Art PR Wire

Live Performance: IRREVOCABLY BLUE

artlistpro — Fri, 24 Feb 2012 11:16:36 -0500

DALHOUSIE ART GALLERY

Douglas Walker, #A-755, Moon, 2011 (Detail)

THE DALHOUSIE ART GALLERY AND VOCALYPSE PRODUCTIONS PRESENT:

IRREVOCABLY BLUE

SUNDAY 4 MARCH 2012 | 8PM

JANICE JACKSON VOICE | GEORDIE HALEY ELECTRIC GUITAR

LUCAS PEARSE DOUBLE BASS, VIDEO PROCESSING | BOB BAUER ELECTRONICS

Tickets

$5 (students) | $10 (general admission)

Advance tickets available at the Dalhousie Art Gallery

For more information call 494-2403 or visit www.vocalypse.ca

T 902.494.2403 | E art.gallery@dal.ca | artgallery.dal.ca

Hours: Tuesday to Friday, 11 am to 5 pm. Weekends noon to 5 pm

Free Admission

Posted via email from Art PR Wire - contemporary art news

Sophie Jodoin @ VOLTA NY

artlistpro — Fri, 24 Feb 2012 11:16:13 -0500

Sophie Jodoin, Untitled (hand), 2012, photograph and black back frame / photographie et arrière de cadre noir, 9 x 12 cm / 3.5 x 4.75”,

Battat Contemporary est très heureuse d’annoncer sa première participation à la foire VOLTA NY qui se tiendra du 8 au 11 mars 2012. Nous y présenterons une sélection d’oeuvres de l’artiste montréalaise, Sophie Jodoin.

Venez nous y rejoindre!

L’équipe de la galerie Battat Contemporary

____________________________________________________________________

Battat Contemporary gallery is very proud to announce that for the first time we will be exhibiting at Volta NY Fair from March 8 - 11, 2012. We will be presenting a selection of works by Montreal artist, Sophie Jodoin.

Come join us there!

Battat Contemporary team

VOLTA NY

BATTATCONTEMPORARY

7245 Alexandra #100

Montréal, Québec

H2R 2Y9

T. 514-750-9566

F. 514-750-9577

info@battatcontemporary.com

www.battatcontemporary.com

Posted via email from Art PR Wire - contemporary art news

Press Release: REAR VIEW MIRROR, a pop-up exhibition

artlistpro — Fri, 24 Feb 2012 11:15:42 -0500

For Immediate Release

Rear View Mirror

Jesus Benavente, Lauren Clay,

Mary Reid Kelley, Jenene Nagy,

and Wanda Raimundi Ortiz

A pop-up exhibition

Space B Gallery

59 Franklin Street

New York, NY 10013

March 7 – 9, 2012

Reception: March 8, 6 – 8pm

Jesus Benavente, Monument, 2011

We are pleased to announce Rear View Mirror, a pop-up exhibition of video, sculpture, drawing, and photography by artists Jesus Benavente, Lauren Clay, Mary Reid Kelley, Jenene Nagy, and Wanda Raimundi-Ortiz.

The artists in the exhibition employ the language, traditions, and/or methodology of art history as materials to be mined, reconsidered, challenged, and ultimately exposed. The works reveal the artists’ desire to earnestly, yet unsentimentally, translate their historical and theoretical understandings of contemporary art into a visual language. In order to do so, the artists adeptly inject humor and encourage a new dialogue about the history of art history. As a pop-up exhibition, Rear View Mirror presents an alternative to traditional exhibition formats and takes advantage of the energy generated in New York during the frenetic week of art fairs and major museum exhibitions.

Jesus Benavente’s work examines and exaggerates the mundane, pathetic, and isolating moments of life. The six-part photographic work Failure to Maintain Financial Responsibility depicts three pairs of mug shots, each taken upon the artists’ arrest for failing to keep his car registration tags up to date. The resulting photographs, blown-up until the images become pixilated, recall pop art portraits as much as they do America’s Most Wanted. Monument is a life-cast of the artist, raised to a position of esteem but posed as if in defeat. The signs of decay and neglect recall statues of forgotten heroes and disgraced dignitaries.

Lauren Clay’s newest body of work is a pastiche of her recent investigations of American decorative craft and modernist sculpture, particularly the work of David Smith. Clay’s trademark candy colors bring the work close to psychedelic without pushing it over the edge. In her installation produced specifically for this exhibition, Clay revisits Smith’s 1965 stainless steel sculpture Cubi XXVII. Reproduced in paper miniature, Clay recasts the pseudo-mysticism of modernist rhetoric in decorative camp. Clay will also create a site-specific wall painting to be viewed through the frame created by the four-sided sculpture.

Mary Reid Kelley’s videos combine stylized live action and animation. The Queen’s English chronicles the artist reciting verse inspired by World War I-era popular culture. The black-and-white video features Reid Kelley in handcrafted costume and ludicrous makeup that renders her flat and cartoon-like. The video follows a WWI nurse who considers the demise of a soldier in her ward. Reid Kelley burlesques the solemn subjects of war, death, and waste in a traditional iambic pentameter that cleverly manipulates language.

Jenene Nagy’s Measure series features large-scale works on paper based on Peter Halley’s brilliantly colored paintings. Nagy’s grayscale negates Halley’s primary markers — bright, flat colors that create an illusion of space through contrast rather than gradation. Nagy’s investigation and reinterpretation of Halley’s paintings morph based on a viewer’s physical relationship to the work. Seen straight on, the drawings appear dense; from an angle, geometric patterns unveil themselves. Nagy thus collapses Neo-Geo and Participatory art in delicate graphite.

In Ask Chuleta, an on-going series of videos that merge self-help, DIY education, and socio-political critique, Wanda Raimundi-Ortiz leads a viewer through the intricacies, redundancies, and vagaries of the contemporary art world. Chuleta, Raimundi-Ortiz’s alter ego, considers many of the art world’s idiosyncratic features including biennials, critics, and appropriation. Chuleta (and Raimundi-Ortiz) is invested in contemporary art and dedicated to expanding its audience. Ask Chuleta is available in its entirety on YouTube and promises “no bullshit art talk nonsense.”

About the artists

Jesus Benavente (b. 1982 San Antonio, TX; lives and works in New Brunswick, NJ) has a BFA from the University of Texas at Austin and is currently pursuing an MFA at the Mason Gross School of Art at Rutgers University. Select exhibitions include, New Art in Austin: 15 to Watch, Austin Museum of Art; Young Latino Artists 15, Mexic-Arte Museum, Austin, TX; Fusebox Festival, Austin, TX; CoLab, Austin, TX; and 0ne9zero6 Gallery, San Antonio, TX. This is the first presentation of his work in New York.

Lauren Clay (b. 1982, lives and works in Brooklyn, NY) has an MFA from Virginia Commonwealth University. Recent exhibitions include Larissa Goldston Gallery, NY; MAP, Baltimore, MD; Shelburne Museum, Shelburne, VT; and Bronx Museum of the Arts, NY. She has held residencies at the Henry Street Settlement, NY and AIM, Bronx Museum of the Arts.

