The Blackwood Gallery is now hiring workstudy students for the 2008-2009 school year.
The positions available are:
-Curatorial Assistant
-Research Assistant
-Student Exhibitions Coordinator
-New Media Gallery Assistant
-Gallery Outreach Assistant
If you are enthusiastic about the visual arts and are eligible to apply to the workstudy program, please send your resume and cover letter to Juliana Zalucky, Curatorial Assistant: j.zalucky@utoronto.ca
Job positions go fast - apply today!
For more information about the UTM workstudy program, please go to: http://www.erin.utoronto.ca/careers/work_study.html
Thursday, September 04, 2008
Thursday, February 21, 2008
Volunteer Positions available at the Blackwood Gallery
The Blackwood Gallery at the University of Toronto at Mississauga is currently seeking volunteers for the spring and summer exhibitions. The volunteer positions available involve working at the gallery during regular gallery hours to welcome visitors, answer the telephone, and assist with correspondence. There will also be opportunities to help with exhibition installation and opening receptions.
The positions require commitment for a flexible number of hours from April 1 – June 30, 2008.
The following hours (with a minimum of two hours per session) are available: Mondays, Tuesday, Wednesday, Thursdays, Friday, and Sundays between 1:00 – 4:00 pm.
If you are interested in the visual arts and/or art history, in cultural studies or anthropology, the volunteer positions provide excellent opportunities to develop professional experience and contacts in a lively and stimulating context.
The Blackwood Gallery is a nationally recognized centre for contemporary art, presenting exhibitions by artists from across Canada and beyond, as well as work by students from the Art and Art History program at UTM.
Applications are accepted immediately and on an ongoing basis until March 20th, 2008. Please email or fax your application (cover letter and resume) to:
Juliana Zalucky
Blackwood Gallery
University of Toronto at Mississauga
3359 Mississauga Rd N. Mississauga
ON L5L 1C6
email: j.zalucky@utoronto.ca /Fax: 905-569-4262
At this time, we would also like to welcome volunteers to help us at the end of August with our exhibition opening in September. If you have any past experience installing art, or with carpentry and painting, please let us know in your cover letter. For more information please visit our website, http://www.blackwoodgallery.ca/ or call 905.828.3789
We look forward to hearing from you!
The positions require commitment for a flexible number of hours from April 1 – June 30, 2008.
The following hours (with a minimum of two hours per session) are available: Mondays, Tuesday, Wednesday, Thursdays, Friday, and Sundays between 1:00 – 4:00 pm.
If you are interested in the visual arts and/or art history, in cultural studies or anthropology, the volunteer positions provide excellent opportunities to develop professional experience and contacts in a lively and stimulating context.
The Blackwood Gallery is a nationally recognized centre for contemporary art, presenting exhibitions by artists from across Canada and beyond, as well as work by students from the Art and Art History program at UTM.
Applications are accepted immediately and on an ongoing basis until March 20th, 2008. Please email or fax your application (cover letter and resume) to:
Juliana Zalucky
Blackwood Gallery
University of Toronto at Mississauga
3359 Mississauga Rd N. Mississauga
ON L5L 1C6
email: j.zalucky@utoronto.ca /Fax: 905-569-4262
At this time, we would also like to welcome volunteers to help us at the end of August with our exhibition opening in September. If you have any past experience installing art, or with carpentry and painting, please let us know in your cover letter. For more information please visit our website, http://www.blackwoodgallery.ca/ or call 905.828.3789
We look forward to hearing from you!
Monday, January 14, 2008
Toronto Star article on "Signals in the Dark: Art in the Shadow of War"
Three new gallery shows put conflicts in context
GET YOUR WAR ON
January 03, 2008
Peter Goddard
VISUAL ARTS CRITIC
During the recent movie In the Valley of Elah, a tight-lipped former military police investigator (Tommy Lee Jones) listens impassively to a recitation of the horrors his son went through in the Iraq conflict. Barely a flicker of emotion can be detected on the actor's face.
Yet when questioned later by reporters, Jones would praise the film's "realistic outlook on matters of the heart."
Hollywood has always understood how to translate war's misery into matters of the heart – think of The Deer Hunter – although rarely with the finesse shown by Jones or writer/director Paul Haggis.
For a more consistently nuanced, sophisticated and historically resilient response to war we need to turn to the work of gallery artists, as is suggested with three upcoming exhibitions around town.
