Jill Greenberg: Glass Ceiling

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Published on : 2012-04-28 01:00:00


Glass Ceiling,

a solo exhibition by Jill Greenberg

APRIL 28 – JUNE 2, 2012



Exhibition Opening and Reception:

FRIDAY, APRIL 27, 6 – 9 p.m.

Artist will be in attendance.

Find this event on Facebook here.

Exhibition continues to June 2, 2012.


Jill Greenberg's newest work, Glass Ceiling marks a return to the postmodern feminist theory, which directed her practice throughout the 1990s. In these images, female athletes attempt to pose but the water knocks them into awkward positions. The heels, overtly absurd hinder all movement while underscoring their lack of control. The women's identities have become inconsequential as their heads are visually cut off, leaving only the bodies in focus - Clearly an analogy for the female experience, clashing beauty, power and violence.


The Glass Ceiling project is about the "set up" of being a woman. These women are professional athletes and dancers; therefore, they are dressed for work. In 2008, I was commissioned to do a "fashion" shoot using the US Olympic Synchronized Swim Team as models. 2 of the set ups included high heels. Inspired by the shoots outtakes I hired a local synchronized swim troupe in 2010 and directed the women with gestures as I sat at the bottom of a pool in full scuba gear with a state-of-the-art 65 megapixel back on my digital camera. As these athletes attempt to pose for me the water knocks them into awkward positions. The heels are overtly absurd and hinder their movement, amplifying their lack of control in this world. "The disciplinary project of femininity is a setup, it requires such radical and extensive bodily transformation, that a woman is destined in some degree to fail." This quote by Sandra Lee Bartky was the crux of my senior thesis, "The Female Object" at the Rhode Island School of Design in 1989. At the conclusion of the multimedia presentation that was the "Female Object," the final projected slide declared "Exit the Powder Room." It was my assertion that this project of femininity is a self-created distraction from accomplishing more serious goals.

Glass Ceiling marks for me the return to my explorations throughout the 90's of the depiction of the female body as if directly channeled from the male psyche. In these images, the identities have become inconsequential as their heads are cut off, the sexualized bodies are the focus. As a female artist, I have experimented with imagery, which explores the objectification of women for many years. First, a series of drawings of women as seen by men, just breasts, vaginas, heels, then a multimedia digital piece called "Eve of the Future" which posited that if man could genetically engineer the woman of his dreams, she would have multiple orifices and no head. This work was acquired as part of a collection by SF MOMA. The images channel the feelings I have of being powerless in a culture run by men. The psychic violence is made pictorially overt. The subjects are victimized despite their physical strength, health and any other good luck they might have been born into. The fact that they had the bad luck of being born women makes them a punchline. The violence in our slang and street vernacular used in discussing women and sexual intercourse makes it apparent that the collective male culture feels aggressively dismissive of women. I felt it was important to show the violence and emotion I feel as a woman in contemporary culture, from a woman's point of view. The images might be read as violent towards women, they are meant to be. This is what it feels like to exist in the female body.

- Jill Greenberg 2011


Since the age of 10, Jill Greenberg has staged photographs and created characters using the mediums of drawing, painting, sculpture, film and photography. She is known worldwide for her uniquely human animal portraits, which intentionally anthropomorphize her subjects, as well as her infamous series, "End Times" which struck a nerve in its exploration of religious, political, and environmental themes exploiting the raw emotion of toddlers in distress. Her newest work marks a return to the postmodern feminist theory that inspired her senior thesis, "The Female Object" as an art student at RISD in the 80's: "The disciplinary project of femininity" and the predetermined failure of all women who attempt to "succeed" at it. As a working photographer she travails to straddle the line between assignment work and her own personal work. On one notable occasion, a conflict arose when she was assigned to photograph the Republican candidate for presidency in the summer 2008, at the height of his popularity; after delivering the assignment exactly as requested, she chose to speak out in the form of agit-prop outtakes on her own website, which she was legally allowed and morally compelled to do. The violent backlash from her political art has informed this return to the question of what is tolerated by women in our culture.