Mary Reid Kelley (b. 1979, Greenville, SC; lives and works in Saratoga Springs, NY) has an MFA from Yale University. She has had solo exhibitions in New York, Los Angeles, and London. Major group exhibitions include The Dissolve, Site Santa Fe Biennial; and Video Art: Replay, Part 3. Ludicrous!, Institute of Contemporary Art, Philadelphia. In 2011, the American Academy awarded her the Rome Prize and she will be the subject of an upcoming episode of the PBS documentary series Art21.

Jenene Nagy (b. 1975, Bronx, NY; lives and works in Atlanta, GA and Portland, OR) has an MFA from the University of Oregon. Selected solo and group exhibitions include, The Rise of Rad, Torrance Art Museum, Torrance, CA; out/look, Washington State University Art Gallery; Apex: Jenene Nagy, Portland Art Museum; and Art on Paper 2008 Biennial, Weatherspoon Art Museum, University of North Carolina, Greensboro. Nagy is a full-time faculty member at Georgia State University and one half of the curatorial team TILT Export. Currently, Nagy is the 2011/2012 Curator-in-Residence at Disjecta Interdisciplinary Art Center, Portland.

Wanda Raimundi-Ortiz (b. 1973, Bronx, NY; lives and works in Bronx, NY and Orlando, FL) has and MFA from the Mason Gross School of Art at Rutgers University. Select solo and group exhibitions include Institute of Contemporary Art, Philadelphia; Jersey City Museum; Centro Cultural de España, El Salvador; El Museo del Barrio, NY; The Bronx Museum of the Arts; and Exit Art, NY. She is an Assistant Professor in the School of Visual Arts and Design at the University of Central Florida.

For more information please contact Jennie Lamensdorf, Jennie@LamensdorfProjects.com

Posted via email from Art PR Wire - contemporary art news

TrepanierBaer Presents James Carl: Jalousie and Other Works

artlistpro — Fri, 24 Feb 2012 11:15:29 -0500

TBG-James Carl Evite 2012.pdf Download this file

You are cordially invited to the opening of James Carl: Jalousie and Other Works, the artist’s inaugural exhibition at TrépanierBaer.

Lauded as one of Canada’s leading artists, Carl’s work was honoured in 2009 with a survey exhibition titled do you know what that was shown at the Justina M. Barnicke Gallery at the University of Toronto, the Cambridge Galleries Queen’s Square and the MacDonald Stewart Art Centre in Guelph. Other recent shows include: jalousie at Galerie Heinz-Martin Weigand in Karlsruhe, Germany; negative spaces at Florence Loewy in Paris; plot at Vancouver’s Contemporary Art Gallery; and bottom feeder at Mercer Union in Toronto.

Mark your calendars: you won’t want to miss out on the chance to see Carl’s witty and innovative work. For complete details, please see invite.

TrépanierBaer Gallery
105, 999 - 8 ST SW
Calgary, Alberta, Canada
T2R 1J6
+ (403) 244-2066
info@tbg1.com

Posted via email from Art PR Wire - contemporary art news

Inauguration: CENTRE SPACE (Toronto) - PFOAC présente Adad Hannah

artlistpro — Fri, 24 Feb 2012 11:14:44 -0500

TORONTO ET MONTRÉAL SE RENCONTRENT @ CENTRE SPACE

Une nouvelle galerie collaborative ouvre ses portes le 23 février 2012

TORONTO AND MONTREAL MEET @ CENTRE SPACE

A new collaborative gallery space opens February 23, 2012

Français

English

____________________

Nord, sud, est, ouest : toutes directions mènent au 65 George St., Toronto. En un même lieu, l’art du Nord canadien visite le sud, avec Dorset Now à Feheley Fine Arts (de Toronto), et l’art du sculpteur français Rodin est revisité à travers une lunette contemporaine, dans Unwrapping Rodin d’Adad Hannah, présentée par Pierre-François Ouellette art contemporain (de Montréal). Aussi, Toronto y rencontre Montréal, tandis que Pat Feheley et Pierre-François Ouellette s’unissent pour inaugurer un nouvel espace d’exposition avec un assortiment percutant d’œuvres contemporaines.

Feheley et Ouellette sont fiers d’annoncer l’inauguration de Centre Space, un nouveau concept pour une galerie d’art contemporain ouvrant au public le vendredi 24 février. Après plusieurs années fructueuses à Yorkville, Feheley Fine Arts a récemment élu domicile au 65 George Street, au centre-ville de Toronto (à l’est de la rue Jarvis et au sud de la rue King).

Centre Space est un espace d’exposition commercial de type « cube blanc », situé à même la nouvelle galerie Feheley. Pierre-François Ouellette art contemporain et Feheley Fine Arts y programmeront chacun quatre à cinq expositions annuelles de leurs artistes respectifs - donnant accès à un vaste éventail de pratiques contemporaines d’artistes du Grand Nord, d’artistes du Québec et d’ailleurs. Centre Space offre de formidables possibilités de découverte, en proposant des œuvres d’artistes remarquablement novateurs.

« Pierre-François est connu pour ses expositions qui repoussent les frontières, de même que pour sa présentation d’œuvres de qualité musée, réalisées en grands et en petits formats et dans une variété de techniques », explique Feheley. « Et cette façon de faire convient tout à fait à ma position qui questionne la vision traditionnelle de l’art inuit en défendant des artistes inuits contemporains travaillant avec de nouveaux formats, des nouvelles techniques et de nouveaux sujets. »

Pour sa première exposition à Centre Space, Ouellette a retenu la suite photographique de grand format d’Adad Hannah, Unwrapping Rodin, qui a été présentée pour la première fois à l’automne 2010, au Musée d’art contemporain de Montréal. Cette exposition coïncide avec la présentation de deux vidéos de la série Traces d’Adad Hannah, dans le cadre de Sentez l’espace : art contemporain de la collection de l’AGO, au Musée des beaux-arts de l’Ontario.

Les nouveaux locaux de la nouvelle galerie Feheley Fine Arts permettent de saisir le plein impact de l’art inuit contemporain. Pour l’inauguration des lieux, Feheley a organisé Dorset Now, une exposition de groupe présentant le meilleur du dessin inuit contemporain dans divers formats, par des artistes tels Shuvinai Ashoona, Itee Pootoogook, Tim Pitsiulak, Jutai Toonoo, et Ohotaq Mikkigak.

Nous vous invitons à consulter le nouveau site: www.centre-space.ca

______

____________________

North, South, East, West: All directions point to 65 George St., Toronto: All in one spot, the art of the Canadian North comes South to Toronto in Dorset Now at Feheley Fine Arts (of Toronto), while the art of French sculptor Rodin is reflected through a contemporary lens in Adad Hannah’s Unwrapping Rodin presented by Pierre-François Ouellette art contemporain (of Montreal). And Toronto meets Montreal as Pat Feheley and Pierre-François Ouellette join forces to launch a new mash up of contemporary art at Centre Space.

Feheley and Ouellette are proud to announce the inauguration of Centre Space, a new concept for a contemporary art gallery opening to the public Friday February 24th. After many successful years in Yorkville, Feheley Fine Arts recently moved to a new venue: 65 George Street in downtown Toronto (east of Jarvis Street and south of King. Street).

Centre Space is a shared commercial “white cube” exhibition space located within the new Feheley gallery. Feheley Fine Arts and Pierre-François Ouellette art contemporain will each program four to five independent exhibitions per year of their respective artists - providing access to a broad spectrum of contemporary practices by Northern artists, artists from Quebec and elsewhere. Centre Space provides an exceptional opportunity to see works by artists who are ground-breaking in their fields.

