Ornaments of Suffering

nolan
Wednesday, April 9, 2008 - 4:00am to Sunday, May 4, 2008 - 4:00am

LE Gallery in Toronto presents the first solo exhibition of work by OCAD alumnus and 2006 Drawing & Painting medal winner Nigel Nolan. This ambitious and engaging project makes use of both gallery spaces. Ornaments of Suffering, produced
between Buenos Aires and New York City highlights Nolan's ability
to explore multiple facets in his personal practice as well as looking
at the impact on his subjects across international experience.

Nigel Nolan's work is included in the collection of the Agnes of
Etherington Museum and has been selected to be a part of Carte Blanche
Volume 2, a survey of contemporary Canadian painting by the Magenta
Foundation. Ornaments of Suffering marks Nolan's first solo exhibition
with LE Gallery.

Venue & Address: 
LE Gallery 1183 Dundas Street West, Toronto, Ontario
Cost: 
Free

Laura Millard: Precipitate

LauraMillardInvite
Saturday, February 16, 2008 - 5:00am to Saturday, March 22, 2008 - 4:00am

Leo Kamen Gallery in Toronto presents new work by OCAD Drawing & Painting Chair Laura Millard.

Venue & Address: 
Leo Kamen Gallery 80 Spadina Avenue, Toronto, Ontario
Cost: 
Free

Martina Edmondson: Second Chance

Martina Edmonson: Second Chance
Wednesday, October 31, 2007 - 4:00am to Sunday, November 18, 2007 - 5:00am

*new* gallery in Toronto presents a solo show by alumna and OCAD Class Assistant Martina Edmondson. The work in this exhibition references a second chance for both materials and subject matter through reincarnation or transformation. Underlying materials that were designed to be disposable -- used coffee filters, teabags and dryer sheets -- are transformed by manipulation into new forms. Left natural or screen printed with siblings' handwriting and portraits, or embroidered with words and/or portraits, the subject matters include relationships with family, time and objects.

Venue & Address: 
*new* gallery 906 Queen Street West, Toronto, Ontario
Cost: 
Free

Folie ' Deux

Waldburger, That depents...
Thursday, November 1, 2007 - 4:00am to Saturday, November 17, 2007 - 5:00am

A condition in which two closely related persons, usually in the same family, share the same delusion.
Implicit in the idea of the double madness of Folie ' deux is the twin.
This twinly madness, as the term was originally referred to, is a doubling of
singular delusions. This work makes a case for the double madness of the
single person, an illusion of twin. The folly lies in the delusion shared with
a phantom twin.
It is possible that many singletons, that is, people born alone -- not as a
twin, started life as a twin in foetal development. It has been suggested
that, in competition for resources, one foetus absorbs the other during
pregnancy. Several medical and scientific theories make a case for this
possibility by citing the frequent discoveries in adults of cysts containing bits of hair, teeth and spinal tissue. These are believed to be signs of a "Vanished Twin".
The Vanished Twin is that 'perfect other'. The 'other' that is at once equal but different, promising eternal companionship and understanding because it is, although other, identical. It is an Other that exists as a potential. The vanished and vanquished twin bridges the lamentable loss of identity. The
flipside of this coin is the conjoined twin, the 'Siamese' twin, the
Doppelg'nger. This is the inescapable twin. The uncanny, perfect Other that
can never be eluded. It is a twinship into which one is born and the death of
which marks one's own demise.
A twinning of one, a delusion of two. These tightropes are crossed with some
trepidation as they call into question a singular self-identity but they also
muse on the nature of madness and companionship. It is a bittersweet idea, "while the vanished twin assures us of a sempiternal human link, it affords us also the pathos of inexpressible loss."
Natalie Majaba Waldburger

Natalie Majaba Waldburger received her B.A. specializing in Women's Studies at Queen's University in Kingston, Ontario. In 1996, she graduated with Honours from the Ontario College of Art and Design receiving the Drawing and Painting Department Medal, the highest award in her department. Natalie has taught at the Nova Scotia College of Art and Design in the Media Arts Department where she completed an MFA in 2004.
Since graduation Natalie has received provincial and federal grants for her artwork, which she has been exhibiting since 1994. Her paintings are represented in various public, private and corporate collections in Europe, North America, and Australia.