For media information:

Natalie MacNamara
T: 416.413.9555
E: Natalie@oborncontemporary.com


O'Born Contemporary

131 Ossington Avenue
Toronto, ON M6J 2Z6

Tuesday - Saturday 11 - 6

416. 413. 9555

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Harry Enchin: Toronto Transformed

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Published on : 2012-04-28 01:00:00


Harry Enchin
Toronto Transformed
April 28 – May 26, 2012

opening reception April 28 2 – 8 pm

Photographs have an affinity for that which is real. They are unrestrained singular moments in history, authentic visual references, and records of change that have been embraced by the photographer and held in time. Harry Enchin's photographs show transformation and likeness in tandem through the merging of imagery, both past and present. Drawing on photographs from the City of Toronto Archives, Enchin references historical images of industrialized Toronto and seamlessly integrates them with his own visual record of the city in its current post-modern state. The end result is a series of insightful, informative, and introspective images that possess an aura of personal familiarity.

A self-taught photographer, Enchin restores the past by infusing it with a modern day sensibility that appears to come naturally to him as an artist. His work consistently attracts new audiences and has gained exposure by appearing at the Toronto Outdoor Art Exhibition, Nuit Blanche, as well as at private exhibitions throughout the city. This year Harry Enchin is akasha art projects primary photographer on exhibition during Scotiabank's CONTACT Photography Festival.

akasha art projects
511 church st
suite 200
toronto, on m4y 2c9
Mon – Wed 10 - 6
Thurs – Fri 10 – 7
Sat 11 – 6
or by appointment

akasha art projects is an independently owned and operated gallery that showcases Contemporary Photography from both emerging and mid-career artists. With monthly exhibitions, this gallery provides an open space through which the ingenuity of the photographic lens can both flourish and thrive.


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Mark Leckey: GreenScreenRefrigeratorActions

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Published on : 2012-04-28 01:00:00

Credit: Mark Leckey, GreenScreenRefrigerator (open), 2010. Courtesy the artist


Mark Leckey

April 28 – July 15, 2012

Opening Reception
Friday, April 27, 7 p.m.

Walter Phillips Gallery

For his first solo exhibition in Western Canada, UK-based artist and Turner Prize winner Mark Leckey presents two recent works: GreenScreenRefrigeratorAction (2010) and BigBoxNaturalAction (2012). Leckey's multi-disciplinary practice includes sculpture, performance, print-making, sound, and moving image.

Artist's Talk
Thursday, July 12, 4 p.m.

Max Bell 252

Mark Leckey's Performance

Friday, July 13, 7 p.m.
Walter Phillips Gallery


Phone: 1.403.762.6281
Email: walter_phillipsgallery@banffcentre.ca


Wednesday through Sunday, 12:30 – 5 p.m.
Thursday, 12:30 – 8 p.m.

Free public tours of the exhibition are offered every Thursday at 7 p.m. and by appointment.

Admission to the gallery is free.


Supported by:


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Ali Basiedji: Pulsating & Feral: Plowed Fields

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Published on : 2012-04-28 01:00:00

For immediate release

Ali Basiedji - Pulsating & Feral: Plowed Fields – painting exhibition

April 28 to May 26, 2012

Opening: Saturday April 28 4-7 pm

Art Talk: Thursday May 17, 6-9 pm

Presented by TeodoraART Gallery, Toronto http://teodoraartgallery.com/?p=994

As Ali Basiedji's exhibition title indicates, "Pulsating and Feral: Plowed Fields" comprises expressionistic oil paintings of fields, which are paradoxically cultivated yet untamed, potentially bountiful yet empty. Come springtime Ali Basiedji eagerly anticipates painting because he only works en plein air. First- hand observation is paramount; nothing is reworked or copied in the studio, meaning he will return for as many as four to five daylong sessions

Ali Basiedji's statement: Through the last five years, I have made numerous day trips to the expropriated lands for the proposed Pickering Airport project, painting and interacting with the locals. I have come to know many of the current farmers on these lands personally, enjoyed their hospitality, painted in their fields and have acquired a particular feel for the stories of loss and hope associated with the history of these lands that circulate among them; 'homes were lost, communities disappeared, people committed suicide, new people prospered renting and working the lands and so on...' real life events that are now folk stories. All this created a unique outlook to the essence of humanity and the nature of change in itself, attached to these particular sites for me. That to me is something worth exploring and painting.