“Pierre-François has a history of pushing the boundaries in his exhibitions by featuring museum-quality works of art in both large and small formats, and in a range of media,” says Feheley. “This fits with my stance of challenging the traditional view of Inuit art by championing contemporary Inuit artists working in new scale, new media, and new subject matter.”

For his first exhibition at Centre Space, Ouellette has selected Adad Hannah’s large-scale photographic suite, Unwrapping Rodin which was first presented in the Fall of 2010 at the Musée d’art contemporain de Montréal. This exhibition coincides with the presentation of two videos from the Traces series by Adad Hannah at the Art Gallery of Ontario’s installation, “Watch This Space: Contemporary Art from the AGO collection.”

Feheley Fine Arts’ lofty new space shows to full effect the impact of contemporary Inuit art. Feheley has selected for the inaugural exhibition, Dorset Now, a group show of top contemporary Inuit drawings in varying scale by artists including Shuvinai Ashoona, Itee Pootoogook, Tim Pitsiulak, Jutai Toonoo, and Ohotaq Mikkigak.

We invite you to consult the new website: www.centre-space.ca

_____

Posted via email from Art PR Wire - contemporary art news

Kamrooz Aram @ Battat Contemporary

artlistpro — Thu, 23 Feb 2012 13:49:22 -0500

BATTATCONTEMPORARY vous présente l’artiste Kamrooz Aram dans le cadre de sa première exposition solo au Canada, Négociations futures.

Vernissage : Jeudi, 1 mars 2012, dès 18h
1 mars au 14 avril 2012

Kamrooz Aram, Flag Deconstruction, 2011, 60 x 84”, oil on canvas / huile sur toile

(English follows French)

Battat Contemporary est heureuse d’annoncer Négociations futures de l’artiste Kamrooz Aram.

Pour cette exposition, Aram s’appuie sur deux corpus d’oeuvres distincts, mais connexes : de grandes compositions abstraites faites de multiples couches superposées, découlant de ses peintures « Flags », série précédente d’Aram, et un ensemble de canevas emblématique que l’artiste appelle Fana. Les formes géométriques qui en émergent rappellent certaines oeuvres minimalistes - telles que les tableaux noirs de Frank Stella - et sont délibérément complexes, se faisant parfois une toile de fond décorative pour les motifs de tapis, qui prennent un rôle central au sein de la composition. De par ces oeuvres, Aram démantèle et remet en cause l’Histoire qui assume une hiérarchie présumant que le tapis persan serait à priori décoratif tandis qu’une peinture abstraite, bien qu’également non figurative, aurait un sens plus profond. Les œuvres d’Aram compliquent les préconceptions du spectateur quant à ce qui pourrait être considéré ornemental, nous forçant à revisiter les idées modernistes et examiner les qualités décoratives de la peinture abstraite occidentale.

Kamrooz Aram est né à Shiraz en Iran et vit et travaille actuellement à Brooklyn, New York. Son travail a été largement couvert, entre autres, dans The New York Times, The New Yorker, Art in America et Artforum.com. Parmis ses expositions solos notons, la galerie Perry Rubenstein, New York (2009 / 2011), LAXART, Los Angeles (2010), Massachusetts Museum of Contemporary Art (MASSMoCA) et la galerie Wilkinson, Londres, UK (2006). Son travail a été présenté lors de nombreuses expositions internationales tels roundabout (2010), La Biennale de Busan (2006), Greater New York 2005 au MoMA PS1 et la Biennale de Prague (2003).

Heures d’ouverture : mardi au vendredi de midi à 18h et le samedi de midi à 17h ou sur rendez-vous

Pour plus d’informations : daisy@battatcontemporary.com

____________________________________________________________________ BATTATCONTEMPORARY presents artist Kamrooz Aram’s first solo exhibition in Canada, Further Negotiations.

Opening: March 1, 2012, starting at 6pm

March 1 - April 14, 2012

Battat Contemporary is pleased to present Further Negotiations, works by artist Kamrooz Aram. For this exhibition Aram draws from two different, but related bodies of work: large, layered abstract compositions which developed out of a previous group of “flag” paintings, and a series of emblematic canvases which the artist calls Fana’ paintings.Geometric forms appear that are reminiscent of minimalist works-such as Frank Stella’s black paintings-and are deliberately complicated, at times becoming decorative backdrops for the carpet patterns, which take on a central role in the composition. With these works, Aram dismantles and challenges a history that assumes a hierarchy in which a Persian carpet is presumed decorative while an abstract painting, though similarly non-objective, is thought to hold a deeper meaning. Aram’s paintings complicate the viewer’s assumptions about what might be considered ornamental, forcing us to revisit the ideologies of Modernism and examine the decorative qualities of Western abstract painting.

Kamrooz Aram was born in Shiraz, Iran and lives and works in Brooklyn, New York. His work has been widely reviewed and featured in such publications as The New York Times, The New Yorker, Artforum.com, Art in America among others. Aram has had solo exhibitions at Perry Rubenstein Gallery, New York, NY (2011, 2009); LAXART, Los Angeles, CA(2010); the Massachusetts Museum of Contemporary Art (MASSMoCA), North Adams, MA (2006); and Wilkinson Gallery, London, UK (2006). His work has been featured in international exhibitions including roundabout (2010), the Busan Biennale (2006), MoMA PS1’s Greater New York 2005, and the Prague Biennale I (2003).

Gallery Hours: Tuesday to Friday, 12 to 6pm, Saturday, 12 to 5pm or by appointment

For more info : daisy@battatcontemporary.com

Kamrooz Aram BATTATCONTEMPORARY
7245 Alexandra #100
Montréal, Québec
H2R 2Y9
T. 514-750-9566
F. 514-750-9577
info@battatcontemporary.com
www.battatcontemporary.com

Posted via email from Art PR Wire - contemporary art news

UPCOMING: BRENDAN MONROE // COOPER COLE

artlistpro — Thu, 23 Feb 2012 13:49:20 -0500

NEWS ARTISTS EXHIBITIONS GALLERY

UPCOMING: BRENDAN MONROE

Brendan Monroe
Observations of Light & Matter
March 2, 2012 - March 25, 2012 Opening Reception / Friday March 2, 2012 / 6 - 10pm

Artist Talk / Saturday March 3, 2012 / 3 - 4pm For press and sales information please inquire with the gallery.

COOPER COLE is pleased to welcome American artists Brendan Monroe for his first solo exhibition in Toronto. Through a series of paintings and sculptures, Monroe tells a story of a world filled with unique personalities and imaginary organisms. Monroe cultivates a taste for scientific challenges, relationships to math, the properties in physics, and the surreal. His dream-like scenes overflow with cellular shapes, creating a landscape set on a universal level. Möbius strips and algorithms integrate with human figures to create an environment that allows the mind to explore a journey of solitude. Monroe’s atmospheric imagery achieves a pause in both time and space; a moment that can be read as either the creation of new being or as the passing in to a serene immortality.

Two in One / Acrylic on paper / 18” x 22” / 2011

“Observations of Light and Matter is a way for me to reinterpret the facets of current and past scientific frontiers. The work is sometimes directly derived from scientific observations and at other times loosely inspired by them. My purpose is to ask the questions that lead to an understanding of physics in nature all around us. I often don’t completely understand the entirety of every concept, but I’m searching for a way to interpret their possibilities and how they might have an impact on myself and others. My interest is not in explaining or figuring out, but more in the interpretation and injection of perspective of these subjects.”

