60 Painters

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Published on : 2012-05-18 01:00:00


60 Painters Exhibition

A landmark exhibition of contemporary

Canadian painting

We are pleased to invite you to 60 Painters, a landmark exhibition of contemporary Canadian painting curated by Scott Sawtell. 60 Painters showcases the work of established and emerging contemporary painters who have strong connections to Toronto and whose practices reflect our society's present-day concerns and possibilities.

Presented in partnership with Humber College and Lakeshore Arts, 60 Painters will be on view from May 18 to June 9, 2012 at the Humber Arts and Media Studios. The exhibition will include public symposiums, educational tours for secondary and post-secondary students, and a full-color catalogue to be published in the fall of 2012 with the support of the RBC Foundation. Information on all of the participating artists is available on our website, www.60painters.com.

The opening reception will take place on Saturday, May 19, 2012 from 12:00 to 5:00pm.

60 Painters offers a rare and unique opportunity to view an outstanding collection of some of the best painting being done by Canadian artists today. We hope you will join us at this momentous event.

60 Painters

May 18 to June 9, 2012
Humber Arts and Media Studios
300 Birmingham Street, Etobicoke
* Entry to the exhibition and all events are FREE to the public.

Exhibition Hours:

Wednesday - Saturday, 10:00 - 5:00pm
Sunday, 12:00 - 5:00pm

Opening Reception:

Saturday, May 19, 2012, 12:00 - 5:00pm
* There will be a free shuttle bus for the public to attend this event. It will leave the 401 Richmond building at noon, and return from the exhibition at 5:00pm (arriving at 401 Richmond at 5:30pm).

Public Symposiums and Lecture:

Saturday, May 26, 2012, 11:00 - 5:00pm

1) Making Pictures: Painting in the Age of Images

Saturday, May 26, 2012, 11:00am
A discussion about the relationship between the "source" and the painting, and how important that relationship is for many contemporary painting practices. The source is often the subject of the work. The panel will be moderated by Pete Smith, joined by Monica Tap, Sky Glabush and Howard Lonn.

2) Painting with Digital Speed

Saturday, May 26, 2012, 1:30pm
A lecture by Andrew Morrow about the growing intersection between painting and digital technologies.

3) Materialize: How the Stuff of Painting Creates Meaning

Saturday, May 26, 2012, 3:00pm
A discussion about how the very act of painting and the physicality of the paint is a metaphor in itself. The panel will be moderated by Nicole Collins, joined by Andy Patton, Dorian Fitzgerald and Melanie Authier.

For more information:

Visit our website: www.60painters.com
Follow us on Facebook: 60 Painters
Contact us at 60painters@60painters.com.

The 60 Painters are:

Shelley Adler
Michael Antkowiak
John Armstrong
& Paul Collins
Melanie Authier
Matt Bahen
Jordan Broadworth
John Brown
Amanda Clyne
Nicole Collins
Matt Crookshank
Patrick Cull
Michael Davidson
Kim Dorland
John Eisler
Gary Evans
Joe Fleming
Sky Glabush
Martin Golland
Will Gorlitz
Heather Graham
John Hartman
Susanna Heller
Natalka Husar
Alexander Irving
Jay Isaac
Rae Johnson
Doug Kirton
John Kissick
Harold Klunder
Wanda Koop
Mara Korkola
Anda Kubis
Colette Laliberté
Tristram Lansdowne
Howard Lonn
Tessar Sebastian Lo
Bogdan Luca
Jennifer Marman
& Daniel Borins
Sandra Meigs
Richard Mongiat
Kristine Moran
Andrew Morrow
Luke Painter
Andy Patton
Sasha Pierce
Gina Rorai
Scott Sawtell
Pete Smith
Sally Spath
Beth Stuart
Monica Tap
Team Macho
Denyse Thomasos
Stanzie Tooth
Ted Tucker
David Urban
Nicole Vogelzang
Carol Wainio
Scott Waters
Jinny Yu


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Vectors: Connections and Interventions

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Published on : 2012-05-18 01:00:00

Image: Drawing by Alexandre David, Digital Collage by Yam Lau

Vectors: Connections and Interventions
Itinerant itinerary February to June, 2012

February 15 to April 28
Art Metropole

April 28, 2-5pm
Art Metropole
Re-mythologizing the archive (print launch / story telling with Fern Bayer, Peggy Gale, Corinn Gerber, Yam Lau, Yan Wu)