Looking at my paintings one does not readily see the story as that is not my aim; these paintings are not meant to be narrative in any way. Rather, they pose questions inherent in the painting process itself: How would such impending change feel and translate into painting, how would a painter paint a scene which is marked for obliteration? How does a painter concentrate in painting the poetry, beauty, mystery and peace that are still present in these fields, in spite of their known history and the almost sealed future of them?

I have tried to infuse a sense of instability, agitation and irrevocability in these paintings that speak of the eventual disappearance of these fields and the host of ecological systems they support, turning them into housing and industrial projects for an ever growing Toronto.

For now, there is an ever present feral and at the same time domesticated force in these lands in constant opposition of each other and a silent but palpable plea that wants to keep them part of nature.

I see and feel that transiency loom over these lands, but for the moment I enjoy them and paint them as they are.

Ali Basiedji BIO: Basiedji is presently a MA graduate student at OCADU and the 2012 recipient of two OCADU scholarships. He has exhibited in Italy - at Cassiopeia Art Gallery and Il Mondo dell'Arte in Rome, at the Jason Dean Art Gallery in London, at Toose Art Gallery and Teodora Art Gallery in Toronto. He has participated in summer artists' residencies in Rome and Transylvania. Additionally, his work is included in collections in Italy, the United States, Canada and Iran.

Expropriated lands of the proposed Pickering Airport project: During the 1970's the federal government expropriated 7430 hectares of farmland that included some small villages like Altona, which is now, all but a ghost town and a historical Huron 15th century site, for the proposed Pickering Airport project. The original plans for the Pickering airport was part of an extensive federal government plan to improve air travel across Canada. Expropriation of the lands went into effect in 1972, but opposition to the expansion along with the surprising provincial government's position that it would not build the roads and sewers needed to service the site brought the project to a standstill in 1975. The proposed airport site would be located in the North West corner of Pickering Ontario. Parts of the airport would expand into Markham and Uxbridge. Of the communities that would most readily be affected, not to mention those that are already lost, would be Claremont village of around 2800 residents to the north east of the airport lands and Stoufville. As one of the hasty outcomes of preparations for the anticipated airport, a significant fifteenth century Huron ancestral village (the Draper site) was completely excavated in 1975 and 1978.

These lands for the most part have remained to be farmlands in the interim and are still cultivated today.


Plowed Fields Catalog: http://www.blurb.com/books/3105465

TeodoraART Gallery

214 Avenue Road Toronto ON

1 647 340 5832




Wed-Fr 12-6 pm

Sat 12- 4:30 pm

For off-hours gallery visits please call: 647.340.5832

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Just As You Are: Portraits by Robert Giard

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Published on : 2012-04-28 01:00:00


JUST AS YOU ARE: Portraits by Robert Giard

Allen Ginsberg with his own portrait of Burroughs, 1986
© Estate of Robert Giard / Courtesy of Stephen Bulger Gallery
 Ana Marie Simo, 1990
 © Estate of Robert Giard / Courtesy of Stephen Bulger Gallery

28 April – 30 June 2012

Curated by Diana Gore, Renée van der Avoird, and Julia Cyr

A Featured Exhibition of the Scotiabank CONTACT Photography Festival, in conjunction with the Bonham Centre for Sexual Diversity Studies, supported by Manulife Financial, the Jackman Humanities Institute and the Valerie Jean Griffiths Student Exhibitions Fund in Memory of William, Elva and Elizabeth.

Friday 4 May 2012, 6:00 – 8:30 pm

Opening Events for Just As You Are: Portraits by Robert Giard
6:00 – 6:30 Pre-panel Reception
6:30 – 7:30 Art with Insight Panel, Generously supported by Peter Allen
Through the Lens of Psychoanalysis: The Photographic Portraiture of Robert Giard


