Faculty of Art faculty represented in Toronto: Tributes + Tributaries, 1971-1989

Black and White image showing a woman inside a chest of drawers
Thursday, October 6, 2016 - 4:00am to Wednesday, May 31, 2017 - 4:00am

PUBLIC OPENING: Wednesday, September 28  6 – 9 pm  Walker Court/AGO

Exploring the experimental energy of an era, Toronto: Tributes + Tributaries, 1971-1989 brings together more than 100 works by 65 artists and collectives to highlight an innovative period in Toronto art history. Amidst the social and political upheavals of their time, the generation of artists that emerged in Toronto during the 1970s and 1980s pushed the boundaries of conventional painting, sculpture and photography, exploring new ways of art making including video, installation and performance. Drawing heavily from the AGO collection Toronto: Tributes + Tributaries, 1971-1989 opens on September 29, 2016, filling the entire fourth floor of the AGO’s Contemporary Tower. The exhibition, which runs until May, 2017, will be accompanied by a live performance series, a film and video festival, as well as satellite installations throughout the Gallery.

Organized thematically and punctuated by references to Toronto and its cityscape, the exhibition highlights the era’s preoccupation with ideas of performance, the body, the image, self portraiture, storytelling, and representation. Featured artists include Michael Snow, Joanne Tod, the Clichettes, Duke Redbird, Barbara Astman, Robin Collyer, Robert Houle, Carol Condé and Karl Beveridge, as well as highly influential artists like photographer June Clarke, illustrator Ato Seitu, and dub poet Lillian Allen. This is the first time since the AGO’s reopening in 2008 that many of these seminal works have been on display.

Curated by Wanda Nanibush, assistant curator of Canadian and Indigenous art, the title of the exhibition—a reference to the city’s many buried waterways—serves as a visual metaphor for the diversity of the cities art scene and its similarly buried histories. Intended as an evolving display, many of the works in the exhibition are scheduled to be rotated in January 2017.

Toronto:Tributes + Tributaries List of Artists

Rhonda Abrams, Shelagh Alexander, Lillian Allen, Stephen Andrews, Barbara Astman, Rebecca Belmore, Raphael Bendahan,Ron Benner, Karl Beveridge + Carol Condé, David Bolduc, Susan Britton, Brian Burnett, Colin Campbell, Ian Carr-Harris, Elizabeth Chitty, June Clark, The Clichettes, Robin Collyer, Keith Cole, Stephen Cruise, Greg Curnoe, Dennis Day, Martha Davis, Tom Dean, Lily Eng, Bruce Elder, Andy Fabo, FASTWÜRMS, Murray Favro, Robert Flack, Robert Fones, Vera Frenkel, Richard Fung, General Idea, Ron Giii, Oliver Girling, Will Gorlitz, K.M. Graham, John Greyson, Janice Gurney, Noel Harding, Jamelie Hassan, Ame Henderson & Evan Webber, Phil Hoffman, Robert Houle, Johanna Householder, Hummer Sisters, Tim Jocelyn, Nancy Johnson, Brian Kipping, Nobuo Kubota, Suzy Lake, Glace W. Lawrence, Rita Letendre, Louise Liliefeldt, Jorge Lozano, Catharine MacTavish, Arnaud Maggs, Annette Mangaard, Robert Nelson Markle, Tanya Mars, John Massey, Derek May, John McEwen, Deepa Mehta, Kim Moodie, Norval Morrisseau, Kazuo Nakamura, Shelley Niro, Louise Noguchi, Midi Onodera, Susan Oxtoby, Andy Patton, Randy & Berenicci, David Rasmus, Gordon Rayner, Duke Redbird, Clive Robertson, Patricia Rozema, Su Rynard, Jayce Salloum, Ato Seitu, Arthur Shilling, Tom Sherman, Walter Scott, John Scott, Michael Snow, Lisa Steele & Kim Tomczak, Joanne Tod, Jeff Thomas, Tony Urquhart, Carol Wainio, Douglas Walker, Rodney Werden, Shirley Wiitasalo, Winsom Winsom, Colette Whiten, Tim Whiten, Joyce Wieland, David Zapparolli

EXHIBITION DATES:  September 29, 2016 – May 2017 

Venue & Address: 
Art Gallery of Ontario 317 Dundas Street West Toronto, Ontario, Canada

