Professor Ginger Owen Presents ‘Talbot’s Ghost’ at Art Hop

Help welcome Professor Ginger Owen back from her sabbatical as she shares her artistic research from last year at September’s Art Hop.

Friday, September 11, from 5-7pm at Diekema Hamann Architecture + Engineering

This exhibit will feature cyanotype and gum bi-chromate prints inspired by Ginger’s research at Lacock Abbey, Wiltshire, England. Lacock Abbey was the home of the inventor of photography, H. Fox Talbot.Talbot's Ghost by Ginger Owen

What Sound Does a Color Make?


What Sound Does a Color Make? is an exhibition that explores the fusion of vision and sound in electronic media. Artists explore time-based work and manipulate sound with image, and image with sound, in videos and immersive sensory environments. The exhibit connects the recent boom of digital audiovisual art to its pre-digital roots by presenting ten contemporary works by an internationally diverse group of artists and a selection of single-channel videos from the 1970s. Heightening awareness of human perception and cognition, these works hold interest for technophiles and general audiences alike. In one of the contemporary works on view, for example, made by a group of artists that includes Scanner (a.k.a. Robin Rimbaud) and D-Fuse (Kerri Elmsly, Mike Faulkner, Matthias Kispert, and Andy Stiff), the viewer is invited to bathe in a simultaneously soothing and stimulating atmosphere of electronic music and reprocessed video imagery.

What Sound Does a Color Make? is a traveling exhibition organized and circulated by Independent Curators International (iCI), New York and curated by Kathleen Forde. The exhibition and tour are made possible, in part, by grants from The David Bermant Foundation: Color, Light, Motion; The Horace W. Goldsmith Foundation; and Institut für Auslandsbeziehungen e. V., Stuttgart; and by an in-kind donation from Philips Electronics North America.

What Sound Does a Color Make?

CODE Screen 2010

Canadian Art. Your Screen. Enjoy the creations of some of Canada’s acclaimed contemporary visual artists, available wherever you have access to a computer screen. Ranging from thoughtful to witty, absurd to sublime, CODE Screen 2010 is showcasing the work of more than 100 of Canada’s finest creators, including nearly 20 recipients of the Governor General’s Award for Visual and Media Arts. Whether it’s a table-hockey-playing organ or an orderly procession of living bees, this virtual gallery will eventually host art by dozens of our country’s most luminous minds.

Learn more about the collections, artists and curators with CODE Screen 2010’s easy-to-use interactive application. Upon installation, you’ll receive an automatic prompt whenever a new exhibit is launched. Come back to whenever you need an art break.

Click here to go to the CODE Screen 2010 launch page!

Current exhibition
Exhibition No. 10
When the Night Comes
Curated by Nathalie de Blois

Upcoming exhibitions:
Exhibition No. 11 — February 2, 2010
Exhibition No. 12 — February 16, 2010
Exhibition No. 13 — March 2, 2010
Exhibition No. 14 — March 16, 2010

Don’t Talk to Strangers

Trinity Square Video and Pleasure Dome present:
Don’t Talk to Strangers
Harry Dodge (Los Angeles) and Alison S.M. Kobayashi (Toronto)
February 6 to March 6, 2010

This two-person exhibition features new work by two gifted performance artists who portray a range of eccentric invented characters; they employ video to show these personalities scrutinized by the mediating force of the camera. With each persona, the artists test not only different identities but also different ways of reacting to the pressure of being recorded. In Dodge’s This Beast Called Force (18 min, 2009) a character of unstable identity and shifting masks spars with TV images and proffers alternately cogent and dysphoric theses. Kobayashi’s DO GOOD (11 min, 2009) meanwhile features five girls forced to give video presentations explaining the brownie badges they have created and how they earned them. This ritual seems designed to tame all the restless and reckless energies of childhood – the volatile id of Dodge’s “beast.”

Harriet “Harry” Dodge is a visual artist working in video and sculpture, with a focus on shape, unnameability and hybridity/defiance. She has been acclaimed for her large-scale, performative monologues and her award-winning feature film By Hook or By Crook (2000). Dodge graduated with an MFA from Bard College, and became part of a videomaking team with Stanya Kahn whose work has been exhibited internationally, including at the 2008 Whitney Biennial. Dodge is also co-founder of the collaboration TESTHOLE, which has undertaken a series of community-based interventions/partnerships experimenting with decomposition and fertility, and teaches art and writing at CalArts, UCLA and UCSD.