"Constellations" at Gallery 44 brings together Toronto artist Aubrey Reeves and Ivan Jurakic from Hamilton. Their work connects through a mutual interest in events connected with World War II and the questions about memory that result.
"War Zones" at A Space broadens the whole notion of the "war zone" to include such domestic conflicts – such as the standoff between police and First Nations at Oka near Montreal in 1990, the unending civil war in Colombia, as well as a rights issues from surveillance to racial screening.
"Signals in the Dark: Art in the Shadow of War" at U of T Mississauga's Blackwood Gallery and Justina M. Barnicke Gallery in Hart House is the most ambitious undertaking of the lot, with a wide variety of screenings, including Lewis Milestone's 1930 film All Quiet on the Western Front, showing Feb. 12 and 13 near the Blackwood Gallery. There's a Jan. 25 symposium at the U of T Mississauga campus dealing with art that confronts "the topics of war and geopolitical critique."
Distance in time and space can twist our understanding of war's image as readily as propaganda. In On Photography in 1977, Susan Sontag felt that seeing repeated scenes of war's carnage would eventually dull our response to the horror. But in Regarding the Pain of Others, published in 2003, the late essayist revisited her thinking on the photographic image.
Maybe we aren't "going numb," despite the ever-increasing flood of images, she reasoned. So the viewer must see the images in another light, as "an invitation to pay attention, to reflect, to learn, to examine the rationalizations for mass suffering offered by established powers," she wrote.
To one degree or another, the three upcoming exhibitions set out to follow Sontag's thinking.
"Constellations," curated by Sara Angelucci, presents Aubrey Reeves' Daybook (2005), a video reconstruction of the clandestine diary kept by Peter Moen, a Norwegian insurance agent who was a leading figure in Oslo's underground, antiwar press activities. First imprisoned, Moen later drowned at sea. His diary survived, though. Following Moen's lead, Reeves laboriously recreated part of the journal to form her video project screen.
For Jurakic, the photographs in his Reclamation and the sculpture Avatar (2004/2007) begin with an old photo – one that includes the image of the artist's father – showing a postwar salvage crew working on a crashed Nazi Messerschmitt ME-410 bomber.
"War Zones," curated by Sally Frater, suggests that suspicions raised by 9/11 about the Arab world have long been part of the lives of the "many marginalized groups in North America – such as First Nations people, people of colour, queer communities, new immigrants, the poor, etc."
For his part in the "War Zones" show, Toronto artist Derek Hardinge investigates the racist subtext embedded in new security measures determined to screen out "undesirables." Four of his photographs each show a hostile, white middle-class male or female glowering in anger. The four other photographs show Middle Eastern individuals or Asian faces submerged under water – drowning in surveillance, as it were. Also in the show are videos by Peter Kingstone, a video projection by Guillermina Buzio and Jorge Lozano and digital prints from Afshin Matlabi.
"Signals in the Dark," curated by Séamus Kealy, attempts to widen our understanding of what we mean by the term "global war." With 17 internationally known artists showing at either U of T's downtown or Mississauga campuses, and with a 40-day-long video and film program, "Signals" looks at how the effect of "perpetual war, dominant politics and military aesthetics" is being "imaged and how it is imagined."
The artists involved range from Harun Farocki, from Germany, Paul Chan from the United States, and Canadian artist Ron Terada.
www.thestar.com
• "Signals in the Dark: Art in the Shadow of War" is at U of T Mississauga's Blackwood Gallery (3359 Mississauga Rd. N.) and Justina M. Barnicke Gallery in Hart House (U of T's downtown campus) from Jan. 17-March 2.
• "Constellations" is at Gallery 44 (401 Richmond St. W., Suite 120) from Saturday to Feb. 2.
• "War Zones" is at A Space (401 Richmond St. W., Suite 110) from Jan. 11-Feb. 15.
GET YOUR WAR ON
January 03, 2008
Peter Goddard
VISUAL ARTS CRITIC
During the recent movie In the Valley of Elah, a tight-lipped former military police investigator (Tommy Lee Jones) listens impassively to a recitation of the horrors his son went through in the Iraq conflict. Barely a flicker of emotion can be detected on the actor's face.
Yet when questioned later by reporters, Jones would praise the film's "realistic outlook on matters of the heart."
Hollywood has always understood how to translate war's misery into matters of the heart – think of The Deer Hunter – although rarely with the finesse shown by Jones or writer/director Paul Haggis.
For a more consistently nuanced, sophisticated and historically resilient response to war we need to turn to the work of gallery artists, as is suggested with three upcoming exhibitions around town.