May 8 to May 12
Fair of alternative art of Sudbury, La Galerie du Nouvel-Ontario, Sudbury

May 18 to June 9
Gallery 101, Ottawa

Vectors: Connections and Interventions is Gendai Gallery's latest in a series of exploratory exercises in exhibition, production and forms of communication in and around the art community. For Vectors, inventive implementations of a mobile unit (commissioned by Gendai and Guest Artist Yam Lau, designed by Montreal artist Alexandre David) will be deployed to activate and animate various host sites. The specs of this commission required a functional unit that can be articulated as storage, seating and a presentation platform in various configurations and permutations by responding to the vicissitudes of need and use.

The commission does not conclude in the realization of the unit. More importantly, Vectors exploits and maximizes the inherent efficacy (i.e. mobility and adaptability) of the unit in order to instigate new alignments and opportunities with other sites. This operation in meant to effectively produce programming, exhibition, production and community building opportunities on the fly. One may compare the versatility of the mobile unit with a small vessel such as an inflatable lifeboat. While it can be hosted or stored within a larger vessel, the unit can also be swiftly deployed to perform exploratory maneuver on its own. In that sense, the mobile unit is fitted for survival as well as adventure. The series of dates indicated above marks the "official trajectories" of the unit. More importantly, they affirm the promise of an exploratory spirit, a trust in the unforeseen, as well as a propensity to thread connections and histories that are contingent yet affective.

The inaugural launch of the mobile unit took place in February 2012 at Art Metropole in Toronto. During the two-month engagement with Art Metropole, Vectors respectfully infiltrated the various operations of the host in both pedestrian and creative ways. Individual components of the unit were dispatched as furniture and used as bookshelfs and rolling benches across the retail area of Art Met. This integration quietly modulated the day-to-day operation of the host.

In return, Art Metropole invited Vectors and the unit's unassuming occupancy to be the first in a series of interactions with and interventions into Art Metropole's Publications and Ephemera Archive from the present. The Wandering Art Metropole Publications and Ephemera Archive is a sibling project to Vectors, in that it initiates a variety of new perspectives on, associations with and transformations of its material by inviting interactors in collaboration with different host institutions. Carried in a mobile support structure by Toronto artist Shane Krepakevich, it will travel on to Project Space in Vancouver during the Institutions by Artists event in October 2012. But before this, Gendai's Vectors and Art Metropole's Wandering Archive will make a journey together to Sudbury and Ottawa in May and June.

Lau and Gendai reworked selected pages of the 1974 issue of FILE Megazine1 to produce a print entitled Vectors: Infections and Infestations. The print further complicates the already fictionalized temporality that was the overarching theme of FILE issue 1974. The result is to produce a permanently unsettled chronology within the archive that resonates with the self-styled mythology of FILE 1974 and General Idea.

On 28th April at the launch of the print at Art Met, Fern Bayer and Peggy Gale will refer to the print as a sort of fictional "dream score". They will interpret the print to re-actualize the archive materials and related events and spirits of FILE and Art Metropole around the year of 1974 out of their perspective . Please come join us to witness history in the re-making, once more with feelings!

Vectors: Connections and Interventions is made possible through the generous support of the Canada Council for the Arts.

For more information of the project, please visit www.gendaigallery.org / www.artmetropole.com or contact Yan Wu at 416.534.1693 or ywu@gendaigallery.org / Corinn Gerber at 416.703.4400 or corinn@artmetropole.com.


[1] General Idea, ed. FILE Magazine (vol. 2, no. 5, February 1974), Annual Artists' Directory Issue

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An Ant Ballet at FutureEverything

Feed : we make money not art
Published on : 2012-05-17 18:05:12


Yesterday i was in Manchester for the FutureEverything festival. Mostly to see the art exhibition. The festival is up until Saturday but the exhibition remains open until June 10. It's a good show. Small but smart and with a sharp focus on artistic and political potential of new participatory technologies. I'll come back to it over the weekend.

0Ant Ballet testing, Barcelona, August 2011. Image Ollie Palmer 3.jpg

Right now i wanted to have a look at Ollie Palmer's Ant Ballet.