Alison S.M. Kobayashi is a visual artist working in video, performance, installation and drawing. Working with found narratives from a variety of sources, including lost letters and discarded answering machine tapes, Kobayashi imagines identities for the subjects of these marginalized media. She incarnates a panoply of personas that are both studiously and playfully rendered. Kobayashi won the TSV Artistic Vision Award for Best Local Short Film at the Toronto Reel Asian Film Festival (2006) and was awarded the Mississauga Arts Award for Best Emerging Artist (2007). Her films have been shown in Canada, the US and Hong Kong.

Trinity Square Video
401 Richmond Street West, Suite 376, Toronto, Canada
Hours: Monday to Friday 12–6pm, Saturday 12–4pm
Phone: 416-593-1332

Analogue: Pioneering Video from the UK, Canada, and Poland (1968-88)

Steve Partridge, Monitor 1, 1975

Analogue: Pioneering Video from the UK, Canada, and Poland (1968-88)
at Gallery Lambton, Sarnia, Ontario
February 5 – February 27, 2010

Analogue illuminates the early histories of video art in the UK, Canada, and Poland. By examining twenty years of artists’ video from these three countries, Analogue aims to broaden our understanding of this versatile medium, while charting its transition from the politicized margins of artistic practice to the mainstream.

Panel Discussion
Saturday, February 6th, 1:00 pm

Join Lisa Steele, Peggy Gale, Kim Tomczak and Deirdre Logue, in a discussion on the evolution of video art and its future from their unique perspectives as practitioners and curators.

Art & Ideas Screenings

Every Thursday during Analogue at 7:00pm, Gallery Lambton will screen a topical contemporary video program. Assistant Curator Cameron Starr invites the public to join him and local artist Tyler Manzon in discussion. The series is planned with an eye towards forging a deeper understanding of the role these works play in our community, in our collection and in the discourse of Canadian Art History.

Thursday, February 11th

Dream Deferred

Curated by Vtape
Dream Deferred features works dedicated to the poetic potential of dystopian notions. While they unravel destructive forces, each work promises trust, a hopeful end, and a setting free of all things good.

Thursday, February 18th

But what have you done for me lately? Analogue (89-09)
Curated by Cameron Starr

This screening will feature contemporary work from a select group of the video artists featured in the Analogue Exhibition. It will offer the viewer an opportunity to see the development of video art through the work of a few historically significant artists.

Thursday, February 25th

Anything they can do we can do better
Curated by Cameron Starr and Tyler Manzon

From Gallery Lambton’s contemporary video art collection, this screening will be comprised from submissions over the past 2 years. Manzon and Starr will offer their critical insights on the current state of video art, as demonstrated through the work of emerging contemporary video artists.

Gallery Lambton
Bayside Centre
150 N. Christina St.
Sarnia, ON N7T 7W5


Vtape is pleased to present:
Curatorial Incubator v.7:
FRAK FACEBOOK: celebrating the anti-social

Growing Up Stupid , curated by Mireille Bourgeois (Ottawa)
Vtape Video Gallery, February 16-20 2010

This year, The Curatorial Incubator, v7 – FRAK FACEBOOK: celebrating the anti-social called for proposals to participate in this research and presentation project that aims to uncover works that buck the current trend of “social networking” and “living in public” that is so prevalent today. FRAK FACEBOOK: celebrating the anti-social explores the urge to burrow under the covers, to hide in the basement – in short, the drive to NOT connect, to NOT be nice. Our 3 emerging curators have answered the call with gritty aplomb. With her programme, Mireille Bourgeois posits stupidity as “an act so powerful that it can interrupt the very foundation of thought.”

On her program: “This program focuses on non-narrative forms of video, using disorder, chaos, or the ridiculous subvert and revolt against overbearing structures such as war, mass-produced culture, and the rhetoric of power. Acting outside the bounds of social behavior is a way to at once distance oneself from society and history, and bring oneself closer to humanity, by communicating in a way that does not need language to be implicit or shared.”(M.B)

The Programme

Drawing Attention
Penelope Buitenhuis
20:00, 1984
Buitenhuis speaks from the position of youth in critical interaction with a world from which they want to liberate. Due to the complex phrasing of simple poetic words that lure us away from linear narration and into an underlining web of meaning, the characters take the form of punk Shakespearians.

