Alexandre Arrechea Student Workshop

Alexandre Arrechea
Thursday, September 29, 2016 - 7:00pm to 8:30pm

Join us for a small, intimate student workshop with renowned Cuban artist, Alexandre Arrechea, on Thursday, September 29 at 3pm.

Thought provoking artist Alexandre Arrechea will visit OCAD U the last week of September and deliver his lecture CORNERS, where he will introduce sculpture within the context of the public environment. Dialogue strategies will be explored in his talk, as will issues such as the evolution of site-specific sculpture, the related realm of collaboration, and the future of public artwork.

The artist has kindly agreed to give a two hour workshop with a small group of students – limited to only 25 attendees – the day following the lecture. For OCAD University students or alumni only.

If you are interested in attending, please email jnorthwayfrank@ocadu.ca to secure your spot, as capacity is limited.

Lecture
Wednesday, September 28, 7pm
100 McCaul Street - Room 190 (Auditorium)

Small Student Workshop
Thursday, September 29, 3pm
100 McCaul Street – Room 258

About Alexandre Arrechea:

Alexandre Arrechea (b. 1970, Trinidad, Cuba) lives and works in New York City. His practice employs visual metaphors to address ongoing social themes of inequality, cultural disenfranchisement and the disputed position of art in a global, media-driven society. Arrechea was a founding member (1991–2003) of the Cuban artist collective Los Carpinteros. Since returning to individual practice, he has focused on large-scale sculptures and installations that he first drafts in watercolour and that question the interconnectedness of urban design with systems of power and surveillance. His works include installation and painting as well as the use of what he considers are objects with “elements of truth.” This last category has included found “remnants” of places such as debris, fragments of walls and measuring tape. He is best known for monumental projects such as NOLIMITS (2013), comprising ten sculptures on New York City’s Park Avenue, each of which riffs on an iconic city building.

Arrechea received a BFA from Havana’s Instituto Superior de Arte in 1994. In 2015 during the 12th Bienal de Havana, he received the Artist of the Year Award from the Howard and Patricia Farber Foundation. The following year, the Palm Springs’ Coachella Music Festival commissioned his Katrina Chairs to commemorate the 2005 Gulf Coast hurricane. Arrechea has held solo exhibitions at institutions such as Museo Nacional de Bellas Artes in Havana, PS1 Contemporary Art Center in New York, Los Angeles County Museum of Art (LACMA) in Los Angeles, and the New Museum in New York.

http://alexandrearrechea.com

Alexandre Arrechea appears courtesy of Latin American Canadian Art Projects and OCAD University's President's Speaker Series.
Photo: Rafael Garcia Sanchez

Venue & Address: 
100 McCaul Street - Room 258
Email: 
jnorthwayfrank@ocadu.ca
Phone: 
416-977-6000 x300
Cost: 
Free

Alexandre Arrechea - CORNERS

Portrait of Alexandre Arrechea
Wednesday, September 28, 2016 - 11:00pm to Thursday, September 29, 2016 - 12:30am

Join us at OCAD University to hear a talk by the renowned and thought-provoking speaker Alexandre Arrechea, a Cuban artist whose work involves concepts of power and its network of hierarchies, surveillance, control, prohibitions, and subjection. With his lecture Corners, Arrechea introduces sculpture within the context of the public environment. Dialogue strategies will be explored in the talk, as will issues such as the evolution of site-specific sculpture, the related realm of collaboration, and the future of public artwork.

Presented in association with the lecture is also an intimate student workshop on Thursday, September 29 at 3pm.

Lecture
Wednesday, September 28, 7pm
100 McCaul Street - Room 190 (Auditorium)

Small Student Workshop
Thursday, September 29, 3pm
100 McCaul Street – Room 258

About the Artist

Alexandre Arrechea (b. 1970, Trinidad, Cuba) lives and works in New York City. Arrechea received a BFA from Instituto Superior de Arte (ISA), Havana, Cuba in 1994. As a founding member (from 1991 through 2003) of the Cuban artist collective Los Carpinteros, his work employs visual metaphors for ongoing social themes of inequality, cultural disenfranchisement, and the disputed position of art in a global, media driven society.

