Durham Art Gallery presents Chung-Im Kim...

Mutation VIII
Friday, May 20, 2016 - 4:00pm to Sunday, July 10, 2016 - 9:00pm

Material Art & Design Faculty Chung-Im Kim and Pam Lobb have a two person exhibition at the Durham Art Gallery in Durham, Ontario. The opening is on Saturday May 21st from 2:00 pm to 4:00 pm.


Venue & Address: 
Durham Art Gallery 251 George St. E. Durham, ON
DAG Invite

EMBEDDED SCRIPT an exhibition by Richard Williams

OCADu Graduate Gallery, April 4-7, 2016 from 12-5pm daily. Opening reception April 7 from 7-10
Monday, April 4, 2016 - 4:00pm to Friday, April 8, 2016 - 2:00am

Embedded Script an exhibition by Richard Williams

Reception: April 7th, 7:00 – 10:00pm


Exhibition Dates: April 4th – April 7th, 12:00 – 5:00pm daily

Embedded Script is an exhibition of recent works, including interactive/immersive installations, experimental web art and a multi-day machine performance. These works each represent both an exploration of and an experimentation with the Human/Computer relationship. While addressed in its full, globalized context, the selected works will engage this relationship at the scale of the individual user and device. Global infrastructures, intersections between technology and nature, the role(s) of digital mapping and other contemporary themes will be explored, presented always as they relate to the daily lived experience of our post-internet world.

Venue & Address: 
OCADU Graduate Gallery 205 Richmond St. W, Ground Floor
OCADu Graduate Gallery, April 4-7, 2016 from 12-5pm daily. Opening reception April 7 from 7-10

Sessional Instructor Francisco-Fernando Granados participating in Standard Forms at CSS BARD

Sunday, April 3, 2016 - 4:00am to Sunday, April 24, 2016 - 4:00am

April 3 – 24, 2016

Artists: VALIE EXPORT, Felix Gonzalez-Torres, Francisco-Fernando Granados, Julio César Morales, Robert Morris, Ulrike Müller, and Martha Rosler

The non-citizen (or one who finds their citizenship called into question) exists in the shadow of the contemporary nation-state. Constituting both the figure against which the citizen may be produced, and that which resists standard forms of governance, the non-citizen is the preemptive target of mechanisms of surveillance, coercion, and control. By deploying advanced biopolitical technologies—such as biometric databases and facial recognition software—the nation-state is increasingly adept at capturing, and thus disarming, unknown bodies. In order to avoid violence, the non-citizen must elude apprehension at the very moment they are most insistently called to appear.

The works shown in Standard Forms prioritize the abstract, the non-figurative, and the indexical over mimetic representation of the human body. In utilizing these formal strategies, the works mask, obscure, or leave the body out. While only a selection considers the non-citizen directly, each offers vital modes of seeing or thinking the figure as it is edged by predominant norms, systems, and standards. In presenting these works together, the exhibition offers a phenomenology of embodiment that rejects the violence of the scopic.

Shape and line figure largely in the works of Standard Forms, repurposing legacies of abstraction, minimalism, and conceptualism. Within the exhibition, such forms often come to stand in for, or point to the body. In place of a figure, we find a blank, a trace, an outline. Form emerges as a politics which inhibits the standardization and ontological capture of the non-citizen by the nation-state. And yet, the body can be glimpsed between the lines and from the edges, though remaining inapprehensible and just out of frame. If the non-citizen is signified beyond the fingerprint or the face, what agency, what forms and shapes might emerge?

Curated by Christian Camacho-Light

Venue & Address: 
CSS BARD, Center for Curatorial Studies, Hessel Museum of Art, Bard College
repetative linear forms in red and blue

Sarah Nind: Pistes et Points (Stripes and Dots)

Photo of a palm tree with polka dots superimposed
Saturday, February 6, 2016 - 5:00am to Saturday, March 19, 2016 - 4:00am

Sarah Nind: Pistes et Points (Stripes and Dots)


Sarah Nind’s work addresses the chaotic, even illogical, dimensions of today’s visual language, in which images and ideas often collide in the digital-analogue world.  Pattern and excerpts from popular culture are superimposed onto oil painting and photographic imagery.  What appears to be the image on the surface and what lies below this surface often exist in tension and absurd juxtaposition.  The seeming abstraction and beauty of these images veil or mask layers below the painted surface, much in the way we ‘gloss over’ or ‘make light’ of issues or memories.