Penelope Buitenhuis was born in Toronto, studied at UBC and the Sorbonne in Paris, Penelope graduated from the Simon Fraser University film program in the eighties. In 1989, a retrospective of her shorts called Guns, Girls and Guerillas was held at the Museum of Modern Art in New York, JFK centre in Washington and in Berkley. Publications on her work include a lengthy piece in Fringe Film in Canada, by Mike Hoolbloom. In 1990 Buitenhuis directed her first feature Trouble, a political rock and roll set in post-wall Berlin. The film won Best Film honors at Montreal Women’s Film Festival and the Magdeberg Film Festival in Germany. Her NFB documentary Tokyo Girls, about hostessing and geisha in Japan, won two Geminis and two Leo Awards in 2002 and best doc at the Columbus Film festival. She is presently developing feature film projects Midnight Climax, Punk Not Dead and Regenerate.

Black Flag
Istvan Kantor
9:00, 1998
Are we starved of food, or humanity? What can we do after all your choices have been taken away? Istvan Kantor’s Black Flag very literally suggests we can create chaos out of what has been forced onto us; television, concrete, machines and shiny objects meant to distract.

Istvan Kantor, recipient of the 2004 Governor General’s Award for Visual and Media Arts, also known as Monty Cantsin, open-pop-star, the founder of Neoism, “Self-Appointed Leader of the People of the Lower East Side”, is an action based media artist/subvertainer/producer, active in many fields, performance, robotics, mixed-media, installation, painting, sound, music, video and new media. Kantor was born in Budapest where he studied medical science. In 1976, at age 26, he defected to Paris and from there he immigrated to Montreal. He also received many prestigious awards among them the Telefilm Canada Award for Best Canadian Film and Video in 1998, in Toronto and the Transmediale Award in 2001, in Berlin.

Skinny Teeth
Jennifer Reeves
7:00, 2001
In Skinny Teeth two teenage punk girls disrupt the stepford stale air of an Ohio shopping centre, challenges the expectations of social class and normative behaviour.

Jennifer Reeves (b. 1971, Sri Lanka) is a New York-based filmmaker. Her films have shown extensively, from the Berlin, New York, Vancouver, London, Sundance, and Seoul Film Festivals to the Robert Flaherty Seminar, Princeton University, and the Museum of Modern Art, and many independent cinemas in the US, Canada, and Europe. In late 2007 and early 2008, two major retrospectives of Reeves’ films were hosted by the Kino Arsenal in Berlin, and by the San Francisco Cinematheque. Reeves has also been awarded a 2008 Media Arts Fellowship from Renew Media/ Tribeca Film Institute, funded by the Rockefeller Foundation, to develop a new experimental narrative feature FIRELIGHT SONG about the first female forest ranger in the United States. Reeves teaches film courses part-time at Cooper Union and the Bard College MFA Program.

What’s the love making babies for
Ryan Trecartin
20:00, 2003
With Trecartin, we face a very nasty human condition; the video operates as a portal from Alice in Wonderland, connecting us with the morbid reality of earth’s chaos.

Ryan Trecartin is one of the most innovative young artists working with video today. Trecartin’s fantastical video narratives seem to be conjured from a fever dream. Collaborating with an ensemble cast of family and friends, Trecartin merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee’s Playhouse, Trecartin crafts startling visions that are thoroughly unique. (EAI)

Curator’s bio:
Mireille Bourgeois received a Bachelor in Fine Art in 2002 at NSCAD, and a Masters at the Bard College Center for Curatorial Studies in New York (2009). She has also independently curated/contributed to programs at the Eastern Edge Art Gallery, The NBCCD gallery, Electric Arts Intermix, Creative Times, Emerson Gallery and for the Canadian Museum of Civilization, as well as published critical writing in Visual Arts News, Creative Times Press, and C-Magazine.

