James Fowler’s Skin @ MADE and PieceWORK @ the Gladstone Hotel
I have been wondering lately “Where has the last month and a half gone?” I had what I thought was a very attainable and manageable goal of writing two to three blog posts a week. Seemed manageable enough, but ….. So, this posting is actually my attempt to not only get back on track, but also to acknowledge that I am just not getting out to see as much art as I would like to
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James Fowler’s Skin @ MADE and PieceWORK @ the Gladstone Hotel
I first fell in love with Caitlin Erskine-Smith’s work at the Luminato Box in Sam Pollack Square during Luminato, the Toronto Festival of Arts and Creativity last June. As I visited the Luminato Box each day of the ten day festival, I became intrigued and fascinated with the way each artist chose to utilize the space. While some artists used the space much as they would any other gallery space, others such as Erskine-Smith integrated their work within the space.
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Caitlin Erskine-Smith, Writing Down the Gauntlet @ Luminato & Tug of Warp @ Scotiabank Nuit Blanche
Text-Based September 18 – November 1, 2009 Reception: Friday September 25th 7 – 9 PM “Text-based” as a term is commonly associated with computer based applications where the primary input and outputs are text rather than graphics.
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New Exhibition at Brayham Contemporary Art — Text-Based: Brown, Campbell, Juliusson, Koester, Will & ArtEXCHANGE
As I was still installing the next exhibition in the gallery , I decided to take advantage of the fact that I was not open last Saturday and headed to the University of Toronto Art Centre to catch Fujiwara Takahiro’s artist talk. Fujiwara Takahiro attracted the attention and captured the imagination of thousands with his work Into the Blue exhibited in the Toronto Eaton Centre as one of the Scotia Bank Nuit Blanche Zone A exhibitions in 2008.
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Fujiwara Takahiro in Toronto & Kitchener
[edit] History In A Peep at Christies’ (1796), James Gillray caricatured actress Elizabeth Farren and huntsman Lord Derby examining paintings appropriate to their tastes and heights.The official company literature states that founder James Christie conducted the first sale in London, England on 5 December 1766, [1] and the earliest auction catalogue the company retains is from December 1766. However, other sources note that James Christie rented auction rooms from 1762, and newspaper advertisements of Christie’s sales dating from 1759 have also been traced.[citation needed] Christie’s soon established a reputation as a leading auction house, and took advantage of London’s new found status as the major centre of the international art trade after the French Revolution. Christie’s was a public company, listed on the London Stock Exchange from 1973 to 1999, after which it was taken into private ownership by Frenchman François Pinault.
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Christie’s
However battered (and shrinking) it may be, the WQW art community still has enough oomph to mobilize a friendly, feel-good art conflagration or two. Two of them take place tomorrow, the first being the literally-named Music in Galleries event , which is what it sounds like: For the fourth year in a row, Scott Thomson, the trombone virtuoso and director of Somewhere There (“an all-year contemporary art thing,” as its site says, in a little jab to the terribly official — and equally brief — Nuit Blanche ) leads a procession of musicians from Trinity Bellwoods Park west along Queen, where clusters will set up shop in various galleries, jamming out their best (Music in Galleries isn't the product of another group, the A ssociation of Improvising Musicians, for nothing; the sounds promises to be loose, loose, loose). It all ends up at the Gladstone's Melody Bar for a final set that promises to be a stunner, by Malian musicians Abdoulaye Kone and Jah Youssouf at 4:40 sharp
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Speaking of community … Music in Galleries and Square Foot, this weekend
On a recent wander past Loop Gallery on Queen West , I noticed that its upcoming show, of York MFA/PhD graduates , will be its last — on Queen Street, at least. I suppose no-one should be surprised. Galleries have been decamping from the Drake-ified stretch of Queen for at least a couple of years now, shoved out by sky-high rents and rapidly-changing neighbourhood use, spurred on by, of course, the initial presence of the galleries themselves
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Out of the Loop: Art’s march out of the (ahem) ‘Art + Design’ district continues
Hot summer nights and un-air conditioned galleries can make for sweaty openings, and I expect nothing less tonight at Katherine Mulherin's August exhibition of Shauna Born's portraits. Soft-focus and ethereally oblique, Born's portraits use delicate colours and imprecise brush strokes, that give the paintings, which are less than 12″ tall, typically, a mysterious, not-quite-there quality (intentionally, I'm sure; the titles are equally indirect, like This Charming Man, for a bearded hipster in a cowboy shirt, or Steel Town, for a simmering young woman, glaring out in quiet contempt). There's a roughness to these pictures that makes them seem kind of urban folksy, and I can't quite tell if it's intentional, or the product of still-developing skill.
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Tonight: Shauna Born at Katherine Mulherin
Michael Klein breaks the summer-show trap of dusting off whatever's in storage, just to keep the walls covered, with the curious curatorial conceit of going back to his roots for School of Art, which opened on Saturday. Klein, who went to art school in Winnipeg, convenes here a selection of works from his various teachers, some of whom continue to teach at his alma mater, the University of Manitoba's School of Art.