Faculty of Art faculty and alumni participate in: 'in/Future', closing this weekend

Black and White Photo of the Ontario Place structure
photo of performance art, two people on either side of a floating raft divided by a wall
3 photos of an illuminated watchtower
brightly coloured geometic shapes in a cave like setting
Lightbox installation with circular designs
Thursday, September 15, 2016 - 4:00am to Sunday, September 25, 2016 - 4:00am

This 11-day exhibition has transformed the desolate remains of Ontario Place into a remarkable new platform displaying the projects and performances of over 100 Artist & Musicians.  Explore the multidisciplinary art projects created and curated specially for in/future. Enter the majestic and haunting silos where you’ll encounter immersive artworks, explore the South Shore, the Temple Bell Plaza and the winding picturesque paths to find a wide array of outdoor installations. Visit the Arcade and Atom Blaster Pavilions to see group exhibitions from an impressive range of artists from various disciplines.  A number of the artists involved are part of the Faculty of Art community, below is a sampling of the work on exhibit!

Project Descriptions:

Faculty of Art faculty Adam David Brown’s Moonlight explores illumination as the realm of both the celestial and commercial. Fascinated by science and language, the Toronto-based artist’s work often addresses systems of knowledge and their influences on our understandings of the world around us. Beckoning visitors with its vintage 1970s typeface, his monumental, free-standing sign broadcasts an image of the moon’s surface. Despite its photographic simulation of the moon’s cold light, Brown’s sign betrays an underlying artificiality: like many things in a theme-park environment, Moonlight offers a glimpse at something sublime and fantastical, but only ultimately delivers a muted version of the experience it promises.

Toronto-based artist/OCADU Alumnus Alex McLeod presents two short, computer generated films. In SISYPHUS, a rock undulates uncannily along a rocky landscape, suggesting sentience or puppetry by an unseen force. In ALMOST HOME, a metallic structure navigates a grassy lawn. Both films use strange, futuristic forms to play with familiarity and discomfort.

In Corridor, artist/OCADU Alumna Alex Beriault choreographs a performance that inserts two people within a sculptural hallway that extends into the lake. The two performers take turns pushing each other into the walls of the floating corridor, testing their delicate relationships to each other and the structure.

Internationally-exhibited Toronto-based artist/OCADU Alumna Faye Mullen’s work is a site-specific performance which takes place nightly at sunset for the Breaker, a breakwater at the north west-most point of Ontario Place’s West Island. Exploring the failure implicit in language, Mullen turns to alternate signals which use movement and ritual to suggest new modes of communication and connection reviving archaic gestures. Performed at the edge of the lake this work addresses the moment a walk, collective or individual, becomes a cry. Mullen’s poetic encounter symbolically gathers the breakwater, the horizon, the body to respond to the sea and sky as sites of knowledge and grounds upon which one can be heard.

OCADU Alumna Hazel Meyer is an interdisciplinary artist who works with installation, performance, and textiles to investigate the relationships between sport, sexuality, feminism, and material culture. Her work aims to recover the queer aesthetics, politics, and bodies often effaced within histories of sports and recreation. Drawing on archival research, she designs immersive installations that bring various troublemakers—lesbians-feminists, gender outlaws, leather-dykes—into the performative spaces of athletics. Recent projects include a solo exhibition at MacLaren Art Centre (Barrie) and a public art commission for Cambridge Gallery’s Idea Exchange. In 2015 she was Scrap Metal Gallery’s (Toronto) inaugural artist in residence, where she produced a large-scale installation and public performance based on her ongoing project Muscle Panic (2014– ). She is currently at work on an iteration of Muscle Panic for the CAG in Vancouver. As part of her ongoing collaboration with Cait McKinney on the history of tools within queer social movements, she is developing Tape Condition: degraded, an exhibition and series of public programs at the Canadian Lesbian and Gay Archives (2016, Toronto). Hazel holds an MFA from OCAD University (Toronto) and a BFA from Concordia University (Montréal).