Because of their decentralized organization (swarm intelligence), ants are a good model for the kind of participatory projects the exhibition is exploring this year. In the designer's work however, the behaviour and navigation of the insects are manipulated for artistic purposes. Palmer has spent 2 years observing the Argentine ant, aka Linepithema humile to build the Ant Ballet Machine, a system that enables him to direct ants and make them move in a choreographed fashion.

Using synthesised pheromones and computer vision system, a robotic arm sprays out pheromone powder trails that cause the ants to follow artificial trails in preference to the route they would normally take in search of food.

Ant Ballet

The project is separated into four phases referencing the 1974 scifi movie Phase IV. In the film, scientists are puzzled by the complex designs that ants have started building in the desert. The ant colony have in fact undergone rapid evolution as a result of a mysterious cosmic event.

Phase I of the Ant Ballet (2010-2012) is the one documented at the FutureEverything exhibition, it covers thorough research into ants and control systems, synthesis of ant pheromones and testing of systems with live ants in Barcelona. Phases II-IV (2012-2015) will develop further technologies, chemicals and mechanisms. In 2013 the first public ant ballet performance will be presented at Pestival Sao Paolo.

The designer has tested the system in Barcelona because the UK regards the Argentine ant as highly invasive species (which they are) and wouldn't allow him to bring live ones with him. So what you can see in Manchester are computer-simulated ants laying pheromone trails on a round table, only to be disrupted by the robotic arm spraying synthetic pheromones.


Views in the exhibition space


Check out the documentation of the Ant Ballet at the 1830 warehouse, the world's first railway warehouse, part of the MOSI (Museum of Science and Industry), Liverpool Rd, Manchester. Entrance to FutureEverybody art exhibition is free. The show remains open until 10 June 2012.
The project is also on view at Pestival @ ZSL London Zoo, until June 2012.

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Become a member of Gallery 44!

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Published on : 2012-05-16 01:00:00

Are you a photo-based artist? Reasons to become a member of Gallery 44!



Gallery 44 - It's a good time to be a member

Gallery 44 is a thriving community of artists and supporters committed to the advancement of contemporary photography. As an artist-run centre, Gallery 44's programs are driven by the commitment and energy of its membership through a Board of Directors and various committees. On top of their roles in our exhibition, education and membership-based programs, members of Gallery 44 also receive many benefits to aid in their own artistic production.

Membership benefits include:

- Digital printing services using a 44" HP Designjet z3200 at $7/square foot

- 50% off monthly equipment rental promotions, such as 50% off Hasselblad H3DII rentals in May, and 50% off all Imacon 949 rentals in June

- Inclusion in PhotoFile: Gallery 44's print sales program for members

- Exhibition opportunities in the Members' Gallery

- Access to Toronto's last publicly accessible black & white wet darkroom

- Affordable rates on facilities and equipment rentals

- Discounts on workshops for analog and digital photography, as well as professional development

- Be a part of a thriving community of photographers, artists, and patrons

And more!



For more information please contact:

Stu Sakai, Facilities/Membership Coordinator
Gallery 44
(416) 979-3941

Gallery 44 Centre for Contemporary Photography
401 Richmond Street West, Suite 120
Toronto, Ontario M5V 3A8

follow us on Twitter | friend us on Facebook

Gallery 44 is open Tuesday to Saturday 11 am to 5 pm

Gallery 44 Centre for Contemporary Photography is a non-profit artist-run centre committed to photography as a multi-faceted and ever-changing artform. Founded in 1979 to establish a supportive environment for the development of photography, Gallery 44's mandate is to provide a context for reflection and dialogue on contemporary photography and its related practices. Gallery 44 offers exhibition and publication opportunities to national and international artists, award-winning education programs, and affordable production facilities for artists. Through its programs, Gallery 44 is engaged in changing conceptions of the photographic image and its modes of production.

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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

Preview a digital edition of Visual Arts News

Digital subscriptions available at Zinio.


Visual Arts News

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Halifax, NS B3H 4P7


Crystal Melville
t: (902) 423-4694 f: (902) 422-0881
e: vanews@visualarts.ns.ca

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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:  http://cicaworkshops.com and in Lunenburg, Nova Scotia: http://lunenburgphotoworkshops.ca

Further Information:



HALIFAX CHRONICLE HERALD – Review - http://thechronicleherald.ca/artslife/81944-early-memories-spark-titanic-images

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Sony World Photography Awards 2012

Feed : we make money not art
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 info@pfoac.com

All works are available online at www.pfoac.com

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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