"Constellations" at Gallery 44 brings together Toronto artist Aubrey Reeves and Ivan Jurakic from Hamilton. Their work connects through a mutual interest in events connected with World War II and the questions about memory that result.
"War Zones" at A Space broadens the whole notion of the "war zone" to include such domestic conflicts – such as the standoff between police and First Nations at Oka near Montreal in 1990, the unending civil war in Colombia, as well as a rights issues from surveillance to racial screening.
"Signals in the Dark: Art in the Shadow of War" at U of T Mississauga's Blackwood Gallery and Justina M. Barnicke Gallery in Hart House is the most ambitious undertaking of the lot, with a wide variety of screenings, including Lewis Milestone's 1930 film All Quiet on the Western Front, showing Feb. 12 and 13 near the Blackwood Gallery. There's a Jan. 25 symposium at the U of T Mississauga campus dealing with art that confronts "the topics of war and geopolitical critique."
Distance in time and space can twist our understanding of war's image as readily as propaganda. In On Photography in 1977, Susan Sontag felt that seeing repeated scenes of war's carnage would eventually dull our response to the horror. But in Regarding the Pain of Others, published in 2003, the late essayist revisited her thinking on the photographic image.
Maybe we aren't "going numb," despite the ever-increasing flood of images, she reasoned. So the viewer must see the images in another light, as "an invitation to pay attention, to reflect, to learn, to examine the rationalizations for mass suffering offered by established powers," she wrote.
To one degree or another, the three upcoming exhibitions set out to follow Sontag's thinking.
"Constellations," curated by Sara Angelucci, presents Aubrey Reeves' Daybook (2005), a video reconstruction of the clandestine diary kept by Peter Moen, a Norwegian insurance agent who was a leading figure in Oslo's underground, antiwar press activities. First imprisoned, Moen later drowned at sea. His diary survived, though. Following Moen's lead, Reeves laboriously recreated part of the journal to form her video project screen.
For Jurakic, the photographs in his Reclamation and the sculpture Avatar (2004/2007) begin with an old photo – one that includes the image of the artist's father – showing a postwar salvage crew working on a crashed Nazi Messerschmitt ME-410 bomber.
"War Zones," curated by Sally Frater, suggests that suspicions raised by 9/11 about the Arab world have long been part of the lives of the "many marginalized groups in North America – such as First Nations people, people of colour, queer communities, new immigrants, the poor, etc."
For his part in the "War Zones" show, Toronto artist Derek Hardinge investigates the racist subtext embedded in new security measures determined to screen out "undesirables." Four of his photographs each show a hostile, white middle-class male or female glowering in anger. The four other photographs show Middle Eastern individuals or Asian faces submerged under water – drowning in surveillance, as it were. Also in the show are videos by Peter Kingstone, a video projection by Guillermina Buzio and Jorge Lozano and digital prints from Afshin Matlabi.
"Signals in the Dark," curated by Séamus Kealy, attempts to widen our understanding of what we mean by the term "global war." With 17 internationally known artists showing at either U of T's downtown or Mississauga campuses, and with a 40-day-long video and film program, "Signals" looks at how the effect of "perpetual war, dominant politics and military aesthetics" is being "imaged and how it is imagined."
The artists involved range from Harun Farocki, from Germany, Paul Chan from the United States, and Canadian artist Ron Terada.
www.thestar.com
• "Signals in the Dark: Art in the Shadow of War" is at U of T Mississauga's Blackwood Gallery (3359 Mississauga Rd. N.) and Justina M. Barnicke Gallery in Hart House (U of T's downtown campus) from Jan. 17-March 2.
• "Constellations" is at Gallery 44 (401 Richmond St. W., Suite 120) from Saturday to Feb. 2.
• "War Zones" is at A Space (401 Richmond St. W., Suite 110) from Jan. 11-Feb. 15.
"Signals in the Dark: Art in the Shadow of War"
Signals in the Dark: Art in the Shadow of War
January 17th to March 2nd, 2008
Opening Reception
Wednesday January 16th
5 to 7 pm at the Justina M. Barnicke Gallery
6 to 9 pm at the Blackwood Gallery
A free shuttle bus will depart from Hart House at 7pm and return at 9pm
Signals in the Dark: Art in the Shadow of War is an inter-disciplinary project exploring contemporary art’s relationship to war and its representations. A collaboration between the Blackwood Gallery (University of Toronto at Mississauga) and the Justina M. Barnicke Gallery (Hart House, University of Toronto), this project includes an exhibition of seventeen international artists at two university gallery locations, a forty-day film/video program, a catalogue, and a public symposium.