Faculty of Art faculty Jennie Suddick and Cole Swanson’s Kuckucksuhr is an architectural intervention that transforms the watchtower of Ontario Place’s Wilderness Adventure log ride into a cuckoo clock. Using seeds and light to beckon migratory bird species to the installation, Suddick and Swanson reimagine the passage of time in natural terms—rather than a robotic cuckoo, the migratory species that move through and feed off the structure come to represent hourly cycles. Conceived as a critique of human conceptions of progress, Kuckucksuhr questions the human-made nature-scape of Ontario Place, reflecting on the desire to control, tame, and represent nature. Re-signifying the watchtower as a space of natural transition and reclamation, Kuckucksuhr creates an opportunity for complex natural patterns of life to surface in an otherwise artificial environment.

Faculty of Art faculty Luke Painter presents two works, a drawing in the Atom Blaster Pavilion and an animation in Cinesphere.
In Luke Painter’s 3D animation, The Teasers and the Tormentors, 20th century set design from theatre, film, and illusion shows take centre stage. Fascinated by video’s capacity to create illusions, Painter uses virtual mirrors to reveal the action outside of the camera to the viewer, creating the sense that a rich, complex environment exists beyond the set.
In his drawing, Crystal Palace Warehouse, Painter references the cast-iron and plate-glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851. Painter re-envisions the Crystal Palace with its transparent walls and skeletal structure as a ghostly apparition that pays homage to the architect’s small-greenhouse-made-big. Painter populates the inside of the building with images of 3D models of plants and trees that he finds online at Google 3D Warehouse and other 3D model reference websites. While Painter represents the Crystal Palace as a bygone spirit in and of itself, the virtual properties of the plants in his work also possess an uncanny element of immateriality.

OCADU Studio Manager Nick Hooper and Lauren Schaffer present Shohola Nights.  Modernity can in part be defined by the disappearance of wilderness from Western world-view, and by the ever-evolving distinction between the natural and the artificial. We now are more apt to think of the two as intertwined and co-dependent systems. Some scientists contend that we have entered a new geologic era - the Anthropocene - marked by the impact of human activity on earth’s ecosystems. With these current conditions in mind, Shohola Nights reflects the shifts in our understanding and representations of the world and our place in it.  Set against the backdrop of night, Shohola Nights is an experimental representation of landscape that is notable for its use of light and sound. At times emblazoned upon the landscape and at other times fugitively cast, the various sources of light illuminate or obfuscate minute detail, while the enveloping sound conveys the ever-churning progress of life on the planet.

Known for his RGB light installations, artist/Faculty of Art faculty Philippe Blanchard plays with the interaction of coloured light and coloured pigment in his “expanded animation” for in/Future: New Troglodytes II. Borrowing from the forms of naturally-made caves (such as stalactites and stalagmites), Blanchard’s RGB cave environment uses soft and stretched textile forms to craft a cave brimming with visual stimuli in a space formerly home to an amusement park ride. Interested in fire as a prehistoric form of visual technology, Blanchard plays with the magic of light and shadow, and their potential for creating the illusion of moving images. Though informed heavily by the digital, New Troglodytes II reflects on the ancient power of visual storytelling, embodying the simultaneous presence of past and future.

Inspired by the ice silo in what was once the “Wild World of Weather” exhibition at Ontario Places, multi-disciplinary artists/Faculty of Art faculty Simone Jones & Laura Millard use drawing, sound, and installation to explore circularity and motion. In Recursive Traces, a looped and fragmented recording of Philip Glass’s Étude #1 by Simone Jones mirrors the roundness of the silo. With sound cycling and returning as visitors descend the spiral stairs, circularity is built into the foundation of the installation. Discarded fragments of styrofoam icebergs are illuminated by lightboxes containing images of Laura Millard’s drawings made by snowmobiles etching patterns onto the icy surface of a frozen lake. At every turn, the artists reflect on the cyclicality of weather, time, and our emotional, physical, and perceptual movements. 

Faculty of Art faculty Wrik Mead’s film, A Place to Stand, addresses and contrasts the state of LGBTQ rights around the globe in two eras: 1971 (the year that Ontario Place opened) and 2016. Making use of a dizzying array of anti-gay protest footage captured and posted on the internet, Mead’s protagonist bears witness to the fractures, shifts, improvements and resistances that have brought us to this time in LGBTQ history.



in/future/communities - FREE Lecture Series presented by Waterfront Toronto - Sunday September 25th
Reserve your ticket at: https://infuturetalks.eventbrite.ca

Hosted by Waterfront Toronto’s CEO William Fleissig, this series of talks will challenge culture-makers and urbanists to reimagine what it means to be a city builder. On the closing afternoon of the in/future festival, we’ll gather leading voices who will present radical new ideas for building future communities.