  • Ken Corbett Ph.D., Clinical Assistant Professor, New York University Postdoctoral
    Program in Psychotherapy and Psychoanalysis
  • Muriel Dimen Ph.D., Adjunct Clinical Professor of Psychology, New York
    University Postdoctoral Program in Psychotherapy and Psychoanalysis, Professor
    Emerita of Anthropology, Lehman College (CUNY)
  • Virginia Gouldner Ph.D., Faculty Member at the New York University Postdoctoral
    Program in Psychoanalysis and Psychotherapy and the Stephen A. Mitchell Center
    for Relational Psychoanalysis
  • Adrienne Harris Ph.D., Faculty Member and Supervisor at New York University
    Postdoctoral Program in Psychotherapy and Psychoanalysis, and at the
    Psychoanalytic Institute of Northern California

Moderator: Hazel Ipp, Vice-President, Toronto Institute for Contemporary Psychoanalysis

7:30 – 8:30 Opening Reception Just As You Are: Portraits by Robert Giard

Location: University of Toronto Art Centre,15 King's College Circle, Toronto ON M5S 3H7

RSVP: 416-978-1838 or utac.rsvp@utoronto.ca

Wednesday 20 June, 5:00 – 7:00 pm

Art with Insight Event, Generously supported by Peter Allen
(image)ning Queerness: a photographer, writers and readers
An evening of readings by four queer identified authors, Zoe Whittall, Sky Gilbert, Kamal Al-Solaylee and Wayson Choy.
Co-presented with the Mark S. Bonham Centre for Sexual Diversity Studies and in conjunction with Just As You Are: Portraits by Robert Giard

Location: University of Toronto Art Centre,15 King's College Circle, Toronto ON M5S 3H7

RSVP: 416-978-1838 or utac.rsvp@utoronto.ca

Follow UTAC on Twitter: @UTAC

Facebook Event: Just As You Are: Portraits by Robert Giard

For more information please contact:
Maureen Smith, (416) 946-7089, maureen.smith@utoronto.ca

University of Toronto Art Centre

15 King's College Circle
Toronto, Ontario M5S 3H7
Tel: 416-946-3029

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Donna Szoke and Ricarda McDonald

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Published on : 2012-04-28 01:00:00

CRAM International

and all watched over by machines of loving grace

Donna Szoke and Ricarda McDonald

April 28 to May 22, 2012

Opening Saturday, April 28, 7 pm to 10 pm


and all watched over by machines of loving grace is an interactive video installation using a computer, software, large monitors and a sensor. Two large monitors display human eyes. As the viewer walks past the monitor, the eyes follow their motion. The screens "watch" the viewer, and track their motions. In an adjacent area, a video loop plays of an extreme close-up of an eye that blinks in slow motion. This aspect of the installation emphasizes the human element of surveillance—a blink—that implies an inherent failure if compared to machine surveillance. The title comes from a 1967 Richard Brautigan poem, and suggests a loving, caring gaze that watches over humanity, as opposed to the current state of surveillance that is concerned with property crime and consumerism.

Donna Szoke is a Canadian media artist whose practice includes video, animation, writing, installation, and collaboration. Her work has shown in Canada, US, France, Germany, Hungary, Croatia and Turkey. Her work exhibits in public art, interactive video installation, outdoor site-specific video installation, film festivals, theatre and dance. She has received numerous research awards and grants for her work, including SSHRC, BCAC, OAC and Canada Council for the Arts. She holds a BA, BFA and MFA and is currently a Visiting Artist / Assistant Professor at Brock University in the Marilyn I. Walker School of Fine and Performing Arts.

Ricarda McDonald is a Canadian artist whose practice includes computer-manipulated photography, video, sound, light and computer-mediated installations and collaboration. In 2011, Ricarda built a theremin and became one of the founding members of the Vancouver Experimental Theremin Orchestra (VETO). VETO performed at Xenakis: Vancouver New Music Festival 2011 and at the Interactive Futures '11: Animal Influence Conference held at ECUAD. She holds a BFA from the Emily Carr University of Art + Design, a BMATH from the University of Waterloo and is a graduate of the National Ballet School of Canada.

The CRAMplex
24 James Street, 2nd floor
St. Catharines, Ontario

GALLERY HOURS: by appointment & when the sandwich board is out

between The Office Tap & Grill and Christophers Magazine and Cigar Store

CRAM International is a growing concern...


Tobey C. Anderson
We are currently re-tooling the CRAM International websites....