Investigating the interstices between perpetual war, dominant politics, and military aesthetics, this project confronts issues of global warfare, how it is imaged, and how it is imagined. Curated by Séamus Kealy, the exhibition presents artists who are responding to these representations of war through informed critique. While a number of artists produce analyses or outraged expressions arising from their own or others’ experiences of war, other artists challenge the spectacle of contemporary war, its veracity and, ultimately, its intertwinement with a New World Order.
Exhibition:
Maja Bajević (Bosnia)
January 17th to March 2nd, 2008
Opening Reception
Wednesday January 16th
5 to 7 pm at the Justina M. Barnicke Gallery
6 to 9 pm at the Blackwood Gallery
A free shuttle bus will depart from Hart House at 7pm and return at 9pm
Signals in the Dark: Art in the Shadow of War is an inter-disciplinary project exploring contemporary art’s relationship to war and its representations. A collaboration between the Blackwood Gallery (University of Toronto at Mississauga) and the Justina M. Barnicke Gallery (Hart House, University of Toronto), this project includes an exhibition of seventeen international artists at two university gallery locations, a forty-day film/video program, a catalogue, and a public symposium.
Investigating the interstices between perpetual war, dominant politics, and military aesthetics, this project confronts issues of global warfare, how it is imaged, and how it is imagined. Curated by Séamus Kealy, the exhibition presents artists who are responding to these representations of war through informed critique. While a number of artists produce analyses or outraged expressions arising from their own or others’ experiences of war, other artists challenge the spectacle of contemporary war, its veracity and, ultimately, its intertwinement with a New World Order.
Exhibition:
Maja Bajević (Bosnia)
Omer Fast (Israel/USA)
Annie MacDonell (Canada)
Annie MacDonell (Canada)
Dominique Blain (Canada)
Kendell Geers (South Africa)
Kendell Geers (South Africa)
Anri Sala (Albania)
Bureau d'etudes (France)
Bureau d'etudes (France)
Johan Grimonprez (Belgium)
Sonja Savić (Serbia)
Sonja Savić (Serbia)
Paul Chan (USA)
Jamelie Hassan (Canada)
Jamelie Hassan (Canada)
Sean Snyder (USA/Germany)
Köken Ergun (Turkey)
Köken Ergun (Turkey)
Kristan Horton (Canada)
Ron Terada (Canada)
Ron Terada (Canada)
Harun Farocki (Germany)
Abdel-Karim Khalil (Iraq)
Symposium (Friday January 25th): Expanding the subject of the exhibition, the symposium includes WJT Mitchell (University of Chicago, Chicago, IL, USA), Stephen Eisenman (Northwestern University, Chicago, IL, USA), Boris Groys (ZKM, Karlsruhe, Germany), Brigitte van der Sande (Independent Curator, Netherlands), and Allan Harding MacKay (Artist, Canada).
A free shuttle bus will depart from Hart House at 1pm and return at 8pm
Catalogue: To be released at the symposium event, the catalogue includes illustrations of the artworks as well as essays on art, war, and representations of terror by Boris Groys, Séamus Kealy, Gene Ray, and Brigitte van der Sande.
Film/Video Program: Twenty-five films and videos by international artists and directors will be presented at both galleries throughout the exhibition.
All programming and events are free of admission.
To reserve a seat on the shuttle buses, please call the Blackwood Gallery at 905-828-3789
Support generously provided by The Canada Council for the Arts, The Ontario Arts Council, The Connaught Committee, University of Toronto, The Jackman Humanities Institute at the University of Toronto, The Centre for Studies of the United States, The Institute of Communication and Culture, Office of the Vice-Principal/Research (UTM), The Centre for Visual and Media Culture, The Ontario Trillium Foundation, UTM Residence Life, Consulate-General of the Kingdom of the Netherlands, and Goethe-Institut
For more information, please visit http://www.blackwoodgallery.ca/
Blackwood Gallery3359 Mississauga Rd. N.,
Mississauga, ON L5L 1C6
Tel: (905) 828-3789
Abdel-Karim Khalil (Iraq)
Symposium (Friday January 25th): Expanding the subject of the exhibition, the symposium includes WJT Mitchell (University of Chicago, Chicago, IL, USA), Stephen Eisenman (Northwestern University, Chicago, IL, USA), Boris Groys (ZKM, Karlsruhe, Germany), Brigitte van der Sande (Independent Curator, Netherlands), and Allan Harding MacKay (Artist, Canada).