Venue & Address: 
Bau-xi Gallery Toronto 340 Dundas Street West, Toronto, Ontario
Cost: 
Free

Chung-Im Kim

Chung Im Kim
Wednesday, November 21, 2007 - 5:00am to Sunday, December 9, 2007 - 5:00am

*new* gallery in Toronto presents an exhibition of new fibre work by OCAD Faculty/Technician Chung-Im Kim.

Venue & Address: 
*new* gallery 906 Queen West, Toronto, Ontario
Cost: 
Free

Plan B

Whiteout, by Brynley Longman, oil paint, canvas, 48" L x 60" W, 2007
Thursday, October 18, 2007 - 4:00am to Saturday, November 24, 2007 - 5:00am

XEXE Gallery would like to invite you to join us in celebrating Brynley Longman's exhibition entitled Plan B, a wonderful series of lush oil paintings cunningly depicting civilization's encroachment onto untouched environments.
"Power lines are many things to me. They represent the expansion of the human race, they are everywhere yet hardly noticed, accepted as everyday landscape but inexorably expanding. Our species plows into nature and leave hooks that resist all but the strongest of winds, they stand impervious to snow and rain. We talk of impending doom due to our treatment of the earth. One side claims loudly that climate change is all just environmental bandwagoning, and that we are experiencing a natural cycle, the other greener side shout that natural cycles don't happen over such a short course of time, and that we must mend our ways today and not tomorrow. Would we let world economies suffer to fix our planet? Plan B as a series is meant to capture this mood, using power lines, satellite poles and wind turbines as symbols of a changing world." (Longman, 2007)

Venue & Address: 
XEXE Gallery 624 Richmond Street West, Toronto, Ontario
Cost: 
Free

Gord Peteran: Re-Assembled History

Gord Peteran Re-Assembled History
Tuesday, August 9, 2016 - 2:00pm to Saturday, October 1, 2016 - 8:00pm

OCAD U Graduate Gord Peteran is an artist that operates on, in, or often near the territory of furniture. 

His work will be presented in the exhibit "re-assembled history" at the Agnes Jamieson Gallery from August 9 to October 1, with an opening reception and artist talk on August 13 from 1 PM to 3 PM. 

_____

"I suspect that our built environment is patterned after the subconscious. My work relies on excavating some of these "symptoms of life" from the kinds of space and objects we place between us and our architecture. The intimate domain of the home is a fertile landscape to draw from when assembling my ideas.  Furniture is often my subject, due to its close proximity to the body. 

Not being a fan of "new" I target the very old vices and virtues we harbour.

This exhibition will dig into the historically familiar, . . .to produce even more familiar things, sometimes difficult things we've seen many times but refuse to recognized.

Through a combination of overt re-pairs or subtle re-inventions my goal is to coax them back into the present visible." 

-Gord Peteran

 

Venue & Address: 
Agnes Jamieson Gallery 174-176 Bobcaygeon Road, Minden, ON. K0M 2K0
Website: 
http://mindenhills.ca/art-gallery/gallery-programming/
Cost: 
Members & Children under 10 - Free Centre-wide Admission, Section Admission - By Donation

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
Email: 
info@generalhardware.ca
Phone: 
416-821-3060

"Tussle" published article about Rae Johnson's recent solo exhibition titled "Interiors"

graphite image of humans in corridor
Tuesday, February 9, 2016 - 9:00pm

"Tussle", published article about Rae Johnson's recent solo exhibition titled "Interiors" Nov 28 - Dec 31-  at Christopher Cutts Gallery in Toronto.  Article below:

http://www.tusslemagazine.com/#!rae-johnson/brg0f

She paints it personal, she’s Rae Johnson

by Miklos Legrady, February 6th, 2016

I'm looking at an anonymous daguerreotype from 1858 of a carefully composed picture of the city of Paris - except for that horse's head intruding from frame left.  In classical painting the use of composition normally eliminates such distractions by directing our gaze and how we read the image, without our knowing we're being led.  That is the “art” in visual art. Photography was different from the start, photographs at first being a rare magic. As with all novelty the unexpected was often awesome rather than quizzical, like this horse photobombing your landscape. Encroaching means the personal made public, which is what Rae Johnson does in her work by injecting what appears to be our personal remembrances into her paintings, her work hinting at secrets and hushed memories. The personal is unexpected and the impersonal is political.