Venue & Address: 
Newzones 730 11th Ave SW Calgary, AB

Illustrator Blair Drawson's show TRIO

Wednesday, January 27, 2016 - 5:00pm to Sunday, February 7, 2016 - 9:00pm

TRIO: Works by Blair Drawson, Jeff Jackson and Anita Kunz
Jan 27 to Feb 7

Venue & Address: 
The Papermill Gallery Todmorden Mills 67 Pottery Road, Toronto

April Hickox is participating in a group show with James Gardner opening at Katzman Contemporary

Abstract black  shape on portrait background
Abstract black square shape on colored background
Friday, February 5, 2016 - 5:00am to Saturday, March 5, 2016 - 5:00am

April Hickox will present new works from Providence Unknown, part of seven interlocking bodies of work that explore providence, authorship, and the structures in place for the teaching of art.

This series begins to question how we determine what is “art” ... the final product that artists present to the world ... what has value in the cultural market ... and what remains unseen within the artistic process. Provenance Unknown will be paired with new works by James Gardner.

Opening reception: Friday, February 12, 6:00 PM
April Hickox be in attendance on the following afternoon, Saturday February 13, from 2:00 PM to 5:00

Venue & Address: 
86 Miller Street Toronto ON M6N 2Z9
416 654 9515

No Dull Affairs

Wednesday, June 19, 2013 - 10:00pm to Saturday, October 12, 2013 - 11:00pm

Featuring: Karen Lofgren, Vanessa Maltese and Jillian McDonald
Curated by: Lisa Deanne Smith

Balls out confidence is needed to make art work an aesthetic event. In saying “balls out,” Curator Lisa Deanne Smith isn’t referring to a macho practice, but to the origin of “balls out” which refers to running a steam engine train at maximum speed via a governor or a speed limiter — when going full out without crashing, the balls rise to the top. It is this kind of confidence and balance found in the work of artists Karen Lofgren, Vanessa Maltese and Jillian McDonald in No Dull Affairs. The relationships they create with their materials, site and audience are bold.

All of the work in No Dull Affairs references historical predecessors, seduces with craftsmanship and ultimately includes the viewer in its completion, creating a moment difficult to pin down with language without making it disappear — a balls out balancing act.

About the Participants:

Karen Lofgren is a Toronto-born Los Angeles-based artist who received her MFA from CalArts and an AOCAD from OCAD University. Solo exhibitions include Machine Project, Pitzer Art Galleries, Los Angeles Contemporary Exhibitions, royale projects : contemporary art and Armory Center for the Arts. Group exhibitions include Los Angeles County Museum of Art, High Desert Test Sites and Human Resources for Pacific Standard Time. Her work has been featured in Artforum critic’s picks, LA Weekly, and the LA Times, as well as books, catalogues, and album covers. Awards include Canada Council for the Arts and Durfee Foundation grants.

Vanessa Maltese lives and works in Toronto and holds a BFA from OCAD University. The National Winner in the 2012 RBC Canadian Painting Competition, she has presented two solo exhibitions at Toronto's Erin Stump Projects. Maltese will soon be exhibiting in a group show at Wil Aballe Art Projects in Vancouver.

Jillian McDonald is a Canadian artist living in New York. Her work was featured in a 2013 radio documentary by Paul Kennedy on CBC's Ideas, titled Valley of the Deer; has been reviewed in publications including The New York Times, Art Papers, The Globe and Mail, The Toronto Star, and Border Crossings; and appears in several books including Better Off Dead edited by Sarah Juliet Lauro. In 2012 she represented Canada at the Glenfiddich international residency in Dufftown, Scotland.

Lisa Deanne Smith is engaged in a cultural practice that moves between multiple mediums — art, events, curation, writing and arts administration — exploring issues of voice, experience and power. Recent curatorial projects at Onsite [at] OCAD University include Ads for People: Selling Ethics in the Digital Age and I Wonder by Marian Bantjes. Presented with support from Glenfiddich Single Malt Scotch Whiskey.