Introduction by: Eb Zeidler (Zeidler Partnership Architects) and Margie Zeidler (Urbanspace Property Group) discuss the utopian design of leisure spaces like Ontario Place and shared work spaces like 401 Richmond, and how both projects have changed the face of our City in the past 40 years.

Talks by: Vass Bednar (Martin Prosperity Institute) discusses the problem with the term community and its implications for governance and policy-making.
Lisa Tziona Switkin (James Corner Field Operations) discusses creating a new ecological aesthetic that envisions new forms of urban nature that are transformative, performative and showcase both natural and engineered beauty.
Karen Carter (Myseum of Toronto) discusses embracing the unknown as a revolutionary stance for knitting together a collective identity for an increasingly diverse city.
Susan Blight (Ogimaa Mikana) discusses the City of Toronto as a utopian experiment to restore Indigeneity, build solidarities, and decolonize our cities.
Katerina Cizek (MIT Open Documentary Lab) on the city as open web and on becoming urban citizens rather than consumers.

North of Superior on IMAX - Sunday September 25th
Join us for a rare opportunity to watch North of Superior, the first ever IMAX film screened in Cinesphere, the world’s first permanent IMAX theatre. This film will be screened as part of our closing night program, paired with contemporary video works and followed by a very special Q&A with Graeme Ferguson himself, the director of North of Superior and one of the founders of IMAX.

Lectures at the end of the World(s) - by Onsite Gallery at OCADU -
September 24th & 25th
Saturdays and Sundays at 1 p.m., from September 17 to 25. Onsite Gallery presents a four-part speaker series that asks us to consider what is worth discussing, sharing and exploring in a post-apocalyptic state. Speakers include Gabriel Allahua (Lecture: Post-Capitalism World(s), Saturday, September 24) and Rouzbeh Akhbari (Lecture: Post-Anthropocene World(s), Sunday, September 25).

Cinesphere presented by Air France:
Opened in 1971, and built by renowned architect Eb Zeidler, as the first permanent IMAX theatre in the world, the iconic Cinesphere will come to life once again to showcase a daily changing schedule of 44 contemporary film & video works, and live audio/visual performances. Don’t miss a rare opportunity to see six original IMAX films from the 70s and 80's - such as the renowned Labyrinth and Man Belongs to Earth - most of which haven't been screened for the public in over 30 years.

Small World Music Stage presented by Exodus Travels:
For its 15th edition, the Small World Music Festival is proud to be part of in/future. Showcasing the best sounds from around the world and around the corner, Small World celebrates the cultural diversity of Ontario with artists who combine tradition with a view to the future. And they bring the party to a venue with a rich musical history! Check the schedule for the amazing roster of musicians playing daily.



Venue & Address: 
Ontario Place on the West Island at 955 Lake Shore Blvd West. The entrance is located at Ontario Drive and Lakeshore. Parking can be found at Remembrance Drive and Lakeshore. Saturdays: Gates open at 12pm, Gates close at 11pm Sundays: Gates open at 12pm, Gates close at 10pm Mon-Fri: Gates open at 5pm, Gates close at 11pm

Derek Sullivan, Faculty of Art, showing "Choices, choices, choices"

Photo of a hand holding up an artwork
Friday, September 16, 2016 - 4:00am to Saturday, November 12, 2016 - 5:00am

Derek Sullivan

Choices, choices, choices
16.09.- 12.11.2016
vernissage le 16 septembre, 16-21h00
opening September 16, 4 - 9pm



6 rue Jouye-Rouve
FR-75020 Paris
Tel +33 (0)9 51 10 96 58

Mercredi - Samedi / Wednesday - Saturday / Quarta - Sábado
14h00 - 19h00 / 2 - 7pm /

Venue & Address: 
GALERIE EMMANUEL HERVE 6 rue Jouye-Rouve FR-75020 Paris

Barbara Astman, Faculty of Art in "Portraits, self and others (it’s complicated)"

cropped photo of a woman in a black dress talking on a red telephone
Thursday, September 22, 2016 - 4:00am to Saturday, October 29, 2016 - 4:00am

Portraits, self and others (it’s complicated)

September 22nd and October 29th, 2016
Opening reception, Thursday, September 22nd at 7:00 P.M.