401 Richmond St., #452
Toronto, ON M5V 3A8
416 351-1317
Tuesday-Friday 11am-5pm, Saturday 12-4pm
For more information, contact



Gallery 44 Centre for Contemporary Photography
401 Richmond St West Suite 120 Toronto Ontario M5V 3A8

Eryn Foster and John van der Woude

October 23 – November 28, 2009


From the first aerial photograph made by Nadar in 1858 to the first fully illuminated view of planet Earth taken by the crew of Apollo 17 in 1972 to the release of Google Earth 3.0 in 2005, our access to views of the Earth has increased exponentially. In their exhibition at Gallery 44, Eryn Foster and John van der Woude demonstrate what can be done with the visual information made publicly available today by Google Earth.

In Eryn Foster’s animation, Flight Simulation, aerial perspectives of the landscape coalesce into the abstract renderings and discontinuous movements of computer-generated images. Flight Simulation thus brings to our attention the sociological distance we have traversed from being airplanes passengers to being “virtual navigators”—as Foster refers to the users of Google Earth—and how this “developed” perspective affects our relationship to the Earth.

John van der Woude’s series of photographs, Airports—composites of satellite images downloaded from Google Earth—show us in astonishing detail the nine busiest airports in the world. Van der Woude refers to the airport as “a metaphor for the ultimate strength and weakness of contemporary life”. Beyond their formal beauty, his images immediately bring to mind issues of accessibility in an age when populous locations are prime terrorist targets.

Eryn Foster is an interdisciplinary artist who currently lives and works in Halifax, Nova Scotia. She received a Bachelor of Fine Arts from Concordia University and a Masters of Fine Arts from the University of Guelph. She has participated in residencies at the Banff Art Centre, the MacDowell Art Colony in New Hampshire and the Vermont Studio Centre. From 2005 to 2009 she was the director of the artist-run Eyelevel Gallery in Halifax and has also worked as an instructor in the Foundation Studies program at the Nova Scotia College of Art and Design University.

John van der Woude is a photography and new media artist, based in Montreal, who initially studied art and design at Camosun College in Victoria, British Columbia and later received a Bachelor of Fine Arts from the Nova Scotia College of Art and Design University in Halifax, Nova Scotia in 2007, focusing on photography and graphic design. He has won multiple awards, including the Magenta Foundation’s Flash Forward 2008 award and the BMO Financial Group’s 1st Art! Competition. His work has been shown in galleries across Canada and has been featured on many media outlets, including CTV and CBC, both locally and nationally.

A catalog essay by Marco Avolio accompanying the exhibition is available at

Action Reaction: Video Installations


Action Reaction: Video Installations
Detroit Institute of Arts
July 3, 2009 – January 3, 2010

With the advent of video as an art form, artists began to capture the fleeting interval between an action and its effect. As time-based work evolved, art was no longer confined to the tradition of stop-action records used by painting and sculpture. Action Reaction highlights five videos that examine this causal relationship and document the evolution of video over four decades.

Video pioneer Bruce Nauman (American, born 1941) explores the body in space with Bouncing in the Corner, no. 1, (1968) contending that, “… whatever I was doing in the studio was art.” In two videos made near Oaxaca, Mexico, Ana Mendieta (Cuban-American, 1948–85) records performances using gun powder, fireworks, the human form and nature. The Swiss duo Peter Fischli (born 1952) and David Weiss (born 1946), amuse and delight with their continuous motion installation using household goods in The Way Things Go (1987). Video master Bill Viola (American, born 1951) takes on issues of immortality and the conflict between human will and the autonomic nervous system in Nine Attempts to Achieve Immortality (1996).

When viewed in the context of one to another, these works pose questions about the temporal and mysterious nature of human existence.

Organized by the DIA, these installations have been generously underwritten by the Dr. and Mrs. George Kamperman Fund.

Contact 2009: Toronto Photography Festival

© Susan Dobson, Smart Centre #3, 2008

CONTACT is an annual month long festival of photography that takes place at over 200 venues across the Greater Toronto Area from May 1 – 31. As the largest photography festival in the world, CONTACT has become a premiere cultural event in Toronto with a broad range of international programming. This includes exhibitions, public installations, films, lectures, seminars and workshops. CONTACT participants, whether acclaimed international artists or local emerging photographers, exhibit in a variety of venues, from major public museums to private galleries and many alternative spaces including subway stations, billboards, the airport and city streets.