A free shuttle bus will depart from Hart House at 1pm and return at 8pm
Catalogue: To be released at the symposium event, the catalogue includes illustrations of the artworks as well as essays on art, war, and representations of terror by Boris Groys, Séamus Kealy, Gene Ray, and Brigitte van der Sande.
Film/Video Program: Twenty-five films and videos by international artists and directors will be presented at both galleries throughout the exhibition.
All programming and events are free of admission.
To reserve a seat on the shuttle buses, please call the Blackwood Gallery at 905-828-3789
Support generously provided by The Canada Council for the Arts, The Ontario Arts Council, The Connaught Committee, University of Toronto, The Jackman Humanities Institute at the University of Toronto, The Centre for Studies of the United States, The Institute of Communication and Culture, Office of the Vice-Principal/Research (UTM), The Centre for Visual and Media Culture, The Ontario Trillium Foundation, UTM Residence Life, Consulate-General of the Kingdom of the Netherlands, and Goethe-Institut
For more information, please visit http://www.blackwoodgallery.ca/
Blackwood Gallery3359 Mississauga Rd. N.,
Mississauga, ON L5L 1C6
Tel: (905) 828-3789
Fax: (905) 569-4262
Thursday, November 01, 2007
Opening Party
Please join us tonight Thursday November 1st, in the Blackwood Gallery (Kaneff Building) between 5 - 9pm for the Opening Reception of "Awareness Muscle", an exhibition by French artist Thierry Geoffroy.
“Excuse me, is the world perfect? Do you have political opinions? What is your slogan? …. We need you!”
French artist Thierry Geoffroy/Colonel is the first guest in the Blackwood Gallery’s new artist-in-residence program. His project, Awareness Muscle, involves new projects realized on UTM campus and highlights a number of his recent art projects, including his ongoing Emergency Room project (most recently at Nuit Blanche in Toronto). Geoffroy’s projects cross into the public sphere to activate the ordinary into political potential and to create sparks of social consciousness. Acting the persona of ‘Colonel’, a partly true-to-life ‘professional tourist’, Geoffroy confronts the public with unusual requests that turn an everyday rendezvous into an exchange of ideas and identities.
On campus, Geoffroy has already directed public events both at the gallery as well as at the Athletic Centre, blurring art, leisure, exercise, classroom activity, and political activity within the every day space of the university.
Support generously provided by the Canada Council for the Arts, the Ontario Trillium Foundation, UTM Residence Life, and The Department of French, German and Italian Studies, UTM.
A FREE shuttle bus is scheduled to pick up guests downtown at the Hart House at 6:15pm and the Gladstone Hotel (Dufferin and Queen) at 6:30pm. The bus will depart the Blackwood at 8:30pm for a return to both the Gladstone and Hart House locations.
For more information, contact the Blackwood Gallery at 905 828 3789 or http://www.blackwoodgallery.ca/
Tuesday, October 16, 2007
Last Chance!
Kelly Mark: Stupid Heaven
Closing reception: Sunday, October 21st, 1 – 5 pm
In conjunction with the Mississauga Art Gallery Hop
The Blackwood Gallery at the University of Toronto at Mississauga invites you to attend a closing reception of Kelly Mark: Stupid Heaven, curated by Barbara Fischer. Organized by the Justina M. Barnicke Gallery, in collaboration with the Blackwood Gallery, Stupid Heaven is the first major survey of works by Kelly Mark in Toronto. Bringing together key works from the last ten years, the exhibition includes drawing, sculpture, video, performance, audio work, as well as multiples and recent, television-based projects.
A FREE shuttle bus will run roundtrip to the Blackwood Gallery with a pick up at both the JM Barnicke Gallery at 1:15 and the Gladstone Hotel at 1:30. The bus will depart at 3pm. To reserve a seat please contact Juliana Zalucky at 905-828-3789.
Or you can visit us by way of the Mississauga Art Gallery Hop, a free visual art bus trip.
MISSISSAUGA ART GALLERY HOP … a free visual art bus trip!
Mississauga and Peel Region galleries celebrate the visual arts with the third Art Gallery Hop on Sunday, October 21 from 11:00 am - 4:00 pm. A FREE shuttle will take visitors on a regional tour of visual art centres and spaces.