With the advent of the selfie and social media, portraits have become ubiquitous in contemporary culture. This has raised many questions about the nature of representing people in art. Many artists are now exploring the way in which identity is largely constructed through images and the complex relationship between the artist and the individuals they portray. This in turn raises important questions about how we define and visually represent “the self” and “the other” within the increasingly dynamic matrix of real and virtual social relationships.

This exhibition, which includes paintings, photographs, video and sculpture, examines diverse approaches to portraiture through the work of over twenty contemporary Canadian and international artists including: Stephen Andrews, Shuvinai Ashoona, Barbara Astman, Greg Curnoe, Colin Muir Dorward, Wyn Geleynse, Sky Glabush, Kirtley Jarvis, Jim Kost, Richard Hamilton, Jason McLean, Shelley Niro, Dennis Oppenheim, Gillian Saward, Becky Singleton, Gerard Pas, Jamie Q, Angie Quick, Michael Snow, Jeff Thomas, Joanne Todd and Joyce Wieland.

A highlight of the exhibition will be the first public display of internationally-acclaimed Canadian artist Tony Scherman’s recent portrait of former Western Chancellor Joseph Rotman (1935 –2015), the noted Canadian businessman and philanthropist. Rotman was the founder and benefactor of many successful organizations, including the Rotman Research Institute, the Rotman School of Management, and the Rotman Institute of Philosophy at Western.

Venue & Address: 
McIntosh Gallery Western University London, Ontario, Canada N6A 3K7
Tel: (519) 661-3181

Barbara Astman to show in Living Building Thinking, a group show at McMaster Museum of Art

Thursday, September 1, 2016 - 4:00am to Saturday, December 3, 2016 - 5:00am

Living Building Thinking, McMaster Museum of Art, curated by Ihor Holubiziky, Senior Curator, McMaster Museum of Art, McMaster University, Hamilton, ON         

This exhibition explores the development and trajectories of Expressionism from the early 19th century to the present.

Drawn from the extensive collection of the McMaster Museum of Art, the exhibition comprises almost 100 paintings, drawings, prints, books, camera work and video—from formative historical works of the 19th century, hallmarks of the modern age, to contemporary works that include Canadian artists who underscore the continuing relevance and challenges in today’s society.


Thursday, September 22 at 6 pm
Curator’s Talk by Ihor Holubizky, McMaster Museum of Art's Senior Curator

Wednesday, September 28th
Performance & Talk by Düsseldorf Artist Mischa Kuball
12 noon:  Mischa Kuball presents a performative sculpture with his recent Public Preposition book in front of the Museum
2 pm:  Mischa Kuball’s Artist Talk in the Museum

Saturday, October 1 at 1 pm
Tour & Linocut Printmaking Workshop
Free Culture Days event.  Registration required. Contact: Nicole Knibb at knibbn@mcmaster.ca

Thursday, November 10th, 6 – 8 pm
Art Historian’s Talk by Robert Belton
Dr. Belton, Professor at UBC, will speak about Expressionism. His essay “Expressionism’s Paralanguage” is included in the Living Building Thinking publication.

An exhibition publication will be available.
Living Building Thinking is organized and circulated with the generous support of the Museums Assistance Program, Canadian Heritage.


Venue & Address: 
McMaster Museum of Art Alvin A. Lee Building University Avenue (at Sterling St) McMaster University 1280 Main Street West, Hamilton, ON L8S 4L6
(905) 525-9140 ext. 23081
Photo of the Gallery with artworks installed

Barbara Astman, in "Toronto: Tributes + Tributaries, 1971-1989"

photo of a woman with text overlay
Thursday, September 29, 2016 - 4:00am to Monday, May 29, 2017 - 4:00am

New AGO exhibition explores the experimental energy of the Toronto art scene in the 70s and 80s

Groundbreaking exhibition comes to life with film festival and experimental performance series featuring Rebecca Belmore, Jérôme Havre, Lillian Allen, Walter Scott, Louise Liliefeldt and many more

TORONTO — Toronto in the 1970s and 1980s was a city growing into its international status. Along with the city’s boom came the social and political upheavals of the era; the Spadina Expressway protests, bath house raids and fights over pay equity, multiculturalism and social housing dominated the headlines. In the midst of this, a new generation of Toronto artists emerged, pushing the boundaries of sculpture, painting and photography and exploring new ways of art making including video, installation and performance. This fall, the Art Gallery of Ontario (AGO), revisits that complicated era with a wide-ranging display of artists and artwork. Toronto: Tributes + Tributaries, 1971-1989 opens on Sept. 29, 2016 and runs until May 2017, filling the entire fourth floor of the AGO’s Contemporary Tower.