CONTACT 2009 – Still Revolution examines how each significant innovation in photography’s evolution has radically altered the creation and consumption of images, irrevocably changing the history of visual representation.

MAY 1 – 20
The DepARTment >>

Susan Dobson’s recent body of work, Retail (2008) continues her exploration of architecture and land use in the suburban landscape. In this work, she examines the makeshift nature of retail architecture and consumer culture’s dependence on the automobile. The series of large, colour inkjet prints depict franchise retail outlets set against optimistic blue skies and vast, deserted parking lots. The structures are digitally masked with an asphalt colour. The resulting large gray boxes highlight the unimaginative and provisional designs of big retail stores, while the empty lots, stripped of cars (and hence of purpose), are transformed into urban wastelands. Dobson’s images foreshadow the future of temporary architecture and of rampant consumerism during a time of economic uncertainty and growing environmental awareness. Seen within this context, writes Robin Metcalfe, “Dobson’s ghostly big-box stores glisten like a digital mirage, prescient images of a doomed landscape.” The photographs describe the future perfect – that which will have been – an ominous future, cast back in time.

exhibitions listing on CONTACT website

** if you travel into Canada, make sure that you have the proper ID.

John Carson: Timelines 1975-2008

Lecture: Thursday, January 8, 2009
RCVA #2008, 5:30 pm

John Carson

John Carson joined Carnegie Mellon University in Pittsburgh as Head of the School of Art in 2006. He was previously at Central Saint Martins College of Art and Design in London, where he was a principal lecturer in fine art and course director for the bachelor of fine arts program. He was also a lecturer in fine art and photography at the National College of Art & Design in Dublin and a visiting artist and lecturer at various schools and colleges in Britain, Ireland, Europe, the United States, Australia and New Zealand. Carson is an arts consultant for various organizations, including BBC-TV; Public Art Development Trust; Arts Council of England; London Arts; and others. He is an accomplished writer in the field of multimedia art, and his writing has appeared in various catalogues, magazines and books around the world. Carson is also a practicing multimedia artist. He received his bachelor of fine arts from the University of Ulster at Belfast in 1976 and his master’s degree in fine arts at the California Institute of the Arts in 1983.

John Carson
Timelines: 1975-2008
Sophie Thompson, (video detail)

During Carson’s final year at the College of Art and Design in Belfast, he worked on a number of projects that explored geographical and social aspects of the Belfast and Carrickfergus area, where he grew up. This project took Carson out of the art school building and into the streets, the countryside, and peoples’ homes. In Friend Map (1975-77) Carson visited everyone in the area who was a friend or relation, photographed them in their homes and placed the photographs on a map in the appropriate location.

Reflecting on his Friend Map project of 1975-76, Carson realized that none of the people who participated in that work had been given any voice in the work. Consequently he decided to revisit the project some 30 years later and began a series of video interviews with the people from the Friend Map who he had managed to track down again. Carson has asked each of them a set of questions to prompt them to reflect on their lives over the last 30 years and to consider how the reality of their lives today compares to any aspirations they might have had in 1976-77. Carson also hoped to discover how political events in Northern Ireland might have influenced their lives.

Albertine Monroe Brown Gallery
January 8 – February 07, 2009

Art Hop – Dec. 5th


Faculty and students from the Frostic School of Art at Western Michigan University will exhibit their art during the December 5 Art Hop at the Park Trades Center in downtown Kalamazoo. Ten faculty will open their studios to the public from 5 p.m. to 9 p.m. at 326 W. Kalamazoo Avenue to exhibit and discuss their work. This is a great opportunity to meet the artists, experience their creative environments, see their work in progress, and explore a significant number of competed works on display. Karen Bondarchuk (drawing and sculpture), Cat Crotchett (painting), Bill Davis (photography), Dick dePeaux (painting), Trish Hennessy (painting and design), Dick Keaveny (painting), Adriane Little (photography), Nichole Maury (printmaking), Ginger Owen (photography), and Vince Torano (painting) will open their studio doors to the public.

In addition to the faculty, four student organizations will be exhibiting and selling their work — the ceramics and jewelry/metals guilds will be located in studio 202B and graphic design and photography students will be set up in 412. About 50 students will be participating in this event. Proceeds will be split between the artists and the sponsoring student guild. Frostic School of Art student guilds provide activities that integrate educational and professional experiences including field trips, guest speakers, and attendance at national conferences.