Enclosed String / Cheery Veneer / Variable Dimensions / 2011

Wave / Acrylic on veneered cherry / Variable Dimensions / 2011

Nebula Olympus / Acrylic on paper / 22.75” x 30” / 2011

Brendan Monroe was born and raised in Southern California with a BFA honours from the Art Centre College of Design. He has exhibited his art internationally at galleries such as Richard Heller in Los Angeles and Galerie LJ in Paris. Monroe currently lives and works in Oakland, California.

Brendan Monroe
Observations of Light & Matter
March 2, 2012 - March 25, 2012 For press and sales information please inquire with the gallery.

FINAL WEEK: RYAN WALLACE & CHRIS DUNCAN

Ryan Wallace & Chris Duncan
Transmission Lines
February 3, 2012 - February 26, 2012 For press and sales information please inquire with the gallery.

This is the final week to view Transmission Lines, a two person exhibition from American artists Ryan Wallace and Chris Duncan. Wallace and Duncan’s linear variations of shape explore the margins of time and space while echoing the unstable tension between vision, perception, and reflection. Both artists explore a variety of materials to great visual effect. Mixed mediums create shapes which are layered and duplicated in reference to perpetual movement, hypnosis, op art, and the mutable nature of color. These constructed shapes and surfaces open the dialogue between perception and perspective, making it difficult to interpret the true materials being used as well as the limits of the work itself.

Ryan Wallace / Polemic Series / Installation

Ryan Wallace is a graduate of the Rhode Island School of Design and a recent recipient of a Pollock Krasner Foundation Grant. Wallace’s paintings, works on paper, installations and sculptures can be found in galleries, institutions, and collections across North America and Europe. Recent exhibitions have been at Morgan Lehman Gallery, Rachel Uffner Gallery, Zieher Smith, The Islip Art Museum and Brooklyn Academy of Music. Wallace currently lives and works in Brooklyn, and Amagansett, New York.

Chris Duncan / World Wide Web / Strapping tape and spray paint on paper / 32” x 40” / 2011

Chris Duncan received his BFA at the California College of Arts and is a 2013 Master of Fine Arts candidate at Stanford University. In 2006 he won a Goldie Award for Visual Art. His paintings and installation have been exhibited in numerous galleries and museums in North America such as the Berkeley Art Museum, Yerba Buena Center for the Arts, and the Kemper Art Museum. He has also exhibited internationally in Canada, Belgium, and Japan. Duncan currently lives and works in Oakland, California.

Ryan Wallace & Chris Duncan
Transmission Lines
February 3, 2012 - February 26, 2012

For press and sales information please inquire with the gallery.

FINAL WEEK: ANDERS OINONEN

Anders Oinonen
People People
February 3, 2012 - February 26, 2012 For press and sales information please inquire with the gallery.

This is the final week to view Toronto-based painter Anders Oinonen’s first solo exhibition with the gallery titled People People. Oinonen’s unique images blur the line between abstract expressionism and representational painting. Confident brushstrokes are layered to create anthropomorphic landscapes. Color is used to generate space and gradations create a horizon which subtly reveal recognizable facial features. These facial constructions act as a vehicle for abstraction yet are simultaneously a familiar symbol of communication. Oinonen’s work is both precisely crafted and mysterious. The ambiguity of the subject matter invites the viewer to questions the artists motives as well as their own personal perspective.

Anders Oinonen / People People / Installation

Anders Oinonen holds a Masters in Fine Art and has exhibited his paintings in galleries and museums across North America. His work can be found in collections such as the Musée d’art contemporain de Montréal and the Canada Council Art Bank. Oinonen lives and works in Toronto, Ontario.

Anders Oinonen
People People
February 3, 2012 - February 26, 2012

For press and sales information please inquire with the gallery.

GALLERY NEWS

Exhibition information and updates about exhibiting artists are frequently published on the gallery news page. Subscribe to stay up to date with the latest news at COOPER COLE.

Visit Blog

1161 DUNDAS STREET WEST
TORONTO ON, M6J 1X3
CANADA

INFO@COOPERCOLEGALLERY.COM
WWW.COOPERCOLEGALLERY.COM
+1 647 347 3316

MAILING LIST
To receive future updates and gallery news
please enter your email address below

Posted via email from Art PR Wire - contemporary art news

Marianne Lovink at Olga Korper Gallery

artlistpro — Thu, 23 Feb 2012 13:48:52 -0500

Posted via email from Art PR Wire - contemporary art news

Opening Tonight: Piet van den Boog "Bruised and Battered"

artlistpro — Thu, 23 Feb 2012 13:47:48 -0500

Opening Tonight:

Piet van den Boog Bruised and Battered

6-8 pm, Thursday, February 23, 2012

520 West 24th Street, New York, NY 10011

Mike Weiss Gallery is pleased to present Bruised and Battered by Dutch artist Piet van den Boog. For his third solo show at the gallery, van den Boog pushes the limits of portraiture by directly confronting emotion head-on by way of large-scale paintings of faces. Oil and acrylic paint make up the flesh tones and fine facial details while abstract strokes in rust tones, cerulean blues and greens are chemically etched into the cold lead surfaces becoming a powerful metaphor for the internal scars we all possess.

Piet van den Boog / I am still raw / 2011 / Acrylic, oil and rust on lead mounted on wood / 59 x 75 in

The imposing portraits depicted in the paintings, some as tall as 6 feet, are truncated from the body, consequently becoming nostalgic monumental ruins of a lost time. Akin to the brutal candor seen in the portraits of Jenny Saville and Lucian Freud, they surpass their own representation and acquire a bold, autonomous presence because of their distorted nature. They are not meant to remind the viewers of a specific person, but rather, they become an emblematic entity in and of themselves.

The works’ transcendence as universal symbols of emotionally charged memories is further reinforced in van den Boog’s choice of titles, many culled from song lyrics and poems. In the painting If there’s one thing you can say about mankind, there’s nothing kind about man, a line from a Tom Waits song, a male figure appears to hover above the viewer, who unexpectedly finds themselves thrust into an undermined position, as if knocked down in a battle. The title does not identify the individual portrayed but a perspective on humanity. The face looks back at the viewer with the haunting insistence of an unshakeable memory and the etching pain of heartache.

Studio view, Amsterdam / The face forgives the mirror, the worm forgives the plough, the question begs the answer, can you forgive me somehow / 2011 / Acrylic, oil and rust on oxidized lead mounted on wood / 79 x 60 in

A modern day Alchemist, van den Boog experiments with base metals like lead, copper and steel as a visual allegory of personal transmutation, and a quest for an emotional panacea - that cure-all for the human soul. It is van den Boog’s technical process which ultimately imbues the portraits with relatable human qualities. His masterful application of paint is calculated and controlled, while areas of exposed metal are worn and weathered by acids and other oxidizing chemicals in a process left mostly to chance. This element of technical surrender alludes to the unforeseen consequences of intimacy and the perpetual co-existence of pain and pleasure.