Initiated by Andrew Hunter, the AGO’s Frederik S. Eaton Curator of Canadian Art, Toronto: Tributes + Tributaries, 1971-1989 is curated by Wanda Nanibush, Assistant Curator of Canadian and Indigenous Art. The title of the exhibition—a reference to the city’s many buried waterways—serves as a visual metaphor for the diversity of the art scene and its similarly buried histories.

Drawing heavily from the AGO collection and featuring more than 100 works by 65 artists and collectives, the exhibition will be accompanied by a live performance series, a film and video festival, as well as satellite installations throughout the Gallery. Organized thematically, the exhibition is bookended by two significant works from the AGO’s collection, General Idea’s The Miss General Idea Pageant (1971) and Rebecca Belmore’s sculpture Rising to the Occasion (1987-1991).

“In the tension between these two works—one a critique of the art world’s star system, and the other a deeply personal, politicized performance—we see how substantially things changed in only two decades,” says Wanda Nanibush. “Throughout the 1970s and 1980s, issues of democracy, race, gender, sexuality, and colonialism made real headway in exploding the traditional art historical categories. In this period we see not only a plurality of voices emerging but the very definition of artistic practice expanding, encompassing publishing, theatre, performance and identity politics.”

Punctuated by references to Toronto and its cityscape, the exhibition highlights the era’s preoccupation with ideas of performance, the body, the image, self portraiture, storytelling, and representation. The artists featured came from a range of backgrounds and generations, drawing on personal anecdote, humour, critique as well as familiar images of people and places to inform their work. 

Artists and collectives featured in the exhibition include Michael Snow, Joanne Tod, the Clichettes, Duke Redbird, Barbara Astman, Robin Collyer, Robert Houle, Carol Conde and Carl Beveridge, June Clarke, Ato Seitu, and Lillian Allen. This is the first time since the AGO’s reopening in 2008 that many of these seminal works have been on display. Exhibition panels will include texts in both English and Anishinaabemowin (Ojibway), acknowledging Toronto as the traditional territory of the Mississauga people.

Intended as an evolving display, many of the works in the exhibition are scheduled to be rotated in January 2017, inviting visitors to rediscover even more artists including Vera Frenkel, Jayce Salloum and FASTWÜRMS. Satellite exhibitions will be installed in the J.S. McLean Centre for Canadian Art and the Marvin Gelber Prints & Drawings Treasury. These evolving installations will draw connections between the exhibition on the fourth floor and other collections within the Gallery.

To mark the opening of the exhibition, the AGO hosts a free public opening on Sept. 28, 2016 in Walker Court from 6 to 9 p.m. Partygoers will have a special sneak peek of the exhibition that evening following remarks at 7 p.m.

In tandem with the exhibition, the AGO presents a dynamic six week-long series of free live performances, entitled Toronto: Tributes + Tributaries in Performance. A mix of new commissions and revivals, the series features artists Rebecca Belmore, Jérôme Havre, Walter Scott, Lillian Allen, Louise Liliefeldt, Keith Cole, Johanna Householder, Ame Henderson and Evan Webber. Rebecca Belmore and Jérôme Havre will create installations for Nuit Blanche on Oct. 1, 2016 and Lillian Allen will guest-program AGO Friday Nights in October, culminating in a performance in Walker Court by Allen and her collaborators on October 28. All other performances will take place inside Signy Eaton Gallery. More details, including a schedule of performances, will be posted on www.ago.net in the weeks to come. 

A film and video festival dedicated to Toronto’s pioneering video artists from 1970s and 1980s, coordinated in partnership with V-Tape and CFMDC, will run in Jackman Hall from March 9 to 12, 2017. More details, including a full schedule, will be announced in the coming months.

The exhibition is accompanied by the 128 page soft cover publication, Toronto: Tributes + Tributaries. Written by Nanibush, this richly illustrated essay is the second in the new AGO Toronto series, published by the AGO and dedicated to telling the story of Toronto and its artists. The book will be available exclusively in shopAGO as of Sept. 26, 2016 and is priced at $9.95.