Since returning to his individual practice, he focuses on large-scale sculptures and installations that interrogate the interconnectedness of urban design with systems of power and surveillance, first drafted in watercolors. His practice includes installation, painting, and the use of what he considers are objects with “elements of truth”; this last category has included found remnants of places, like debris, fragments of walls, and measuring tape. He is best known for monumental projects like NOLIMITS (2013), the ten sculptures on Park Avenue are riffs on iconic NYC buildings that twists and bends with the source of inspiration as though it were a malleable garden hose. Suffused  with humor and levity which reveal the powerful potential of artistic intervention to shock us out of our blasé of acceptance of everyday submission. In 2015, he won Artist of the Year Award by the Howard and Patricia Farber Foundation in Havana during the 12th Bienal de Havana. In 2016, Coachella Music Festival in Palm Springs, CA commissioned Arrechea and made Katrina Chair elevates the community around the Katrina Hurricane that in 2005 slammed the U.S. Gulf Coast with winds of up to 127 miles per hour. Arrechea has had individual exhibitions at institutions such as Museo Nacional de Bellas Artes in Havana; PS1 Contemporary Art Center in New York; Los Angeles County Museum of Art (LACMA) in Los Angeles; and the New Museum in New York.

http://alexandrearrechea.com

Presented by Latin American Canadian Art Projects in partnership with OCAD University's President's Speaker Series
Photo by Rafael Garcia Sanchez.

 

Venue & Address: 
100 McCaul Street - Auditorium - (Room 190)
Email: 
jnorthwayfrank@ocadu.ca
Phone: 
416-977-6000 x300
Cost: 
Free

Earth, Sea, and Sky

Andrea Woermke, Sphere, Sheet metal and steel rods, 2016
Thursday, July 7, 2016 - 1:00pm to Thursday, September 8, 2016 - 11:00pm

A group exhibition exploring nature by artists from fibre, sculpture, and video courses in Continuing Studies at OCAD University. Landscapes, seascapes, flora, and fauna are featured in a wide range of media.

July 7 - September 8, 2016

Join us for the closing reception on Thursday, September 8, 5-7 pm.

Venue & Address: 
Continuing Studies Gallery, 285 Dundas Street West, Mon - Fri, 9 am - 5 pm
Website: 
http://continuingstudies.ocad.ca
Email: 
continuingstudies@ocadu.ca
Phone: 
416-977-6000 x 2321
ESS Poster

Gary Taxali's "brain" unveiled

Tuesday, May 31, 2016 - 1:30pm

http://www.torontosun.com/2016/04/25/brain-project-brings-sculptures-and-awareness-to-toronto

 

Baycrest Health Sciences is bringing together the best minds in the arts to support the top brains in science in an effort designed to put the spotlight on aging and brain health.

The Brain Project has attracted 100 artists who have created brain sculptures that will be on display across Toronto, starting June 3

Merle Foster and the Test of Time

Wednesday, April 27, 2016 - 11:30pm

Many years ago, the library and archives were able to assist Terry Murray in conducting research on OCA graduate Merle Foster in preparation for an upcoming publication on this sculptor who has been so unjust forgotten in the realms of Canadian art history! The author is giving a presentation on her work which I encourage you all to attend:

 

Merle Foster and the Test of Time

Wednesday 27 April 2016 – 7.30pm
North Toronto Historical Society Northern District Library – 2nd floor
40 Orchard View Blvd. (Yonge & Eglinton)

Venue & Address: 
North Toronto Historical Society Northern District Library – 2nd floor 40 Orchard View Blvd. (Yonge & Eglinton)
Cost: 
Free admission
Poster for Test of Time

John McEwen on good public art

Recently INSTUDIO asked John McEwen, one of Canada’s foremost sculptors, to identify what, in his view, makes good public art. McEwen, who is a 1970 graduate of the Sculpture program, is certainly no stranger to outdoor commissions. Here are some of his thoughts on their making and merits.


For me, the most significant component of good public art is that the principles that form it are overlapping and interrelated. By the time one arrives at art school one has probably been given the cards (no matter how invisible) that will play out over the course of one’s life. However, with a deck of 56 cards comprising four different suits, the hands dealt will be highly mutable. The images presented here, which fall roughly into four chronological parts, demonstrate both the development and mutability of my public work in terms of that rough chronology.

 

On good public art: four interrelated and overlapping principles

  1. Good public art is a journey. Good public art occurs over time, bringing together an artist, an audience and a public space. The entry of the public and the public space alter one’s life as an artist. When good public art occurs a kind of third person can emerge, combining both artist and spectator.

  2. Good public art is more than the sum of its parts. In joining artist, audience and public space, good public art becomes the link between the human imagination and the overlapping spaces we live in. My first link was animals and my second is stars.

  3. Good public art opens to the world. The steel slab animal that I have used since 1978 is both subject and object. Unlike the iconic relationship between the weathervane and the wind, neither spectator nor environment has sole causal power. As a sculpture, the steel slab animal remains mute and motionless. But as a subject it is alive and it looks where animals look. The animal that is represented is both there and not there. Two conclusions result: first, the life of the world is independent of the human psyche; and second, in good public art we are more active participant than passive observer.