Annual Gwen Frostic School of Art Faculty Exhibition

The Frostic School of Art Faculty will showcase newest works produced from recent research and studio time. This exhibition helps students and community see the talent of those responsible for the education and support of over 450 students in the Frostic School of Art.

Albertine Monroe Brown Gallery
December 4 opening
runs through December 20, 2008

Richard Avedon @ GRAM

Richard Avedon (1923-2004)
Ingrid Bolting, Coat by Dior, Paris, January 1970
Gelatin silver print ©2008 The Richard Avedon Foundation. Courtesy The Richard Avedon Foundation

Grand Rapids Art Museum
October 3, 2008 – January 4, 2009

Richard Avedon (1923–2004), one of the most important American photographers of the modern era, traces his dynamic career from the postwar years of the late 1940s in Europe to the early 21st century. Avedon set new precedents in fashion and portrait photography with his innovative approach to the medium. He also established a reputation as one of the greatest camera portraitists of our time.

After World War II, Avedon began taking photographs of street performers in Italy while doing freelance fashion photography for Harper’s Bazaar, where he subsequently served as chief photographer until 1966. During his years at Harper’s, Avedon created a new kind of fashion photography that transformed models from posed mannequins into actresses. He set his models in the city streets, bistros, and urban landmarks of Paris. In the studio, he required them to move and leap like dancers. The 1957 film Funny Face, starring Audrey Hepburn, cast Fred Astaire as fashion photographer, Dick Avery, a character based on Avedon, who consulted on the film and designed the opening titles.

In 1966 Avedon left Harper’s for Vogue and shifted his focus to portraiture, which he had begun in the late 1950s. Through the rest of his life, Avedon created powerfully engaging and unsparing portraits of actors, artists, writers, politicians, and intellectuals. His portraits are distinguished by their minimalist style. Posed in front of a sheer white background, the subject looks squarely into the camera. Avedon considered portrait photography a collaborative process. He admired his subjects and captured them in revealing moments as they paused in conversation with him.

Avedon’s subjects were often larger than life personalities. His photographs of President Gerald Ford, Rose Kennedy, The Beatles, and Louis Armstrong are portraits that document the 20th century. The famous and familiar people that he photographed were distinctly un-glamorized, yet their images are monumental in presence. His subjects also included sitters such as the Napalm victims he photographed on his 1971 visit to Vietnam. Avedon’s series In the American West, 1979–84, included drifters, miners, field hands, and working people from the western United States. However anonymous these subjects were, they have the same psychological presence and dignity as Avedon’s portraits of the powerful and celebrated.

Richard Avedon died suddenly in 2004 from a brain hemorrhage while shooting in San Antonio, Texas, for The New Yorker magazine. His project was titled On Democracy, befitting an American photographer who defined the stylish optimism of postwar modernism and immortalized the forthright faces of people who, in their time, were larger than life.

RICHARD AVEDON: LARGER THAN LIFE is organized by the Grand Rapids Art Museum and the Center for Creative Photography for an exclusive presentation at the Grand Rapids Art Museum from October 3, 2008 through January 4, 2009. The exhibition includes over 80 photographs drawn from the collection of the Center for Creative Photography in Tucson, Arizona, which houses the Richard Avedon Archive.

Grand Rapids Art Museum

Charismatic Abstraction

Moira Dryer
Fast Forward
Casein on canvas, 1991

Charismatic Abstraction: John L. Moore, Moira Dryer, Chris Martin, Dona Nelson, Mike Cloud

“Moira Dryer opened up something new in abstract painting and helped relocate something that had always been there. That something that no one else talks about because we lack a credible vocabulary to define: the vernacular soul. Moira brought soulfulness to painting. The balancing act between invention and examination is what energized Moira’s paintings.”
-Ross Bleckner

From an exhibition catalog Moira Dryer: Paintings 1989-1992 published by the Art Gallery of York University, Toronto.