For Appointments call:


CRAM International is an artist collective operating Canada's smallest alternative multi-purpose art facility. Organized on a benevolent dictatorial management model, CRAM Gallery is funded by collective members, sponsors, patrons, partners, and the director. Since 2006, CRAM has encouraged and promoted local investment in original art and advocated for local contemporary artists.

Since 2007 CRAM International has been in a unique and growing relationship of cultural exchange with the artists of Taller Cultural "Luis Diaz Oduardo" in Santiago de Cuba that has artists from both counties participating in exhibitions, mural events, print projects, and artist residencies. CRAM International is the sole Canadian representative of the artists in the Cuban Artist Exchange and maintains a selection of original Cuban prints and paintings.

CRAM Press works with artists to publish Original Print Editions and Original Limited Edition Artist Bookworks. Initiated in 2009, CRAM Press is Niagara's only professional print workshop. CRAM Press and Taller Cultural are developing an annual international print symposium to be launched in January 2013.

The Disco Gallery is Niagara's underground art boutique and micro gallery with a focus on emerging artists, unorthodox mediums, and inspired events since December 2009. We are located in the CRAMplex at 24 James Street and are partners in crime with Cram International. Please feel free to circulate this information widely.

For further info, interviews, or photos, please reply via email or call Marinko at (905) 937-3021.

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Nancy Oakes | Adrienne Trent

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Published on : 2012-04-28 01:00:00

loop Gallery presents:


Nancy Oakes

Walking Drawings

Adrienne Trent

Ground Classification: Without a Trace

April 28 – May 20, 2012

Reception: Saturday, April 28th, 2012, 2-5 PM

loop Gallery is pleased to announce exhibitions by artist Nancy Oakes entitled Walking Drawings and loop member Adrienne Trent entitled Ground Classification: Without a Trace.

In 2006, Oakes began experimenting with "Walking Drawings," navigating the city streets while simultaneously producing drawings that captured her lived experience as it happened. Later enhanced with graphite, and stained with tea and wax, the final drawings are believable urban scenes composed of elements encountered separately over time and space. This experiential peripatetic strategy exists at the intersection of all four of Oakes' key interests: human beings, the urban environment, walking, and drawing.

Oakes is a Toronto-based artist and has exhibited at artist-run centres and public and commercial venues including Propeller Centre for the Visual Arts, A.W.O.L. Gallery, Lehman Leskiw Fine Art, Visual Arts Centre of Clarington (Clarington Gallery), Toronto Outdoor Art Exhibition and Gallery 1313. Her drawings were included in the First National Juried Drawing Exhibition at White Water Gallery and Drawing 2012 at the John B. Aird Gallery. Her walking drawing practice was featured on CBC Radio's "Here and Now".

Inspired by the children's book "Paddle-to-the-sea" by C. Holling, Trent's newest exhibition, Ground Classification: Without a Trace, sets up a poetic, and at the same time actual representation of a catastrophe. An ancient handmade canoe with large holes in the bottom becomes a survival kit/getaway vessel. The boat is packed with obsolete and some state-of-the-art equipment for survival against the elements (both natural and human created) and is oriented towards the St. Lawrence Seaway awaiting its imminent escape.

Trent is a graduate of the Ontario College of Art, co-founder of Republic, and former member of the Red Head Gallery. She has had exhibits in commercial galleries such as Robert Birch, Edward Day, Deleon White, Lonsdale and V.Macdonnell; in public galleries including the Art Gallery of Clarington, Koffler Gallery, Justina M. Barnicke at the University of Toronto, Robert Langen at Sir Wilfred Laurier University, and the Robert McLaughlin Gallery in Oshawa; and in various artist-run spaces. Her work can be found in the collections of The Art Gallery of Ontario, CBC, University of Toronto, and numerous private collectors.

Please join the artists in celebrating the opening reception on Saturday, April 28th from 2-5 pm.

