Connections: paintings by Shelley Beach

Thursday, October 11, 2007 - 4:00am to Wednesday, October 24, 2007 - 4:00am

The Workshop Gallery in Toronto presents new work by alumna Shelley Beach.

Venue & Address: 
The Workshop Gallery 1018 Coxwell Avenue, Toronto, Ontario

RBC Canadian Painting Competition 2007

Tuesday, September 18, 2007 - 4:00am to Thursday, September 27, 2007 - 4:00am

The ninth annual RBC Canadian Painting Competition launches its nationally touring exhibition of work by competition finalists and winners at the Ontario College of Art & Design. In July,
three members of the OCAD community were named semi-finalists, their works selected from more than 1400 works submitted by 690 artists from across Canada. Anders Oinonen (Drawing & Painting, 2000) of Toronto and former faculty member Kim Dorland were chosen as semi-finalists representing Central Canada, while alumna Aleksandra Rdest of Pouch Cove, Newfoundland & Labrador (Drawing & Painting, 2002) was selected as an Eastern Canada semi-finalist.

The competition, supported by the Canadian Art Foundation, will announce a national winner and two honourable mentions, selected from the semi-finalists, at the Ontario College of Art & Design.
Tour Dates:
October 3 to 12, 2007:
Galerie d'art Louise-et-Reuben-Cohen, Universit' de Moncton
Pavillon Clement-Cormier
Moncton, New Brunswick

October 17 to 24, 2007:
MacLaren Art Centre
37 Mulcaster Street, Barrie, Ontario
October 31 to November 11, 2007:
Winnipeg Art Gallery
300 Memorial Blvd, Winnipeg, Manitoba
November 24 to December 1, 2007:
Emily Carr Institute Art + Design
1399 Johnston Street, Granville Island, Vancouver, British Columbia

Venue & Address: 
Great Hall 100 McCaul St., Toronto, Ontario


Thursday, September 8, 2016 - 11:00pm to Saturday, October 1, 2016 - 10:00pm

STRETCHED PAINTING explores contemporary works that push beyond the flat rectangular format to occupy space and new materials. Featuring Toronto artists that are expanding painting’s conventions, the exhibit brings new works that merge painting into the realm of sculpture and installation. 

Exhibit curated by Emily Harrison.

Opening: Thursday, Sept. 8th 2016
OCADU Student Gallery (52 McCaul)
7-10 pm
Wallis Cheung makes paintings at the intersection of sculpture and collage. Her 3-dimensional work questions the limits of pictorial space, intervening physically with the room. Cheung is a member of the Toronto-based collective, VSVSVS, and is nominated for the 2016 RBC Canadian Painting Competition. 

Michelle Foran transforms found objects, such as industrial steel, plastics and piping, into materials with vibrant colour, texture and painterly composition. Her abstract immersive environment, “Half a Grapefruit is a Full Circle,” was recently displayed at Birch Contemporary.

Heavily influenced by her surroundings, Emily Harrison’s practice examines everyday materiality, consumer culture and tropes of the artist studio. Her humorous, site-specific installations have been apart of festivals with the Bata Shoe Museum, Strangewaves and Camp Wavelength.

Jennifer Wigmore is a graduate from OCADU’s MFA program and a founding member of Blunt Collective. She describes her painting process as having an “experimental maximalist approach.” Playing with chance and spontaneity, she pushes the limits of materials, creating process-oriented abstractions.

Venue & Address: 
52 McCaul Street Student Gallery Toronto
416-977-6000 Ex262
Emily Harrison. “Sunny Side Up.”

OCAD U alumni among finalists in national painting competition

Oil painting of a young girl in a white coat
Thursday, July 7, 2016 - 4:00am

Stephanie Hier (BFA, 2014) and Keita Morimoto (BFA, 2012) are among 15 finalists in the prestigious RBC Canadian Painting Competition.

Held in collaboration with Canadian Art Foundation, the 18th edition of the competition drew a total of 568 submissions. It is the cornerstone of the RBC Emerging Artists Project which focuses on supporting early-career artists. The program offers mentorship and exposure to a variety of audiences in addition to financial support.

The winner of the competition will be awarded a cash prize of $25,000. Two honourable mentions will receive $15,000, and the remaining 12 finalists receive $2,500 each. The top three paintings will be acquired by RBC’s corporate art collection.

The winner will be announced on September 20 at the Power Plant in Toronto. To see the complete list of finalists visit


Paint box memories: Art and inspiration at the Port Hope summer school

Deep in the OCAD University Archives is a paint box that was used by Lois Parker from 1932 to 1935 at the outdoor summer school held in Port Hope, Ontario. The Ontario College of Art (OCA) — as OCAD U was then known —  began hosting the summer school in a converted grist mill on the banks of the Ganarasca River in 1923 (the school actually began in 1913, taking place in various locations before settling in Port Hope). The location provided ideal scenery for landscape drawing and painting, as well as for outdoor figure study.