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Going home again: School of Art @ MKG127
The title and theme for the 53rd La Biennale di Venezia is Fare Mondi : Making Worlds . Since its inception in 1895, the Biennale has always had an international focus presenting a forum where artists and curators can celebrate their shared and divergent voices and nations can promote their cultural strength. Much like the World Fairs that served as somewhat of an inspiration and model for the original Biennale, the Giardini became focused around 30 national pavilions.
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Making Worlds: Transnationalism, Nation States, and Representation at the 53rd La Biennale di Venezia
For those (like me) who missed the Toronto Outdoor Art Exhibition this year (not on purpose; I love the event, but it always falls in mid-July, exactly when I want to be as far from the city as possible), the Propeller Centre has kindly put together the After-Show, a culling of the gallery's favourite outdoorsers, brought inside (though, given Propeller's lack of air conditioning, it maintains a brutal mugginess, for that authentic, Toronto-summer feel). Anyway, not to digress
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TOAE post-partum, intolerable humidity and all, at Propeller
While I started my curatorial career creating mostly thematic group shows, I have always been most interested in solo or one-person exhibitions. I strongly believe that it takes more than one or two examples of an artists work to really understand the work and get a grasp of what the artist is doing or trying to say. A well curated or developed solo show can provide the viewer with a detailed or comprehensive look at a specific body of work, or of a survey of a longer period of artistic production
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Miquel Barcelo @ the Spanish Pavillion – 53rd La Biennale di Venezia
We have been back in Toronto for just over 72 hours now. As I stated in an earlier post this was my first trip to Venice and to the La Biennale di Venezia . I have to admit that I fell in love with Venice, and had moments where I contemplated phoning my parents and asking them to send us Pookie (our adorable little toy poodle) as I wanted to stay in this somewhat unreal environment of art, architecture, perfect weather and no cars! Pookie in Gallery Window Brayham Contemporary Art Toronto, ON Of course the reality is that we don’t speak Italian, Phil has teaching and research commitments at the University of Waterloo, I have the gallery and am in the midst of my PhD
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Navigating Venice and the 53rd La Biennale di Venezia without an expense account
Propped against the wall throughout the Palazzo delle Esposizioni in the Giardini of the 53rd La Biennale di Venezia were Andre Cadere’s Barres de bois rond . These colourful wooden bars seemed purposefully out of place. They had no apparent relationship to the work they were exhibited with, and they were scattered around throughout the exhibition pavillion placed adjacent to other artists’ work, or almost tucked away in forgotten spaces.
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Andre Cadere & Art Interventions at the 53rd La Biennale Di Venezia
A few days ago I witnessed an excessively sad event. A huge group of merchants was thrown out (by the police) of a hall in the center of Warsaw (which they had been renting for several years), and the events turned violent and nasty, with throwing of stones and fights and tear gas and general havoc. Although it did look like some sort of incomprehensible flash mob or other performative party, one could hardly squeeze it into the “new art” category, were it not for one significant detail: the commercial hall is to be substituted by the Museum of Modern Art .
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Lapidating Modern Art
TEL AVIV.- Andy Warhol’s Factory (New York, 1963-1983) was one of the most famous centers of creativity in the history of contemporary art. The exhibition presents portraits of Warhol and some of his associates, taken at the Factory by Billy Name, Gerard Malanga, Carl Fischer and Curtis Knapp. Continued here: Celebrity Portraits from the Andy Warhol Factory on View at the Tel Aviv Museum of Art (Art Daily)
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Celebrity Portraits from the Andy Warhol Factory on View at the Tel Aviv Museum of Art (Art Daily)
Spain, with its myriad of influences and epic history, is a country with a diverse gamut of sights and sounds to offer its 45 million tourists who visit every year. An area where this can be seen in particular is in its museums and galleries, a rich history of art and culture has left Spain a huge legacy in this department with names such as Dali, Picasso and Miro leading the list: Guggenheim, Bilbao: Now one of the most easily recognised buildings in Europe, the Guggenheim in Bil Go here to see the original: Top four city museums in Spain
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Top four city museums in Spain
The author of this post, Stefan Zebrowski-Rubin , is a 2008 graduate of Harvard College in History of Art and Architecture and Italian Studies who works at the Canadian Centre for Architecture in Montreal and continues to fuel his interest in contemporary art by attending exhibits wherever his travels take him. Before I knew it, I was implicated.
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Shepard Fairey’s iconoclasm at ICA Boston
You wouldn't tell we are in a recession by the amount of people that turned up last night at the group show opening of 'Rogue Wave' at the LA Louver Here are a couple of pics: Right and Left sides of video room installation of Micol Hebron. Lots of gum chewing. . . Olga Koumoundouros in the Main Gallery (that is a plastic Big Gulp cup there at the bottom) Tia Pulitzer sculpture, clay and auto paint video and ink jet prints from Erin Cosgrove and upstairs, Matt Wedel's almost life-sized clay/glazed (and a little creepy) sculptures
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The OC and Beyond. . . last night’s opening at LA Louver
Every day I am amazed at the ingenuity of Iran’s cyber generation. Isolated from outside media, they transformed seemingly narcissistic and shallow, global networking sites (check out pics of my trip to San Francisco) into an unrestricted forum divulging political corruption. This generation is completely utilizing resources like Youtube, where millions of people are witnessing the violence erupt in the streets, and Twitter, where first-hand experiences are chronicled in a continuous feed.
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Coming Soon, Contemporary Iranian Art