Remember, remember, this is now, and now and now, quoted from the journal of tortured poet Sylvia Plath, is one of two self-portraits in the show. Piet’s guarded gaze presents a balanced juxtaposition of emotional fragility and inner strength and resilience, both of which delineate the parameters of human emotion. Van den Boog reminds the viewer of the uncontrollability of life’s forces, with all of their sheer prowess and unpredictability, and the undeniable beauty of the present moment.

Studio view, Amsterdam / I myself am made entirely of flaws, stitched together with good intentions / 2011 / Acrylic, oil and rust on lead mounted on wood / 79 x 63 in

Piet van den Boog (b.1951) currently lives and works in Amsterdam. His work is in many important international museums and collections, most notably, the Drents Museum, Assen, Netherlands; Scheringa voor Realisme Collection, Amsterdam, Netherlands; the Eileen S. Kaminsky Family Foundation, Jersey City, New Jersey; the Art Collection of Dutch Ministry of Education, Culture and Science, Den Haag, Netherlands; ING Art Collection, Amsterdam, Netherlands, and the Miniature Museum, Gemeente Museum Den Haag, Netherlands.

A fully illustrated catalogue is available.

Please “Like” us on Facebook or visit our Tumblr page where all of this and more can be found.

For additional information please contact Anna Ortt, Director at anna@mikeweissgallery.com

Mike Weiss Gallery

520 West 24th Street, New York, NY 10011

Tel: 212-691-6899

Gallery Hours: Tues-Sat 10am to 6pm

www.mikeweissgallery.com

Current Exhibition

Piet van den Boog Bruised and Battered

February 23 - March 24, 2012

Upcoming Exhibition

Eugene Lemay Navigator

March 29 - April 28, 2012

Posted via email from Art PR Wire - contemporary art news

Julia Feyrer / Alternatives and Opportunities

artlistpro — Thu, 23 Feb 2012 09:32:04 -0500

Catriona Jeffries is pleased to announce the first solo exhibition by Julia Feyrer at the gallery, presenting works in 16mm film, sound, sculpture and daguerreotype. Three distinct bodies of work will be shown, including The Artist’s Studio, Little pitchers have big ears and Dailies. These works consider the camera, the microphone, and the clock, respectively, as apparatuses or devices with which to measure and structure perception. Feyrer’s recent works present these metaphorical objects in relation to the human body as a receptor.

Within The Artist’s Studio (2012) Feyrer has continued her interest in the alchemic production of daguerreotypes as a scientific procedure of image making and the site of the studio as a stage in which art objects confront their isolation and loneliness as rarefied artifacts withdrawn from the world. Feyrer began the work by staging a sculptural tableau as a recreation of a daguerreotype taken by Louis Daguerre in 1836 of an ‘artist’s studio’, which was in fact not a document of a working artist’s studio, but rather was staged by Daguerre himself. Feyrer’s tableau becomes inhabited and unhinged in a 16mm film and series of three sequenced daguerreotypes. The film’s unsynchronized voice-over text is a subtle intervention on Leonardo Da Vinci’s ‘Codex Urbinas’- a treatise on the material differences of the classical studio of a painter and of a sculptor.

Considering analogous states of embodiment in both objects and experience, in Little pitchers have big ears (2012), the artist produced a binaural microphone, which records sound spatially, in the same manner as our ears hear sound. The binaural microphone takes the form of a human head, affixed with silicone ears. Inside the empty cavity of the plaster head is a small pillow filled with mugwort, a herb that both encourages the memory of dreams in those who sleep on it and protects travelers on their journey. This instrument was used by Feyrer to make a binaural recording as she moved through the phantasmagoric museum spaces of the Royal BC Museum in Victoria, BC. In this museum, which presents history through a flooding of all the senses by means of its intricately detailed and life-sized historical dioramas, Feyrer’s instrument allowed for an embodied recording of this anachronistic promenade.

In her latest film, Dailies, the artist built an extensive series of clocks, first to be used as props in a 16mm film and then to behave as sculptures within the space of the exhibition. Her interest in clocks is manifold; each clock component is considered as part of a metaphorical physiology, ie. the ‘hands’ and ‘face’ of the clock, as well as the clock’s ‘body’ which takes the form of a container, or capsule. Presented as an unedited series of film rolls, Dailies stages the production of each clock with a variety of techniques, documenting a messy and wildly improvisational approach. Every clock has a partially obscured view, and is stuck at a particular hour, with the second hand stalled yet still ticking. They are each ‘alive’ yet paralyzed in their moment, performing a durational yet non-progressive trick precariously and nervously.

Julia Feyrer (b. 1982, Victoria, BC) lives and works in Vancouver. She graduated in 2010 with a Meisterschülerin from the Städelschule in Frankfurt, Germany, following her undergraduate degree from the Emily Carr Institute of Art and Design in Vancouver. She has a forthcoming exhibition at Leonhardi Kultur Projekte, Frankfurt and recent solo exhibitions include Irregular Time Signatures, Johan Berggren Gallery, Malmö (2011) and The Poodle Dog Ornamental Bar, Artspeak, Vancouver (2010). Her work has been included in the following group exhibitions Children’s Films, Bielefelder Kunstverein (2011); The Problem of Nothing, Hayaka ARTI, Istanbul (2011); Geschmacksverstärker, MMK Zollamt, Frankfurt (2010), Ghost Town, “Ghost Town”, MOTHER, Frankfurt (2010).

For further information or press enquires please contact Catriona Jeffries or Anne Low at +1 604 736 1554.


274 East 1st Avenue Vancouver, BC V5T 1A6 Canada	www.catrionajeffries.com gallery@catrionajeffries.com	Tel +1 604 736 1554 Fax +1 604 736 1054

Posted via email from Art PR Wire - contemporary art news

In the Viewing Room: TrepanierBaer Presents Conversations

artlistpro — Thu, 23 Feb 2012 09:29:47 -0500

TBG-ConversationsViewingRoom.pdf Download this file

Through 2012/2013 as part of a new program titled Conversations,
TrépanierBaer will be featuring works by gallery artists in its Viewing
Room. We hope that you’ll join us for these “pop up” moments at the gallery.

To find out which works are on view, please see attachment.

We look forward to seeing you at TrépanierBaer. TrépanierBaer Gallery
105, 999 - 8 ST SW
Calgary, Alberta, Canada
T2R 1J6
+ (403) 244-2066
info@tbg1.com

Posted via email from Art PR Wire - contemporary art news

Opens tomorrow: SUNGHEE JANG thru March 17th

artlistpro — Thu, 23 Feb 2012 09:29:12 -0500

S U N G H E E J A N G
February 23rd - March 17th

SUNGHEE 2012 Press

Gallery Henoch is pleased to announce the second solo exhibition of SungHee Jang. SungHee received her MFA from The School of Visual Arts in 2007 and has exhibited her work throughout the United States as well as in her native country, South Korea.

SungHee strives to decode the relationship between materiality and “nothingness” through the use of light and reflection. The artist depicts scenes of highly polished architectural elements in which floors and walls seemingly implode to reveal vast empty spaces. Vividly hued and bright white reflections appear amorphous and ethereal in contrast to the rigid structural elements. Paradoxically, it is within the voided spaces that we find the most substance. These washed-out planes assume an emotional presence and psychological weight that demand our attention.