Charismatic Abstraction focuses on five artists whose work is energizing, unpredictable, sometimes over the top in emotion, freshness, and even the age-old questions about the role of abstract painting and specific subject matter. Dona Nelson may use a paintings surface to span other works, by rubbing one surface to another, tracing, pushing, and repainting from sources that seem only moments old. John Moore can turn abstract patterns and circular orbs into landscape and figure. Moira Dryer extends the development of painting into space, with cuts in the surface, the addition of objects, and grand scale. Chris Martin’s James Brown painting actually captures visually the sounds and movements of the Great One. Mike Cloud can turn the symbols of everyday objects, clothing, and personal photographs, into distressingly disturbing patterns of meaning.

Albertine Monroe Brown Gallery
October 30- November 25, 2008

David Henderson: Man O’ War

David Henderson
Man o’ War: Bellerophon
Carbon Fiber, Epoxy
34″x19″x20″, 2007

David Henderson’s laminated wood and carbon fiber, and fiberglass sculptures are graceful, sometimes organic references to natural beauty, but with hidden agendas of the symbols of war, atomic bombs, and the mathematically designed devices of human conflict. The pieces are highly engineered but beautifully flawed. The sculptures yearn for something that is more than skin deep, and like the works of Martin Puryear or Richard Deacon, there is still a handcrafted subtly to their elegance and imperfect complexity.

Albertine Monroe Brown Gallery
September 4 – October 18, 2008

Artist Lecture: David Henderson
Thursday, September 4, 2008
RCVA #2008 at 5:30 pm

Contact 2008: Toronto Photography Festival

© Toni Hafkenscheid, Grand Canyon, 2008
colour photograph mounted to cintra and plexiglass
Courtesy Birch Libralato Gallery

CONTACT is an annual month long festival of photography that takes place at over 200 venues across the Greater Toronto Area from May 1 – 31. As the largest photography festival in the world, CONTACT has become a premiere cultural event in Toronto with a broad range of international programming. This includes exhibitions, public installations, films, lectures, seminars and workshops. CONTACT participants, whether acclaimed international artists or local emerging photographers, exhibit in a variety of venues, from major public museums to private galleries and many alternative spaces including subway stations, billboards, the airport and city streets.

CONTACT 2008 examines how photography shapes our understanding of the world around us and the enduring role it plays in the preservation of individual and collective memories. A wide range of images – from the epic to the everyday – look beyond the headlines to explore private and social histories.

Between Memory and History: Throughout the years, CONTACT has questioned photography’s ability to represent the truth, explored rapidly increasing global interconnections and celebrated constructed imagery within a photographic culture. Despite its ever evolving conditions, a fundamental characteristic of the medium – its ability to preserve our individual memories and collective histories – at least for the moment, remains unchanged.

Photography has been associated with memory since its invention and memory has long been described as a continuous exchange of images. As we experience the global shift from film to digital technology, will photographic images merely become “memories made easy”? As the increasing participation in CONTACT demonstrates, photography is prevalent throughout our lives, now more then ever before, and wields a complex relationship to human experience.

© Louise Noguchi

Featured Exhibitions:

APR 26 – MAY 31
Birch Libralato >>

APR 28 – JUN 6
Scotiabank – Main Banking Hall – Scotia Plaza >>

APR 30 – JUN 8
Monte Clark Gallery >>

APR 30 – MAY 24
Peak Gallery >>

APR 30 – MAY 31

MAY 1 – 31
Olga Korper Gallery >>

exhibitions listing continues on CONTACT website

** if you travel into Canada, make sure that you have the proper ID.

Architecture Sustainability and Local Identity May 9 & 10

Photo Credit: Jackson-Triggs Estate Winery, Niagara-on-the-Lake, Ontario (detail)
KPMB Architects, completion, 2001
Photo credit: Eduard Heuber/Arch Photo Inc.

Museum London presents: Architecture, Sustainability and Local Identity: film and discussion about the future of architecture, suburbia and urban development.

Friday, May 9 at 7:30 pm

Lecture Theatre

Radiant City: A Documentary about Urban Sprawl
Followed by a Q & A with directors Gary Burns and Jim Brown

Venturing into territory both familiar and foreign, directors Gary Burns and Jim Brown turn the documentary genre inside out, crafting a vivid account of life in The Late Suburban Age.

Burns and Brown rummage through a toybox of cultural references, from Jane Jacobs to The Sopranos, to create a provocative reflection on why we live the way we do. Riffing off sitcoms and reality TV, they play fast and loose with a range of cinematic devices to consider what happens when cities get sick and mutate.