G.S. Menzie, OCA students in front of the Grange (September 1922) PH421/38_4_116_021: Water side of the Port Hope Summer School, 1923?, photographer unknown (OCAD U Visual Resources & Special Collections)

Parker’s paint box

The paint box is a fascinating record of Parker’s time at OCA’s summer school. It served as container, palette and easel.

Inside, there are suggestive remnants of Parker’s work, such as globs of coagulated paint and two landscape sketches (not pictured here) supported by grooves in the box’s lid. The exterior is covered in signatures of classmates and instructors, with J.W. Beatty’s signature at the bottom right. J.W. Beatty — celebrated Canadian landscape painter and World War One artist — founded and ran the summer school, and was its greatest single influence. 

Image of an open paint covered wooden box used to store tubes of paint.

Image of a closed paint covered wooden box used to store tubes of paint with various signatures written on the lid.



A typical day at summer school

Parker did not provide a written account of her time at the Port Hope summer school, but a typical day can be pieced together from student stories, newspaper articles and other material in OCAD U’s Archives.

G.S. Menzie, OCA students in front of the Grange (September 1922) PH424/38_4_116_024: Interior of the studio at the Port Hope Summer School, no date, photographer unknown (OCAD U Visual Resources & Special Collections)

The first thing on each morning’s agenda was usually a critique of the previous day’s work in the studio. Afterwards, Beatty and the students would venture out in search of a new subject, such as the cedar grove, Archer’s farm, the mill pond, the Port Hope waterfront or a horse. On Friday and Saturday evenings, students held parties in the studio or visited the Cobourg dance pavilion to mingle with the locals.

After tranquil days and intoxicating evenings, students would return to their living quarters — women in the loft above the studio and men in a large tent outside. Then, the next morning, the fogginess of the previous evening could be washed away with a brisk swim so that the routine could begin again.

G.S. Menzie, OCA students in front of the Grange (September 1922) PH119/57_004_367_019: Students with instructor J.W. Beatty (farthest to the left) outside of the Port Hope Summer School, 1923, photographer unknown (OCAD U Visual Resources & Special Collections)


A unique souvenir of an era long passed

Unfortunately, OCA’s outdoor summer school regularly operated at a loss. Facing a tough economic situation in Toronto and a decrease in attendance, the school closed in 1935. Although the summer school was not financially sustainable, the impact it had on the students who attended is undeniable.

Like a highly personalized yearbook, Parker collected signatures on her paint box in order to remember her time in Port Hope. She preserved the box for over 50 years, before donating it to the OCAD U Archives. This unique souvenir now helps to paint a picture of this romantic time in the university’s history.

G.S. Menzie, OCA students in front of the Grange (September 1922) PH130/57_004_367_030: Students at work with instructor J.W. Beatty at the Port Hope Summer School, 1924, photographer unknown (OCAD U Visual Resources & Special Collections)



Dack, W.L., “Port Hope Revisited: Memories of a Gentler Age.” Alumnus (winter 1982/83): 5–6.
Principal’s Annual Report, 1922/23. OCAD University Archives, OCAD University fonds. RG8 Governance and Administration. Council/Board of Governors Meetings & Minutes.
Special Report re: Summer School, 1924. OCAD University Archives. OCAD University fonds. RG8 Governance and Administration. Council/Board of Governors Meetings & Minutes.
Minutes of a Meeting of the Council of the Ontario College of Art, Held at the College on Friday, February 28th, 1942, at 6:00 p.m. OCAD University Archives. OCAD University fonds. RG8 Governance and Administration. Council/Board of Governors Meetings & Minutes.


Scott Hillis, MI, is the visual resources coordinator and acting archivist in Visual Resources & Special Collections at OCAD University’s Dorothy H. Hoover Library.

Scott Hillis
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Sonny Assu, Billy and the Chiefs: Potlatch House #1, #2, #3 (triptych), acrylic on elk-hide, wood, 12” diameter, 2013
Saturday, May 28, 2016 - 4:00am to Saturday, July 9, 2016 - 4:00am

Image: Sonny Assu, Billy and the Chiefs: Potlatch House #1, #2, #3 (triptych), acrylic on elk-hide, wood, 12” diameter, 2013

Curated by: Dr. Gerald McMaster
Artwork by: Sonny Assu, Nicholas Galanin, and Geronimo Inutiq (madeskimo) 

Curatorial Statement:
Three Indigenous Artists Making the Past Relevant in the Present Tense

“The federal legislation that dictated the lives of Indigenous peoples in Canada — and, to some extent, those in the United States — was, for all intents and purposes, a form of cultural annihilation. At the same time, the recent report of Canada’s Truth and Reconciliation Commission makes it clear that Canadian society remained surprisingly oblivious when it came to the nihilistic authority enshrined in the Indian Act. Confoundingly, despite the fact that the Act was essentially an existential threat to Indigenous peoples, its tangential impact currently is being addressed in art. In this exhibition, three young artists — Sonny Assu, Nicholas Galanin, and Geronimo Inutiq (madeskimo) — explore a legacy that continues to reverberate among Indigenous peoples, both individually and collectively.” 