SungHee further captures the ethereal quality of light through her use of p erspective. These scenes of interiors, often depicted from below, are not unfamiliar. And yet they possess a certain uncanny quality that would otherwise go unnoticed. The sun’s glare, for example, filtered through the shape of the unseen windowpanes in Gallery Room, transforms to exaggerated proportions when seen from a low angle. The light seems to distort the space around it, adding another dimension to the room. SungHee imbues this “nothingness” with character and meaning that nevertheless remains gracefully ambiguous and true to its immaterial nature.

Top: BLOOMINGDALE’S, oil on linen, 44” x 57 1/4”

Middle: PV, oil on linen, 76 1/2” x 51”

Below: GALLERY ROOM, oil on linen, 39 1/2” x 78 3/4”

Sincerely,

Andrew Liss

Gallery Henoch

_____________________

G A L L E R Y H E N O C H

5 5 5 W e s t 2 5 th S t r e e t
N e w Y o r k N Y 1 0 0 0 1

9 1 7 . 3 0 5 . 0 0 0 3

www.galleryhenoch.com

info@galleryhenoch.com

Posted via email from Art PR Wire - contemporary art news

Extend Hours for Thursday February 23rd

artlistpro — Tue, 21 Feb 2012 12:50:15 -0500

Moore Gallery, in conjunction with the other galleries at 80 Spadina, is pleased to provide our valued clients an exciting new way to visit the gallery. With the re-launch of Art@80 as a top destination for the city’s artistic elite, the galleries at 80 Spadina will be working with greater cooperation in order to provide patrons with the best possible art purchasing experience. The first step on this path is to offer our clients the chance, beyond our regular hours, to view the numerous high quality exhibitions which are staged on a monthly basis at 80 Spadina. This includes a new monthly feature, launching this Thursday February 23^rd, where all galleries in the Art@80 Building will remain open until 9pm. Stop by and enjoy Moore Gallery’s Winter Group Show before it closes! Our next exhibition, opening March 9^th will feature John Anderson’s solo exhibition “Some Transfigurations” alongside Douglas Bentham’s “Spanish Voices”.

We hope to see you soon at 80 Spadina.

Posted via email from Art PR Wire - contemporary art news

Ingram Art News! ~ February / March 2012

artlistpro — Tue, 21 Feb 2012 12:48:13 -0500

On Saturday, February 25th our 2012 exhibition season begins with the opening of Barker Fairley and E.B. Cox. This exhibition is one of the most anticipated in our nearly 25 year history. The enthusiasm of you, our art lovers and collectors, has encouraged us to put together a first-class survey of these two remarkable Canadian artists. Please enjoy the images and information below for what to expect when you visit the gallery this February and March. A reminder to click through on the images and underlined links of interest, as there is more in store for you on our website.

Join us at the gallery between 2pm - 4pm for our opening celebration on Saturday, February 25th. Barker Fairley and E.B. Cox runs until March 17th.

BARKER FAIRLEY and E.B. COX

February 25 - March 17 . 2012

Opening reception: Saturday, February 25th - 2 to 4pm

Sculpture by E.B. COX alongside minimalist landscapes, portraits & 1960s family vignettes by Barker FAIRLEY makes for the quintessential Canadian exhibition.

BARKER FAIRLEY (1887-1986) Fairley approached painting with the full vocabulary of an art historian. Yet, his method, like his approach to people, was almost irreverent in its honesty; determined to expose the core essence of his subjects. Minimalist in his aesthetic, Fairley stripped his subjects of pretense, moving from landscape to portraiture as a matter of impulse. Built entirely of flat areas, line and a deliberately limited colour palette, his works were intellectual distortions, almost mocking in their superficial naiveté. Sitters were often put off by his portraits- uncomfortable by their own unmasking and the plain fact of their character as portrayed by Fairley.

Though the names of his sitters read like a chapter of 20th Century Canadiana, a rare but notable subset of Fairley’s portraits are those that situate the sitter in a scene. The inclusion of props and the implication of narrative in these pieces acknowledges context in a way that is uncommon in his better known works. Playing cards, reading- Fairley’s interactional pieces seem a departure from the landscapes and stoic studies for which he is better known. Few in number, these pieces speak to the humanism Fairley not only philosophized but practiced in life. “If I had followed my convictions I’d have done more social paintings” Fairley explained in retrospect. For the advocate and later critic of the Group of Seven’s persistent reign, Fairley’s body of active portraits may speak more of the “Canadian fact” than any landscape.

Please click to read the full Barker Fairley essay.

E.B. COX (1914 - 2003)

Studying languages at the University of Toronto from 1934 to 1938, Mr. Cox was befriended by German professor and painter Barker Fairley, who introduced him to A.Y. Jackson, Fred Varley and Arthur Lismer of the Group of Seven.

‘It is safe to say that anyone who has lived or visited the Toronto area has experienced the pleasure of viewing E. B. Cox’s sculpture. The pieces are everywhere and many people have enjoyed them for a lifetime without realizing who created these wonderful works.’

- Wendy Ingram

E.B. Cox: A Life in Sculpture,

Boston Mills Press, 1999, pg. 42

We invite you to join us at the gallery to explore all that Cox achieved — be it introducing the air compressed chisel to Canadian sculptors, the life lessons he was so fond of sharing, his many publicly displayed works — and most importantly — the quality of his lines. Rendering in stone and wood, the exhibition includes works in limestone, marble, dolomite and alabaster. In addition, we have recently released a new series of bronze castings.

E.B. Cox’s claim to fame need not be that he sculpted the Group of Seven’s tombstones (The McMichael grounds, Kleinberg, Ontario) when the body of work left to the public and private collectors is of such a grand calibre.

‘I make beautiful things for other people.’ ~ E.B. Cox

Please click to read more about the life of E.B. Cox.

New Works by Yann Leroux (Montréal) & Andrew Bell (Ottawa)

Rolled up in a tube or packed down in a van, new works travel across Canada to arrive at the gallery each month. The most recent new works into the gallery travelled in from Montreal and Ottawa. From Yann Leroux’s Montreal-based studio we have received three new compelling figurative works on paper. From Max Planck to existential theory, Leroux packs a punch with hidden symbols and his interest in the human condition. Andrew Bell delivered in person from his studio in Ottawa the first new works in since we exhibited produkcja at Art Toronto 2011. Continuing in the series that caught many art loving eyes over the course of the fair.

SCOTT OWLES
A Cast of Castings
April 14 - May 1 . 2012

A weekend in mid-February saw us in the Muskoka region of Ontario visiting in studio with Scott Owles. Owles is currently at work preparing for his first formal solo exhibition with Ingram Gallery. Out in early April, our spring issue of Ingram Art News! will feature Owles and all that he has been up to preparing for A Cast of Castings.

We would like to thank A.J. Lloyd for her new essay on Barker Fairley. We would also like to thank the Royal Ontario Museum for the top notch installation of the Kingston Portrait Prize shortlist, which takes me to a story too awesome not to share! While we were viewing the Kingston Prize exhibition earlier in the year with Sean Yelland — we were very taken by the text the curator had selected for the main gallery wall. Reading through the wise words written on the wall - I was struck by their familiarity — a quote by ‘scholar, critic and artist Barker Fairley’ on the relevance of figurative painting in Canada!

Come out to the gallery for our celebration on Saturday, February 25th so that we may all enjoy, discuss and delight in the brilliant talent of Barker Fairley & E.B. Cox.

