metropole in 1980 and assisted on General Idea projects. From 1981 his work was shown nationally and then internationally. Public collections include the National Gallery of Canada and the Canadian Museum of Contemporary Photography. Paul Petro Contemporary Art represents the Estate of Robert Flack.

John Greyson is a Toronto based film and video maker who has been politically active in the Toronto queer community for the past 33 years. With short videos and feature films he explores topics ranging from anti-censorship battles, AIDS discrimination, same sex marriage, militarism, the tar sands, Israeli apartheid and the fight for AIDS treatment drugs in Africa and the world. He is recognized for his documentary interviews, historical narratives, opera, found footage and camp. His work reflects many of the legal and politically struggles for queers in the 1980s as well as world politics with a strong queer voice.

Elisha Lim exhibits illustrations and animated shorts internationally, and has advocated against transphobia and racism on United Nations panels and as the director of Montreal's first Racialized Pride Week. Their comic strips Favourite Dating Tales, Sissy, The Illustrated Gentleman and 100 Butches are acclaimed by Autostraddle, Bitch Magazine and New York Times bestselling author Alison Bechdel, and their debut graphic novel 100 Crushes will be published in June 2014 by Koyama Press and launched at Onsite [at] OCAD U.

Kiley May is a young Mohawk storyteller, artist, creator and shaman. Kiley is also a two-spirit, trans, queer and genderqueer human being. Their gender pronouns are they/their/them. They work in film, photography, writing, journalism, fashion, dance and performance art.

Please visit our website for a full listing of educational events and workshops accompanying this exhibition!

Onsite [at] OCAD U
230 Richmond Street West
416-977-6000 ext. 265

Tuesday to Friday: 11 a.m. to 7 p.m.
Saturday: noon to 6 p.m.

Media Contact: Christine Crosbie, Media Relations Officer, OCAD University
416-977-6000 x 4890

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An Introduction to the Language of Partial Seduction: Works by David Buchan exhibited at The Justina M. Barnicke Gallery from April 1 to May 3, 2014.

A beloved cult figure of Toronto's contemporary art world, David Buchan rose to prominence in the 1970s and 80s as vocal and vibrant member of the city's art and queer communities.

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