Venue & Address: 
KATZMAN CONTEMPORARY 86 Miller Street Toronto, Ontario, M6N 2Z9

Shaman Dream in Colour – Exhibition by Robert Houle

Saturday, April 23, 2016 - 4:00am to Saturday, May 14, 2016 - 4:00am

You are invited to meet painter, curator and writer Robert Houle, 2015 winner of the Governor General’s Award in Visual and Media Arts.

Houle is a member of the Saulteaux First Nation and taught at OCAD U for more than 15 years. His recent works include an installation in the AGO’s Walker Court entitled Seven Grandfathers.

Artist Reception: Saturday, April 23, 2 to 4 p.m.
Opening remarks by John Kearsey, Vice-President (External),
University of Manitoba

Exhibition runs April 23 to May 14, 2016

The exhibition's 24-page colour catalogue features an introduction by OCAD U associate professor David McIntosh.

Venue & Address: 
Kinsman Robinson Galleries 108 Cumberland St., Toronto
Circular painting by artist Robert Houle

Environmental Design Professor Stuart Reid's BELIEFS exhibition & more...

Hacking Time
Saturday, April 2, 2016 - 11:00am to Saturday, April 30, 2016 - 11:00am

April 2 to 30 -- Gallery Gevik will be exhibiting a new body of work by Stuart Reid during the month of April. This series, entitled ‘Beliefs’ are ‘glass canvases,’ and can be viewed as front-lit paintings or as backlit-illuminated images. Last summer, Reid’s world-class art installation ‘zones of immersion’, debuted at Union Station. This installation consists of a 150-metre screen of glass panels with multi-layered mural images, poetic writings and rich primary colors with black and white drawings.

March 28 - May 15 -- Durham Art Gallery will be exhibiting a trio of work called "Hacking Time" Adam Magyar, Stuart Reid, David Rokeby

April 23 to October 2017 -- a group exhibition of International Contemporary glass at Le Centre du Vitrail in Chartres, France Lumieres du Monde  which features 3 of Stuart Reid's glass works


Venue & Address: 
Gallery Gevik 12 Hazelton Avenue Durham Art Gallery 251 George St. E. Durhan

OCAD University's Florence Program Visiting Artist + Speaker Series welcomes STANZIE TOOTH

Image of painting in a gallery
Wednesday, April 6, 2016 - 4:00am to Thursday, April 7, 2016 - 4:00am


OCAD University's Florence Program is hosting a Visiting Artist + Speaker Series which brings six international artists, critics and gallerists to our international campus to engage in artist talks, critiques and individual studio visits. This unique opportunity offers students insight into how a successful international practice is developed as well receiving critical feedback on their independent studio work. 

Stanzie Tooth is an MFA candidate at the University of Ottawa 2015. In 2007 she received her BFA  from the Ontario College of Art & Design with an award for excellence in painting. Her work has been exhibited in solo and group exhibitions across Canada including “60 Painters” at Humber College, an ambitious overview of contemporary Canadian painting. Stanzie is represented by General Hardware Contemporary, Toronto.

The Series is organized by Linda Martinello, Assistant Professor / CLTA, Faculty of Art, OCAD University



Venue & Address: 
OCAD University Florence Campus
Florence 2016 Speaker series poster, text on background

General Hardware Contemporary presents Scott Everingham solo exhibition of paintings

abstract painting
Thursday, March 10, 2016 - 5:00am to Saturday, April 23, 2016 - 4:00am

General Hardware Contemporary is pleased to present Sessional Instructor Scott Everingham’s solo exhibition of recent paintings. Mires, marks Everingham’s second solo exhibition with the gallery.

Everingham explores human habitations and dwellings through animated paint medium and language conveying a narrative abstraction: subverting the painted surface and illusory depth simultaneously. Architectural fragments emerge as interim places for refuge and repose, describing one’s influence and necessity of their natural environment. Whether decades or mere moments pass in each location, these environments examine both tangible and ephemeral structures, and are explorations of illusory space and time.

Everingham holds a BFA from NSCAD University in Halifax, and an MFA from the University of Waterloo. He is a 3-time RBC Canadian Painting Competition Finalist, and the recipient of awards from the Canada Council for the Arts, Ontario Arts Council, and the Toronto Arts Council. Everingham’s work is included in many private and corporate collections such as TD Bank Collection, RBC Corporate Collection, Cadillac Fairview, Art Gallery of Nova Scotia, Welch LLP and Tom Thompson Art Gallery. He has exhibited internationally with exhibitions across Canada, Denmark, Houston, Los Angeles and several art fairs: Art Toronto, Art Chicago, Papier 14 (Montreal) and The Armoury Show (New York).

In June 2016, Everingham will exhibit at the Torrance Art Museum in Los Angeles alongside artists such as: Tomory Dodge, Oscar Murillo, Albert Oehlen and Christian Rosa.

Venue & Address: 
General Hardware Contemporary 1520 Queen Street West, Toronto, ON