(right) Nancy Oakes, Thurs. Feb. 9, 2012 Queen from Soho to Spadina, gel pen, graphite, tea and wax on paper, 6 X 8.5in, 2012

(left) Illustration from Paddle-to-the-sea by C.Holling, 1941

Find out more on the loop blog.

loop Thanks

Audax.ca . Sumac.com

loop Members

John Abrams . Mark Adair . Elizabeth Babyn . Lorène Bourgeois . Yael Brotman . Kelly Cade . Heather Carey . Gary Clement . Tara Cooper . Tanya Cunnington . Elizabeth D'Agostino . Audrea DiJulio . Chris Dow . Sheryl Dudley . Larry Eisenstein . Martha Eleen . Eric Farache . Maria Gabankova . Candida Girling . Charles Hackbarth . Libby Hague . Linda Heffernan . Isabelle Hémard . David Holt . Sung Ja Kim . JJ Lee . Jane LowBeer . Ingrid Mida . Suzanne Nacha . Mary Catherine Newcomb . Maureen Paxton . Ester Pugliese&nbsp ; . Barbara Rehus . Thelma Rosner . Rochelle Rubinstein . Lanny Shereck . Yvonne Singer . Sandra Smirle . Adrienne Trent

loop Gallery

1273 Dundas Street West, Toronto, Ontario, M6J 1X8 (3 doors west of Dovercourt).
Gallery Hours: Wed - Sat 12 to 5 pm and Sun 1 to 4pm.
Artist is in attendance on Sundays and for the reception.
For more information please contact the gallery director at (416) 516-2581 or loopgallery@primus.ca. Website: www.loopgallery.ca

Blog: http://loopgallery.blogspot.com/


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Intensities and Lines of Flight

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Published on : 2012-04-27 01:00:00

James Kirkpatrick, Homebase Command Centre 2011, painted fiberglass and found objects. McIntosh Collection, purchase 2012. Photo: courtesy Michael Gibson Gallery, London

Intensities and Lines of Flight

Marc Bell
James Kirkpatrick
David Merritt
Kim Moodie
Jennie White
Giles Whitaker
Robert Waters with Renée Jackson and Suzanne McCullagh

April 27 to June 16, 2012

Presented in conjunction with the conference Intensities and Lines of Flight: Deleuze, Guattari and the Arts, this exhibition brings together an array of contemporary art that has an affinity with Deleuzo-Guattarian philosophical concepts.

Exhibiting artists Marc Bell, James Kirkpatrick, David Merritt and Kim Moodie, though not directly influenced by Gilles Deleuze and Félix Guattari, explore themes and concepts that complement their philosophy, including rhizomatic systems in the work of Kirkpatrick, Merritt and Moodie, and assemblage in Bell's collages.

The remaining artists—Giles Whitaker, Jennie White and Robert Waters— refer directly to D+G in their work. Waters, who lives in Spain, collaborated with two academics presenting at the conference, Renée Jackson and Suzanne McCullagh, to develop the installation Organ Eyes Peer Amid, specifically for the exhibition. Waters, Jackson and McCullagh will be in residence at McIntosh Gallery to assemble this large, multi-media installation from April 26th until the conference begins on May 4th. The public is invited to visit the artists during the residency.

Jennie White, too, presents new work. Her three sculptures have evolved over the past six months as she incorporated ideas based on her research into D+G. Like Bell, her work is an assemblage of found materials that form rhizomatic connections to a broad range of cultural and social references.

New Zealand artist Giles Whitaker, a visual arts graduate student at Western, is represented by netLines, an interactive computer-based installation. Visitors use a mouse to provoke a cascade of unexpected behaviours among the 10,000 interconnected lines projected onto a gallery wall. With netLines, Whitaker explores Deleuze's affect theory as a way of understanding spheres of experience beyond the dominant paradigms of representation, including our interaction with real and virtual worlds.

Organized by McIntosh Gallery and the Centre for Advanced Research in European Philosophy, King's University College, the conference and exhibition opening on May 4th includes a keynote address by National Gallery of Canada curator of contemporary art Josée Drouin Brisebois followed by the exhibition's opening reception.

Public Events:

Friday, May 4, 5:00 P.M.
Keynote address: Josée Drouin Brisebois, Curator of Contemporary Art, National Gallery of Canada, Conron Hall, University College, Western University

Friday, May 4, 7:00 P.M.
Lines of Flight reception, McIntosh Gallery. Join Josée Drouin Brisebois, exhibiting artists and conference delegates to open the exhibition and conference. Hors d'oeuvre and aperitifs served.