Acknowledgments: Thanks to Andy Fairgrieve at Glenfiddich Artist-in-Residence and Beth-Anne Thomas at William Grant & Sons Distillers Ltd; Rick Royale at royale projects : contemporary art; Erin Stump at Erin Stump Projects; the Onsite Advisory Board chaired by Michael Haddad; Lucas Soi at Soi Fischer; Vladimir Spicanovic at OCAD U; Erin Smithies; Rouzbeh Akhbari and especially the artists: Karen Lofgren, Vanessa Maltese and Jillian McDonald.

Venue & Address: 
Onsite Gallery: 230 Richmond St. W.
416-977-6000, Ext. 456
No Dull Affairs poster with event info

Propeller Gallery Exhibition

Wednesday, January 20, 2016 - 5:00pm to Sunday, January 24, 2016 - 10:00pm

Jan 20-24, 12-6 W-Sat, 12-5 Sunday

Opening reception, January 24, 3-5pm

‘In Series’ is an exhibition that explores the material consequences of repetition. Looking beyond traditional notions of what is unique and mass-produced, it aims to show a range of scales, sizes, mediums, and techniques; the possibilities of repetition affecting change (e.g. transformation, variations, new results); and the subtlety of repetition that can produce something that appears to be the same. It asks what can result from a repeated action, pattern, or process.

‘In Series’ features the work of Victoria Chin, Nina Cho, Dear Human, Zero-Craft Corp. (Mark Dineen and Michael Neville) and Ebitenyefa Baralaye, COUPLE D’IDÉES (Diane Parenteau),Meghan Price (OCADU Fiber faculty member), Watson Soule, Martha Sparrow, James Swain, Cathy Terepocki, Tara Lee Towers (OCADU Fibre graduate), and Jill Usher.


Venue & Address: 
Propeller Gallery, 30 Abell Street

artpark Residency - June 2015 - Ryan Pechnick (MFA '16)

Tuesday, September 22, 2015 - 4:00am

Ryan Pechnick (MFA '16) was selected as the representative for OCAD U at the WARP program. During his time in Lewiston he created a large sculptural project with scorched wooden timbers arranged in a semi-circle, in addition to several “wrapped” boulders with burlap and rope throughout the park. The projects created by Ryan and the other WARP student-artists will remain on-view through to Fall 2015 and possibly beyond. Reflecting on his work at the closing, Ryan remarked that the project was “the best thing [he’s] ever made”.

Founded in 1974 in honour of Robert Smithson, Artpark is a 150-acre parkland which features year-round arts programming. The WARP program was initiated in 2015, allowing 5 MFA candidates from Yale, SUNY Buffalo, Virginia Commonwealth University, OCAD University, and RISD to take part in an immersive 3-week residency where the student-artists lived in the community and created public projects on the Artpark grounds. This was a fully-funded program, with room/board, transportation, materials, artist assistant/technician support fully covered.

Period Piece

Friday, March 8, 2013 - 5:00am to Saturday, April 6, 2013 - 4:00am

Featuring work by Hanna Antonsson, Sonja Ahlers, Arvida Bystrom, Shary Boyle, Petra Collins, Rebecca Fin, Minna Gilligan, Sandy Kim, Kristie Muller and Allyson Mitchell

Our popular Western notion of femininity is largely determined by the male gaze. Femininity has long been equated with female attractiveness as defined by heterosexual male desire, which requires women to control many natural signs of their post-pubescent, fertile bodies including body hair, menstrual blood and weight fluctuations. This is problematic because it puts women in the subordinate position and suggests that female sexuality is something that should be managed, distrusted and feared. As a consequence of this ideology, women are often relegated to the realm of adolescence. The media celebrates the skinny female body, in part, for example, because of its likeness to an immature, unthreatening, girlish figure. This destructive culture of fear is the gynophobic landscape. This exhibit offers an alternative, the gynolandscape, which celebrates female sexuality and the power of women’s bodies. Period Piece questions the current ideology of femininity and recasts women in positive/dominant roles. The works in this show are produced by international female artists whose practices demonstrate their struggle with female identity and sexuality.

Venue & Address: 
Student Gallery
Period Piece The Gynolandscape poster with event info