Toronto: Tributes + Tributaries, 1971-1989 is included with the price of general admission and is free to AGO members. More information on the benefits of AGO membership can be found at www.ago.net/general-membership.

Toronto: Tributes + Tributaries, 1971-1989 is organized by the Art Gallery of Ontario.



Venue & Address: 
Art Gallery of Ontario 317 Dundas Street West Toronto, Ontario, Canada
1-877-225-4246 or 416-979-6648

A juried exhibition of Art by First Year Faculty of Art students

Thursday, March 31, 2016 - 4:00am to Friday, April 8, 2016 - 4:00am

The Faculty of Art First Year Art students and faculty present: A juried exhibition of Art by First Year Faculty of Art students

Opening Celebration with Performances:  Thursday, March 31st   2 to 4 pm



Venue & Address: 
The Great Hall 2nd Floor 100 McCaul All Welcome
Celebration of First Year Logo

Art Creates Change Public talk: Elle Flanders and Tamira Sawatzky

Thursday, January 28, 2016

OCAD University's Faculty of Art in Partnership with
UNIFOR, Ontario Regional Council Present:
The Kym Pruesse Speaker Series

Antagonisms in Disappearing Public Spaces
Public Studio is the collaborative art practice of filmmaker Elle Flanders and architect Tamira Sawatzky, whose works range from large-scale public art works and immersive installations to socially engaged projects. Exploring antagonisms in and around public space and its disappearance, war and landscape, post-colonialism and political dissent. Public Studio’s work has been shown internationally, including their recent intervention Migrant Choice at the Venice Biernale.

Venue & Address: 
OCADU Auditorium Room 190, 100 McCaul Street
Art Creates Change Poster

Artist’s Talk: Simon Glass, Associate Professor, Faculty of Art

contemporary artwork by Simon Glass
Thursday, November 12, 2015 - 5:00pm

Simon Glass, Associate Professor, Faculty of Art, has been named Artist-in-Residence at the Anne Tanenbaum Centre for Jewish Studies at the University of Toronto. Simon’s work is on view in their space at 170 St. George Street, room 218 for the academic year 2015/16.
Simon will be giving an artist’s talk on November 12 at noon, also at 170 St. George Street, room 318.
All are welcome.

Venue & Address: 
Anne Tanenbaum Centre for Jewish Studies University of Toronto 170 St. George Street, room 318 Toronto

Research Rendezvous

Ut pictura poesis multi-view galaxy
Brain screen capture
Friday, April 17, 2015 - 4:00pm to 5:00pm

Research Rendezvous is a monthly lunchtime series for faculty and students to share and learn about research at OCAD U. Come share your ideas, connect with potential collaborators and find out how you can get involved in research.

This month's featured presenters:

David Griffin, Faculty of Art
"Ut Pictura Poesis: Drawing into Space"

In 1735, Leonard Euler presented a solution to the practical problem of whether a route could be plotted to cross each of seven bridges in Königsberg once. His negative solution used the simplest of mark-making strategies to resolve a conceptual problem. Euler did not actually cross the town’s bridges, but used them to resolve questions of connectivity, after which diagrammatic representations can be seen as the restructuring of logical problems to allow for inductive reasoning, for fruitful application beyond theory. But what if such a working graphic has as its target something that is simply incomprehensible? What are the upper limits of the denotational logic of such diagrams?

Michael Page, Faculty of Art
"Three-Dimensional Medical and Scientific Data Viewed in Digital Holographic Form"
The majority of medical and scientific imaging recorded today is 3 dimensional. MRI, CAT scan, PET scan and confocal microscopy are 3D images that are typically viewed in 2D, often as slices or scallops.
OCAD’s PHASE Lab recently received funding from NSERC to research methods of imaging electrical activity (EEG) in the human brain using digital holographic techniques. This project was highly successful and has drawn the attention of the medical community at MARS and Princess Margaret Hospital.
Prof. Michael Page will be showing holograms (created from electrical scans of his own brain), as well as examples of 3D visualization that will soon be rendered holographically.
These holographic images of patient data will bring new knowledge to physicians, surgeons, radiologists and other medical workers. Understanding complex data sets better will save lives.

Venue & Address: 
100 McCaul Street, Room 187