Sunday, May 6, 11:00 A.M.
Intensities and Lines of Flight exhibition tour, McIntosh Gallery

The Intensities and Lines of Flight: Deleuze and Guattari and the Arts conference is held from May 4 to May 6, 2012. For more information about the conference, visit http://www.carep.ca, or contact conference organizer Dr. Antonio Calcagno at acalcagn@uwo.ca.

For more information about the exhibiton, contact James Patten at jpatten2@uwo.ca or 519.661.2111 x84602.

McIntosh Gallery
Western University
1151 Richmond Street
London, Ontario
N6A 3K7
twitter: @McIntoshGallery


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Susan Shantz : creatures in translation

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Published on : 2012-04-27 01:00:00


The Dunlop Art Gallery presents:

Susan Shantz : creatures in translation

April 27 to June 14, 2012
Opening Reception: Friday, April 27 at 7:00 pm
Artist's Talk and Japanese Tea Ceremony: Saturday, April 28 at 1:00 pm

creatures in translation is a solo exhibition of new sculptures and prints by Saskatoon-based artist Susan Shantz. Initially pondering the loss of cultural information that occurs as a result of digital reproduction of art and artifacts, Shantz's project delves into a richly entangled web of related queries and concerns.

Accessing images from the Art Gallery of Greater Victoria's online archives as source material, Shantz used three-dimensional modeling software and a haptic tool to simulate the process of sculpting clay, recreating artifacts as they appear online. These digitally sculpted forms are then rendered two- and three-dimensionally into forms of varying sizes and states of completion. The objects Shantz chooses to work with are four early 20th century Japanese Banko ware teapots, shaped like a badger, sparrow, frog, and sea creature, choices that reflect a longstanding interest in the artist's "ubiquitous manufactured versions of nature in culture." The history of Banko ware is also significant to this body of work: while first and second stage Banko ceramics were made by named and well-recognized ceramic artists, Shantz draws her inspiration from works of third stage Banko Ware, which have a more ambiguous provenance. These factory-made ceramics were produced by copyists who replicated the works and appropriated the styles of the original Banko masters. Known for their whimsical and amusingly anthropomorphic forms, these functional and decorative ceramics became extremely popular, both in Japan and in Europe.

Numerous translative acts are involved in the production and subsequent interpretation of these pots, from their representation of natural forms, to their reproduction as commercial goods, to their reification as art objects within the museum and their circulation as images within the museum's online database. With each translative turn, some signifiers are lost while others are gained. In rendering and re-presenting these artifacts using contemporary technologies, Shantz comments on these processes of translation and influence. Her unfaithful copies reveal the ahistorical and cross-cultural qualities of these historical and cultural artifacts, emphasizing the formal similarities of early 20th century Japanese ceramics and contemporary anime, Victorian paper collage, and Claymation. Three-dimensional modeling also carries with it a specific set of aesthetic referents, ranging from video gaming to virtual reality to contemporary film animation, and Shantz allows the objects she renders to be subject to these multiple and mutable signifying fields. By making visible the multiple processes of translation that affect art production, art objects, and collections, Shantz creates an archive of process, a collection that speaks to the challenges of collecting.


About the Artist:

Susan Shantz graduated with a Master of Fine Arts from York University in 1989 and currently teaches sculpture and mixed media in the Department of Art and Art History at the University of Saskatchewan. Her work has been featured in public and artist-run galleries across Canada, including exhibitions at the Mendel Art Gallery in Saskatoon, the Art Gallery of Greater Victoria, Definitely Superior in Thunder Bay, and Galerie Articule in Montreal. Her work is in numerous public holdings including the Saskatchewan Arts Board, the Canada Council Art Bank, the MacKenzie Art Gallery, and the Burlington Cultural Centre.

Dunlop Art Gallery
Regina Public Library Central, 2231-12th Avenue, Regina, Saskatchewan S4P 3Z5

Monday through Thursday 9:30 am to 9:00 pm
Friday 9:30 am to 6:00 pm
Saturday 10:00 am to 5:00 pm
Sunday 1:30 to 5:00 pm
Closed statutory holidays


For more information, please contact:
Dr. Curtis Collins, Director
Tel.: 306.777.6045
Email: ccollins@reginalibrary.ca

The Dunlop Art Gallery gratefully acknowledges the support of the Canada Council for the Arts, the Saskatchewan Arts Board, SaskCulture, and Saskatchewan Lotteries.