Radiant City was recently awarded the Genie for Best Documentary.

Saturday, May 10 at 1 pm

Lecture Theatre

James Howard Kunstler has long been recognized as a fierce critic of suburban sprawl and the high costs associated with an automobile-centric culture. He is the author of The Geography of Nowhere (Simon & Schuster, 1993) and Home from Nowhere (Simon & Schuster, 1996). Most recently, he authored The Long Emergency: Surviving the End of Oil, Climate Change, and Other Converging Catastrophes of the Twenty-First Century.

“The future will require us to build better places, or the future will belong to other people in other societies.”
— James Howard Kunstler

Saturday, May 10 at 3:00 pm

Lecture Theatre

Local Identity and Regional Responses to Sustainable Architecture

Balancing environmental, social, and sustainable design has the potential to transform everyday life and is already reshaping the fields of architecture and product design. This panel discussion will explore such topics as the role architecture plays in defining humanity’s relationship to its physical and cultural context, nationally and with a local focus on the City of London. Among the issues discussed will be contemporary and future urban design, sustainability, the development of green buildings and the protection of heritage streetscapes.

John Nicholson, principle architect with the award winning firm Malhotra, Nicholson and Sheffield Architects Inc.

Brian Dust is an associate architect with the award winning Vancouver firm Neale Staniszkis Doll and Adams Architects.

John McMinn is an associate professor at the University of Waterloo’s School of Architecture. In 1992 he was awarded the Canada Council for the Arts Prix de Rome in Architecture. His professional interests include architectural and environmental design, poetic tectonics, contemporary urbanism and vernacular landscapes.

Marco Polo is an assistant professor at Ryerson University and is the editor of The Prix de Rome in Architecture: A Retrospective, published by Coach House Books (2006). Polo’s areas of specialization include Canadian architecture since 1945, regionalism in Canadian Architecture and the cultural dimensions of sustainability.

Together Polo and McMinn curated the exhibition 41 to 66: Regional Responses to Sustainable Architecture, organized by Cambridge Galleries. A version of this exhibition will represent Canada at the prestigious Venice Biennale in Architecture from September 14 to November 23, 2008.

Saturday, May 10, 5:30 to 7:30 pm

Lorraine Ivey Shuttleworth Community Gallery

Community members are invited to discuss the changing landscape of London in a conversation led by City of London urban designer Sean Galloway.

NOTE: All sessions of ARCHITECTURE, SUSTAINABILITY AND LOCAL IDENTITY are offered free of charge, although space is limited. To reserve your ticket please RSVP by calling 519.661.0333. Tickets will be available at the door the day of the program.

Museum London is located at 421 Ridout Street North, London, Ontario. For general information please contact us at 519.661.0333.

Museum London

** if you travel into Canada, make sure that you have the proper ID.

Hysteria and the Body @ Art Gallery of Windsor

Hysteria and the Body opens April 18 @ Art Gallery of Windsor

Major international art exhibition looks at stereotypes about women, their bodies and “the female malady”

Organized by the National Gallery of Canada
Art Gallery of Windsor – 401 Riverside Drive West, Windsor, Ontario, N9A 7J1
March 29, – June 15, 2008
Opening Reception at 7 pm on April 18

Featuring some of the most important women artists working today in Europe, Canada and the US, this stunning exhibition looks at the long and troubling association of women and hysteria, which is often based on deeply-rooted stereotypes and assumptions.

In the 19th century, psychiatry deemed hysteria, a functional disturbance of the nervous system, a “female malady”, but since the 1970s, many women artists – and a few men – have mimicked hysteria as a means of empowerment to resist traditional gender roles. The exhibition Hysteria and the Body investigates many related ideas, including the “hysterical” body, stereotypes of femininity, aging, motherhood, and individual identity.

Featuring work by internationally acclaimed artists like Cindy Sherman (American), Louise Bourgeois (French), Annette Messager (French), Jana Sterbak (Canadian), Marina Abramovic (born in Serbia), Pipilotti Rist (Swiss) and Vito Acconci (American), Hysteria includes sculptures, video, prints, drawing and photography. The exhibition seeks to disrupt traditional ways of viewing the figure and our preconceptions of “normal” behaviour.

** if you travel into Canada, make sure that you have the proper ID.