  4. Good public art recognizes the strange kinship among all living things. If the steel slab animal both evokes and protects the parallel universe of animal life, then the same animal in stars evokes the shared embodiment of all living things — as a measure that undermines any neat dichotomy between humans and animals. We are more fold than rock, in the larger melody of life.

 

Part One: The Minimal Steel Animal

 

Part Two: The Commemorative Works

 

 

 

Part Three: Celestial Space and the Lexis of Stars



Part Four: The Envelope of Stars

 



John McEwen is represented by the Olga Korper Gallery in Toronto.

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Staged Standards, by Sessional Instructor Kip Jones

Saturday, March 26, 2016 - 4:00am to Tuesday, April 19, 2016 - 4:00am

loop gallery presenting: staged standards, by Sessional Instructor Kip Jones

Opening Reception:  Saturday, April 2, 2-5 pm

loop Gallery is pleased to announce Staged Standards, a new exhibition by kipjones.

 

Staged Standards is a response to an ongoing study into architectural iconography as a sculptural gesture. The work consists of a series of materially aesthetic investigations of formally staged wooden fabrications and their echoed forms.  These austere scaled assemblies of an architectural vernacular address the notions of permanence and transformation as a reflective relationship between the elements.

 

The latex rubber forms act as dualistic moments in an inter-connected relationship with their mirrored wooden original. Pragmatically this work utilizes the inherent properties of latex rubber, its skin like qualities and it structural integrity, as containers of forms and icons.  The hard surfaced reality occupies a antipodean position in relation to the soft skinned latex empty vessels, constituting a connective bridging of the organic and the man-made – the mind and body – nature and culture.

 

Staged Standards are formal self-reflective acts of inherent tension and linked associations, a redefined vocabulary of form.

 

kipjones is an active and experienced Toronto public artist, sculptor and instructor. His artistic research addresses the complex potentialities of space through site-specific installations, public art and object making. He graduated 2011 with an MFA: sculpture from Concordia University in Montreal.  He has exhibited and participated in residencies nationally and internationally.  His public art can be engaged with in Kelowna BC, Calgary AL, Moncton NB, and most recently Gambrel Journey for the City of Markham Ontario.

 

Venue & Address: 
loop 1273 Dundas St. W
Website: 
http://www.loopgallery.ca
Phone: 
416-516-2581
poster for staged standards by Kip Jones image of 3 dimensional wall artwork and text with details of show

CounterPointe

Friday, April 8, 2016 - 4:00am to Sunday, April 10, 2016 - 4:00am

CounterPointe: new work by women choreographers and their collaborations with artists

Fri, Apr 8 at 7:30pm; Sat, Apr 9 at 7:30pm; and Sun, Apr 10 at 4pm

The Actors Fund Arts Center, 160 Schermerhorn Street, Brooklyn

 

Featuring new works by:

Kristin Draucker with sculptor Kara Daving

Julia K. Gleich with sculptor Rachel Beach

Brenda Neville with sculptor Courtney Puckett

Lynn Parkerson with artist Michelle Forsyth

Janice Rosario with painter Jessica Weiss

Ursula Verduzco with sculptor Sarah Bednarek

Eryn Renee Young with artist Amanda Browder

 

Poster Image designed by Jason Andrew featuring sculpture by Rachel Beach. Used by permission. All rights reserved.

This program is presented in collaboration with Brooklyn Ballet and supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council 

 

Venue & Address: 
The Actors Fund Arts Center, 160 Schermerhorn Street, Brooklyn
poster for CounterPointe with figurative image

Sculpture Magazine featuring MAAD Chair Dorie Millerson

Tuesday, March 8, 2016 - 6:15pm

Sculpture Magazine’s March 2016 issue has an article on MAAD Chair Dorie Millerson’s work called “Dorie Millerson: The Matter of Scale” by Gil McElroy, pp. 54-57 http://www.sculpture.org/documents/scmag16/mar_16/mar16_features6.shtml

SABBATICAL PRESENTATIONS: SYLVIA WHITTON

photograph of a dress form sculpted of natural materials
Thursday, February 4, 2016 - 5:30pm to 7:30pm

SABBATICAL PRESENTATIONS:  SIMON GLASS, DIANE PUGEN, SARAH NIND & SYLVIA WHITTON

SYLVIA WHITTON:  UNDERPINNINGS

Exploring the understructures of personal practice

(and the Mater Skirt)

 

 

Sylvia Whitton, 2015

Venue & Address: 
OCADU 100 McCaul St Room 667

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