See you at the gallery! With best wishes,
Tarah

Tarah Aylward, Director Ingram Gallery 416/929-2220

Posted via email from Art PR Wire - contemporary art news

AC Institute Openings This Thursday, Feb. 23, 6-8pm! Felix Lazo and Chris Twomey

artlistpro — Tue, 21 Feb 2012 12:47:11 -0500

Join Us Thursday, February 23rd, 6-8pm at the AC Institute!

________________________________________________________________________________

AC Institute

547 W. 27th St. #610

New York, NY 10001

www.artcurrents.org

Posted via email from Art PR Wire - contemporary art news

DAVID KAYE GALLERY news...

artlistpro — Tue, 21 Feb 2012 12:46:39 -0500

Please note that this is the last week to see this wonderful installation by Toronto artist SUSAN LOW-BEER.

And it is also the last week to take in the intimately sized paintings by Kingston-based artist REBECCA ANWEILER.

UPCOMING EXHIBITION

SUSAN WARNER KEENE

Foliate: new work in handmade paper

March 1 - 25, 2012

Meet the artist: Saturday, March 3, 2:00 - 5:00 p.m.

All the best,

David

DAVID KAYE GALLERY

1092 Queen Street West

(entrance on Dovercourt)

Toronto, ON M6J 1H9

416.532.9075

www.davidkayegallery.com

Gallery Hours:

Mon., Tue.

Wed. - Fri. <

11:00 - 6:00

Sat., Sun. <11:00 - 5:00

Posted via email from Art PR Wire - contemporary art news

Abstraction takes Houston by storm! | Teeth Art | Michael A. Morris | Smudge Studio

artlistpro — Tue, 21 Feb 2012 12:45:36 -0500

Monday February 20, 2012

Comment of the Week

“I had friends with me and we were all underwhelmed at the opening, but the exhibit has some sort of gravity that has me continually reconsidering it.” - Ryder on Virginia Overton at the Power Station

Houston is Abstraction Town!

Rachel Hooper ponders the proliferation of abstraction in Houston.

The fact that there is an exhibition of abstract painting in nearly every cluster of galleries makes you wonder what might be behind this surge— economics, aesthetics, politics, gender, or the constant cycle of painting dying and being reborn …

Smudge Studio @ Richland College

Colette Copeland reviews “In the Interest of Time” at Richland College’s Brazos Gallery.

In their project Worlds to Come: a field guide (2009), the duo visited six sites of nuclear detonation in Nevada and New Mexico, photographically documenting their visits.

Similar but Different #26: Teeth

Margaret Meehan’s visual train of thought leads through toothy examples of contemporary art.

Most dream interpretations of teeth or their loss explain the intensity behind such imagery as a sign of anxiety, loss or sexual repression.

Corpus Christi’s art revolution

Sarah Fisch launches her Chupacabrona tour of South TX.

I’m not a mom, but I’m at least barely smart enough to get that women with kids and art careers can really use encouragement from other women with kids and art careers.

Feminists are to Mexico what Democrats are to Texas

Leslie Moody Castro on culture shock and gender.

At times living in Mexico is like confronting gender roles as they were in the 1960s …Mexico seems to have escaped the entire feminist revolution.

Michael A. Morris @ Oliver Francis Gallery

Betsy Lewis reviews “It’s Just Meant to Be”.

It’s a little like standing in the much-missed And/Or Gallery once again – smart new media-type stuff in a tiny space that (mostly) knows how to show it.

Job Listings

Preparator
The Grace Museum
Deadline: ASAP

Art Teacher
KIPP charter high school
Deadline: ASAP

Managing Director
The Art Center of Corpus Christi
Deadline: ASAP

See all job listings

Posted via email from Art PR Wire - contemporary art news

[Newsletter] Exhibition in Milan: After the Crisis is Before the Crisis

artlistpro — Tue, 21 Feb 2012 12:39:55 -0500

After the Crisis is Before the Crisis

A solo exhibition by Oliver Ressler
curated by Marco Scotini

Galleria Artra, Milan, Italy
http://www.artragallery.com
February 29 - April 15, 2012
Opening: February 28, 06:30 pm

Oliver Ressler has returned to Milan for his third solo show at Galleria Artra, entitled After the Crisis is Before the Crisis. The exhibition, opening on Tuesday, Feb. 28, 2012, is the second stage of a new project that started at Basis in Frankfurt, and is meant to develop as a series of exhibitions. Following a 14-metre wide slide projection with sound featured in his last show, the Vienna based artist is now presenting a series of works realized over the past two years.

Directly engaged as usual with the here and now, Oliver Ressler’s new project focuses on one of today’s most complex and urgent issues: the crisis of financial capitalism. For Ressler, however, the theme is not new. Indeed, his entire body of work might be seen as a kind of a critical anticipation, if not an actual premise, for the current situation and for the forms and subjects that go with it - not only with regard to his semiotic investigations as an artist, but also due to the political activism performed in his art, by using counter-information and movement’s methods. Ressler’s multidisciplinary approach always leads back to a zone of undecidability lying between aesthetics and politics.

One of his first projects, The Global 500, presented in 1999 in Austria and Canada, was a critical examination of the forms of communication and self-legitimisation employed from the 1980s onwards by prominent firms of a neoliberal economic structure: from McDonalds to the Phillips Petroleum Company, Eastman Kodak and Goodyear. As Georg Schöllhammer wrote at the time: “It is Oliver Ressler’s merit that his work analyses the symbol politics behind the self-presentations of the global players in economic life.”

Whereas The Global 500 was the first episode in a long series, Ressler’s next exhibition project was the large-scale Alternative Economics, Alternative Societies, which focused on defining a possible counter-model to capitalism after the collapse of socialism. And, as Brian Holmes pointed out, Ressler did not confine himself to offering perspectives through recordings of theoretical contributions by Holloway, Dalotel, Burnicki, etc., but also sought a profound answer by personally documenting in the work Venezuela from Below the occupied factories and workers’ cooperatives created under Chávez. Hence it is no coincidence that the project, begun in 2003, preliminarily ended in 2008 with the current banking crisis.

In After the Crisis is Before the Crisis Ressler presents wall texts, photos, videos and installations in which the documentary nature of his research seems to give way increasingly to fiction. An example of this is the recently completed film The Bull Laid Bear, his second collaboration with Australian artist and activist Zanny Begg, which uses animation and soundtrack featuring a reinterpretation of a song by Billie Holiday in order to illustrate not so much the banking crisis, than the image that governments created for it, presenting it as a budget and public debt crisis. Another example is the series of three photographs, We Have a Situation Here, in which heaps of managers, police and soldiers lie on the ground like puppets at the end of a show, the show of the great puppeteer of the market who controlled it from the shadows using Adam Smith’s principle of the invisible hand.

It is undeniable that in this totally reversed situation, in which an economic system is capable of turning the politically impossible into the politically inevitable, one has to show the falseness and fictitiousness as a moment of truth. As Christian Marazzi, an expert on financial capitalism, has explained, we are no longer dealing with the lie of the fetish, whereby merchandise conceals the truth behind the social relations of production. Nowadays, lurking in language, in communication itself, are the social relationships that deceptive action wants to conceal. This is why Ressler not only resorts to fiction, but also to other types of semantic reversal.