 

At first glance these paintings don't seem unexpected, more like sophisticated drawing writ large. You wonder if Rae Johnson is just whipping that dead horse. Isn't beauty passé, so five minutes ago?  Duchamp did say good taste is the enemy of art so logically bad taste should be our friend.  Duchamp also said he wanted to kill art, discard the ocular, make it intellectual.  Art is senseless if lacking sensation, tasteless for lack of taste. But in the 1970s Abraham Moles and Frieder Nake analyzed links between beauty, information processing, and information theory. (1)  Physicist Paul Dirac is quoted saying “if one is working from the point of view of getting beauty in one's equations, and if one has really a sound insight, one is on a sure line of progress”.(2)  Denis Dutton was a philosophy professor and the editor of Arts & Letters Daily. In his book The Art Instinct, he suggested that humans are hard-wired to seek beauty. “There is evidence that perceptions of beauty are evolutionarily determined, that things, aspects of people and landscapes considered beautiful are typically found in situations likely to give enhanced survival of the perceiving human's genes.” (3)

 

In Against Interpretation, a collection of essays by Susan Sontag published in 1961, we’re informed that sensations and perceptions retain their primacy.  Sontag writes that we live "in a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability…” (4)  that she called the revenge of the intellectual on the creative artist.  Thirty years later Robert Storr, then curator of MOMA, spoke of how, during the 1960s, art moved from the Cedar Tavern to the seminar room. Storr said it was a transformation that created a class of critics and artists, a class that lost all sight of the viewer and created a cult of difficulty based on jargon -– the words used like pieces in an erector set to reference their own theories to other theories, - with art works to illustrate those theories alongside.(5) Art shifted to the intellectual sphere because we find it so much more satisfying to struggle with something real, something we already understand, rather than face the unknown and create new understanding.  To stick with an intellectual approach is but procrastination, it is uninspired and therefore Johnson  plunges in, she paints.

 

In an interview discussing her work Johnson said, "we better get used to the fact that painting occupies a position all by itself, you can't get rid of it or deprecate it, it's unique." For 130 years we’ve heard of painting’s demise but currently we’re witnessing such a profusion of figurative painting including this exhibition as to put a “death of painting” argument back in the grave. Johnson has always turned the world into a narrative. She paints it like she’s drawing, in a handful of brush strokes. This current body of work includes powerful large paintings in colour but I'm fascinated with the monochromes. These are square black- and -white graphite on canvas, like large charcoal drawings, youthful sketches by a sophisticated painter.  Scenes of local bars, nightlife, dancing, with an itch of haunting memories.  The work promotes self-identification by mirroring our lives and the people we know, presented as chess pieces on a stage of memories.  Johnson tells us she smudges people’s features.  “I blurred when faces appeared, made them generic. So they will be more real to the viewer. If I gave them features it would detract”.  The impersonality of locale and the blurred figures are occasions for projection, for reading our own stories in the general pattern.  The impersonal is political.

 

Johnson’s recent paintings are like notations in a journal.… A memory of how going for a drink, waiting for a friend, at the Cameron or the Gladstone or your local oasis. Even as we think these are familiar clubs and bars Johnson said the sources are autonomous, pictures found on Google. Yet these images look both familiar and documentary, which tells us something about painting as a medium and Rae Johnson as artist. They always said Johnson had a Munchian vibe.  Rae’s paintings are not blatantly political.  They will not feed hungry Syrians nor do they berate Monsanto and capitalism, her images are neither didactic nor subscribe to overt social change. Yet these images are beautiful and haunting and certainly needed.  Long after conceptual works lose their train of thought the paintings will grow on you.  Rae Johnson’s canvasses are full of visual gestures and they are lovely, the brushstrokes embed a body language directed by the subconscious mind into a set of compressed codes. These brushstrokes aesthetics can be compared to algorithms that are decoded deep within the viewer while consciously we feel a sense of fascination. In the fine art aesthetic elements may be seen as compressed information we decode subliminally or on a semiconscious level. Aesthetics contain shades of meaning experienced as feelings and sensations, which have as much content as any intellectual statement.  Beauty is then a depth of complexity harmonized to simplicity… surely not something to ignore.

 

Endnotes.