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MOCCA Exhibitions Opening + CONTACT Festival Launch

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Published on : 2012-04-27 01:00:00


Michael Wolf, Tokyo Compression #65, 2009.

Courtesy of the artist.

PUBLIC: Collective Identity | Occupied Space

Museum of Contemporary Canadian Art
Philippe Chancel, Cheryl Dunn, Barry Frydlender, Baudouin Mouanda, Jon Rafman, Bill Sullivan, Michael Wolf

April 28 – June 3
Opening Friday April 27, 7 – 10pm

University of Toronto Art Centre
Tarek Abouamin, Ai Weiwei, Ariella Azoulay, Benjamin Lowy, Sanaz Mazinani, Richard Mosse, Sabine Bitter / Helmut Weber, Noh Suntag

May 1 – June 30
Opening Saturday April 28, 6 – 8pm

Curated by Matthew Brower, David Liss, Bonnie Rubenstein. Organized by the Museum of Contemporary Canadian Art, the University of Toronto Art Centre and the Scotiabank CONTACT Photography Festival

In an age of social media, global urbanization, protest and revolution, photography plays a crucial role in mediating our understanding of contemporary life. This two-venue exhibition, Public: Collective Identity | Occupied Spaces, presents images from around the world to explore the ways we articulate our identity in public, and the tensions that arise from the occupation of public space.

Project Room
National Gallery of Canada at the Museum of Contemporary Canadian Art
Harry Callahan, Henri Cartier-Bresson, Bruce Gilden, Leon Levinstein, Helen Levitt, Lisette Model, Weegee

Organized by the Museum of Contemporary Canadian Art and the National Gallery of Canada.
Presented in conjunction with the Scotiabank CONTACT Photography Festival

April 28 – June 3
Opening Friday April 27, 7 – 10pm

Spanning six decades, from the 1930s to the 1980s, Street View reflects the development of street photography as a record of city life and shifting social and economic conditions. Drawn from the collection of the National Gallery of Canada, this exhibition highlights the work of seven photographers whose seminal visions helped to describe the 20th-century urban landscape.

Courtyard Mural
Scott McFarland

Curated by Bonnie Rubenstein
Presented by Museum of Contemporary Canadian Art and the Scotiabank CONTACT Photography Festival. Supported by Gluskin Sheff + Associates Inc.

April 27 – June 25

Part of the series Repatriation, this large-scale photographic mural in MOCCA's courtyard considers notions of nationalism, public duty, community, the media, heroism and sacrifice as pictorial subjects. Photographed in the manner of large-format street photography, McFarland creates a portrait of a repatriation ceremony for a fallen Canadian soldier returning home to Canada after being killed while on active duty in Afghanistan. A composite digital technique enables the artist to document a complete view of the scene.

STREET VIEW is presented as part of the three year National Gallery of Canada at the Museum of Contemporary Canadian Art program that will see the two institutions co-organize and co-present a series of exclusive exhibitions in MOCCA's newly-renovated project space, drawn from the NGC's extensive contemporary art collection. These will include the presentation of single works, new acquisitions or full-scale exhibitions designed to complement MOCCA's existing programming. The National Gallery of Canada at the Museum of Contemporary Canadian Art is generously supported by AXA Art Canada, Cineplex Media, World MasterCard®, and The Ouellette Family Foundation. The Museum of Contemporary Canadian Art is grateful for the patronage of THE ART DEPT., a leadership circle of MOCCA patrons.

All programs and activities at the Museum of Contemporary Canadian Art are supported by Toronto Culture, the Ontario Arts Council, the Canada Council for the Arts, BMO Financial Group, individual memberships, and private donations.

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The Museum of Contemporary Canadian Art
mocca.ca | mocca.ca/ngc | moccaaward.ca | info@mocca.ca
952 Queen Street West Toronto ON M6J 1G8 | 416.395.0067
Gallery Hours | Tuesday – Sunday 11 – 6 | Admission: Pay What You Can
Media Inquiries | Contact Fayiaz Chunara | 416.395.7490 | fchunara@mocca.ca


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