In the short film Robbery (2012) Ressler shows young unemployed people illegally looting shops during the days of the London riots in August 2011 and contrasts this with the legal, everyday robbery carried out by governments to rescue the banks. Resist to Exist (2011), a project originally conceived for Copenhagen, documents a symbolic action. It deals with how metal fencing surrounding a storage facility for containers by the Danish Maersk Group could be reappropriated and restored to domestic and social use. The huge wall text Too Big To Fail (2011) is another act of reappropriation. The text, a common expression of our times for avoiding the collapse of banks and financial capitalism, has another meaning hidden inside its lettering. Close up you notice that the letters are pasted on top of a black and white photo of the great mass demonstration of 28 March 2009. There is no doubt that the 99% of the population now in debt and dispossessed can turn into a real opposition force.

Attached Message Part Download this file

Posted via email from Art PR Wire - contemporary art news

chashama Windows Project by Bonnie Gloris and Stephen...

Mon, 20 Feb 2012 17:59:41 -0500

chashama Windows Project by Bonnie Gloris and Stephen Chopek
February 22 - March 4, 2012. Opening: Friday, February 24, 6-8 p.m.
chashama Windows
Installation viewable from the street: daily, 9am - 7pm
Gallery open to the public: February 26, 28 & March 2-4, 10am - 6pm

Bonnie Gloris is a visual artist and independent curator, originally from Albany,
NY. She moved to New York City to attend Parsons the New School for
Design, and graduated with a Bachelor of Fine Arts.  She has had several
solo exhibitions in Jersey City, and has participated in many group shows
across the U.S.  In October 2011, she was interviewed by Jersey City
Magazine.  Bonnie is currently on the staff of Arts Guild New Jersey, a
non-profit center for the arts that presents fine art exhibitions, art
classes, workshops, and other cultural events.

Stephen Chopek (aka SodaCan) lives and works as a musician and artist in
Jersey City, NJ.  He is a multi-instrumentalist and self-taught artist. 
His work explores the connections that exist in the process of creating
music and visual art.  Chopek's mixed media works take readily accessible
materials and found objects out of their original contexts and reshape
them into new compositions.  As a drummer, Stephen has toured the world
and recorded with Charlie Hunter, John Mayer, Marc Broussard, Jesse Malin,
The Alternate Routes, and many others.  He maintains a busy performing and
recording schedule while spreading the word about SodaCan to new
audiences.

Opening reception is free and open to the public. Refreshments will be
served. For more information visit http://www.chashama.org or
http://www.bonnieglorisfineart.com or http://sodacansodacan.com/

266 W 37th Street (between 7th and 8th Ave), New York, NY

Feb. 18th. 2012 A very important Quebec abstract painting...

Sat, 18 Feb 2012 14:12:28 -0500

Feb. 18^th. 2012

A very important Quebec abstract painting from the 1960s has been repatriated to Canada. John and Lynda Shearer of the Canadian Art Group, Toronto collectors and dealers specializing in Canadian abstract art were contacted by an American owner of a monumental work painted by Marcelle Ferron in 1964. Realizing the importance and quality of the work the immediately purchased this masterpiece and had it shipped from the American West to Toronto. This work is one of the finest paintings by the artist from her best period. Ferron paintings from this period have sold for over have a million dollars.

Marcelle Ferron was born in Louiseville, Quebec in 1924. She is considered one of the dominant figures in contemporary Canadian art. Her career stretched over more than thirty years and from the beginning was been oriented towards the exploration of new avenues in art.

Very early on she joined the group of painters known as the Les Automatistes led by Paul-Emile Borduas. Other painters in the group were Marcel Barbeau, Pierre Gauvreau, Fernand Leduc, Jean-Paul Mousseau, and Jean-Paul Riopelle. This group of artists was bound by their passionate belief in modernism and especially in intellectual freedom. In 1948 they published the manifesto, Refus Global, which was an opportunity to express their deeply held beliefs. 1955 is generally considered the beginning of the Post Automatistes period. It includes artists such as Jean McEwen, Rita Letendre, Lise Gervais, Guy Michon, Guido Molinari, Claude Tousignant, Leon Bellefleur and others. In 1948, she was one of the signing parties of the Refus Global manifesto, a deed which was to bestow new vigour and spirit upon Quebecois cultural life.

In 1953 she moved to Paris, where she worked prodigiously for 13 years producing drawings and paintings and, at the same time, initiating herself into the art of the master glassworker.

Ferron participated in all the Automatiste group exhibitions, including the critically acclaimed retrospective “Borduas et les Automatistes” at the Grand Palais in Paris in 1971. Her work was exhibited in numerous collective exhibitions, both in Europe and the U.S. Including L’Exposition des Surindependants and le Salon des Realites nouvelles in 1956, the Antagonisme show at the Louvre in 1960, and at the Paris Musee Art Moderne in 1962 and 1965. She also represented Quebec at the Sao Paulo Biennial in 1961, the Festival des Deux Mondes in Spoleto, Italy in 1962 and the Osaka Universal Exposition in 1970. Her works have been the subject of more than thirty special shows throughout Canada as well as in Paris, Brussels and Munich. In 1970, the Musee Art Contemporain de Montreal staged a retrospective of her work, a show that was repeated in 1972 in Paris at the Canadian Cultural Centre.

Marcelle Ferron works can be found in many major public collections in North and South America and Europe such as the National Gallery of Canada, Ottawa, the Museum of Fine Arts, Montreal, the Musee Art Contemporain, Montreal, the Agnes Etherington Centre, Kingston, the Stedelijk Museum, Amsterdam, the Hirshorn Museum, Washington and the Museum of Modern Art, Sao Paulo, Brazil.

The Canadian Art Group

55 Avenue Rd., Suite 2975

Toronto, Ontario, Canada, M5R 3L2

Phone: 416-774-8575

Web: canadianartgroup.com

Art PR Wire

Live Performance: IRREVOCABLY BLUE

Sophie Jodoin @ VOLTA NY

Press Release: REAR VIEW MIRROR, a pop-up exhibition

TrepanierBaer Presents James Carl: Jalousie and Other Works

Inauguration: CENTRE SPACE (Toronto) - PFOAC présente Adad Hannah

Kamrooz Aram @ Battat Contemporary

UPCOMING: BRENDAN MONROE // COOPER COLE

Marianne Lovink at Olga Korper Gallery

Opening Tonight: Piet van den Boog "Bruised and Battered"

Julia Feyrer / Alternatives and Opportunities

In the Viewing Room: TrepanierBaer Presents Conversations

Opens tomorrow: SUNGHEE JANG thru March 17th

Extend Hours for Thursday February 23rd

Ingram Art News! ~ February / March 2012

AC Institute Openings This Thursday, Feb. 23, 6-8pm! Felix Lazo and Chris Twomey

DAVID KAYE GALLERY news...

Abstraction takes Houston by storm! | Teeth Art | Michael A. Morris | Smudge Studio

In This Issue

We pay better than the other guys.

Monday February 20, 2012

Comment of the Week

Houston is Abstraction Town!

Smudge Studio @ Richland College

Similar but Different #26: Teeth

Corpus Christi’s art revolution

Feminists are to Mexico what Democrats are to Texas

Michael A. Morris @ Oliver Francis Gallery

Job Listings

[Newsletter] Exhibition in Milan: After the Crisis is Before the Crisis

chashama Windows Project by Bonnie Gloris and Stephen...

Feb. 18th. 2012 A very important Quebec abstract painting...