1- A. Moles: Théorie de l'information et perception esthétique, Paris, Denoël, 1973

Nake (1974). Ästhetik als Informationsverarbeitung. (Aesthetics as information

processing). Grundlagen und Anwendungen der Informatik im Bereich ästhetischer

Produktion und Kritik. Springer, 1974, ISBN 3-211-81216-4, ISBN 978-3-211-81216-7

2- Paul Dirac, The Evolution of the Physicist's Picture of Nature (May 1963), Scientific

American.  http://blogs.scientificamerican.com/guest-blog/the-evolution-of-the-

physicists-picture-of-nature/

3- Dennis Dutton, The Art Instinct, A Darwinian theory of Beauty, TED Talk 2010

http://www.ted.com/talks/denis_dutton_a_darwinian_theory_of_beauty

4- Susan Sontag, Against Interpretation and Other Essays, (New York: Farrar, Straus and

Giroux, 1961).

5- Stuart Servetar, The Inspeak of the Overlords, New York Press, May 29-June 4, 1996

http://www.studiocleo.com/cauldron/volume3/confluence/miklos_legrady/tex...

Derek Liddington: Reclining Nude, Sitting Fruit

abstract image
Thursday, November 12, 2015 - 5:00am to Saturday, January 9, 2016 - 5:00am

Opening Reception:
Thursday, November 12, 6 - 8pm
Artist in attendance

The Daniel Faria Gallery is delighted to present Reclining Nude, Sitting Fruit, Toronto-based artist Derek Liddington’s third solo exhibition with the gallery.

In this exhibition, Liddington records the impossibility of stillness through mark-making. From his documentation emerges a new series of abstract mappings that fasten drawing and performance to one another; an association that Liddington rigorously pursues within his practice.
As the exhibition’s title suggests, living models and fruit arrangements—art historical leitmotifs that have been crucial to the development of representation and, later, abstraction—are employed as a point a departure from which Liddington unpacks the possibilities of observation and transcription. Further accentuating the still life’s affinity to historical painting, Liddington masks each one of his compositions under canvas rather than paper, reproducing the objects’ physical qualities through touch and, to some degree, memory.
In Self-Portrait (2015)—a central work in the exhibition—a male model is situated in the studio, directed to embody Liddington’s posture and physical articulations. In this way, Liddington continues to interweave autobiography and art history, a dimension in his work for which he has become known. By emulating the artist’s physical tendencies, Liddington’s work, although based on traditional artistic devices such as the live model, reflects a contemporary body language that resists associations to any other epoch.
Once the model is in position, he is draped in a canvas, the folds and creases of the material responding to his body’s lines and contours. Liddington, using graphite, tracks the human form over a long period of time; a prolonged action that confronts the model’s suspended movement and Liddington’s documentation of it. As time passes, adjustments in the body and to the material occur, disrupting Liddington’s ability to represent the form precisely. As the canvas is lifted and stretched open, amendments and unresolved markings are revealed on the surface, serving as evidence of Liddington’s longing to overcome the impossible, and his succumbing to the inevitable effects of time and flux.
Derek Liddington (b. 1981) obtained his MFA from the University of Western Ontario and BFA from the Nova Scotia College of Art and Design. Recent solo exhibitions include Every moment can be traced back to the first time I felt the warmth of the sun touch my face at Cambridge Galleries, Cambridge, Ontario (2014-15), It wasn’t until we closed our eyes that we could finally see what was there all along at aka Artist Run, Saskatoon (2015) and FLESH MARBLE LEAF AND TWIG at 8-11, Toronto (2015). Liddington’s work has been exhibited in numerous public settings, including The Sun Has Always Set From East to West, curated by Denise Markonish as part of Nuit Blanche, Toronto (2014). Liddington’s work has been shown at Art Berlin Contemporary (2013) and NADA New York (2014). Liddington has been the recipient of numerous grants, including the Emerging Artist Grant from the Toronto Arts Council and the Emerging Artist Grant from the Ontario Arts Council.

Hours: Tuesday to Friday 11:00 am to 6:00 pm, Saturday 10:00 am to 6:00 pm

Venue & Address: 
Daniel Faria Gallery 188 St Helens Ave Toronto ON M6H 4A1
Website: 
http://www.danielfariagallery.com
Email: 
For more information please contact Dory Smith at: dory@danielfariagallery.com
Phone: 
416 538 1880

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