Join us for tours and refreshments at the Art Gallery of Mississauga, Blackwood Gallery, Living Arts Centre Laidlaw Hall Gallery, Gallery Streetsville, Art Gallery of Peel, Whitney Gallery, and Visual Arts Mississauga.
BUS #1
Leaves at 11:00 am from Peel Heritage Complex, 9 Wellington St E, Brampton, returning at 4:00 pm
BUS #2
Leaves at 11:00 am from Visual Arts Mississauga, 1475 Burnhamthorpe Road West, Mississauga, returning at 4:00 pm
For more information or to book a seat on the Art Gallery Hop bus please contact Suzanne Carte-Blanchenot at 905-896-5507 or suzanne.carte-blanchenot@mississauga.ca
The Art Gallery of Mississauga and Blackwood Gallery would like to acknowledge the generous support of the Ontario Trillium Foundation.
For more information about Stupid Heaven, please call the Blackwood Gallery at 905-828-3789 or visit http://www.blackwoodgallery.ca/
Closing reception: Sunday, October 21st, 1 – 5 pm
In conjunction with the Mississauga Art Gallery Hop
The Blackwood Gallery at the University of Toronto at Mississauga invites you to attend a closing reception of Kelly Mark: Stupid Heaven, curated by Barbara Fischer. Organized by the Justina M. Barnicke Gallery, in collaboration with the Blackwood Gallery, Stupid Heaven is the first major survey of works by Kelly Mark in Toronto. Bringing together key works from the last ten years, the exhibition includes drawing, sculpture, video, performance, audio work, as well as multiples and recent, television-based projects.
A FREE shuttle bus will run roundtrip to the Blackwood Gallery with a pick up at both the JM Barnicke Gallery at 1:15 and the Gladstone Hotel at 1:30. The bus will depart at 3pm. To reserve a seat please contact Juliana Zalucky at 905-828-3789.
Or you can visit us by way of the Mississauga Art Gallery Hop, a free visual art bus trip.
MISSISSAUGA ART GALLERY HOP … a free visual art bus trip!
Mississauga and Peel Region galleries celebrate the visual arts with the third Art Gallery Hop on Sunday, October 21 from 11:00 am - 4:00 pm. A FREE shuttle will take visitors on a regional tour of visual art centres and spaces.
Join us for tours and refreshments at the Art Gallery of Mississauga, Blackwood Gallery, Living Arts Centre Laidlaw Hall Gallery, Gallery Streetsville, Art Gallery of Peel, Whitney Gallery, and Visual Arts Mississauga.
BUS #1
Leaves at 11:00 am from Peel Heritage Complex, 9 Wellington St E, Brampton, returning at 4:00 pm
BUS #2
Leaves at 11:00 am from Visual Arts Mississauga, 1475 Burnhamthorpe Road West, Mississauga, returning at 4:00 pm
For more information or to book a seat on the Art Gallery Hop bus please contact Suzanne Carte-Blanchenot at 905-896-5507 or suzanne.carte-blanchenot@mississauga.ca
The Art Gallery of Mississauga and Blackwood Gallery would like to acknowledge the generous support of the Ontario Trillium Foundation.
For more information about Stupid Heaven, please call the Blackwood Gallery at 905-828-3789 or visit http://www.blackwoodgallery.ca/
Monday, October 15, 2007
Blackwood Gallery: Volunteer Opportunity
The Blackwood Gallery is currently seeking a reliable, highly
self-motivated student interested in developing an interactive,
research-based website focused on the subject of war and its
representations. The student will work with other peers in creating an
internet site that will support the upcoming Blackwood Gallery
exhibition Signals in the Dark: Art in the Shadow of War (January 10 -
February 24, 2008). Volunteers will have the opportunity to work with
the Curator of the Blackwood Gallery and be part of an exciting,
upcoming international group exhibition based on the relationship
between art and war. This volunteer position requires computer
literacy, research and organizational skills, in addition to an
ability to work well independently and in a team environment. Previous
experience in Dreamweaver and web design is required.
If you are interested, please contact Juliana Zalucky, Curatorial Assistant at j.zalucky@utoronto.ca
self-motivated student interested in developing an interactive,
research-based website focused on the subject of war and its
representations. The student will work with other peers in creating an
internet site that will support the upcoming Blackwood Gallery
exhibition Signals in the Dark: Art in the Shadow of War (January 10 -
February 24, 2008). Volunteers will have the opportunity to work with
the Curator of the Blackwood Gallery and be part of an exciting,
upcoming international group exhibition based on the relationship
between art and war. This volunteer position requires computer
literacy, research and organizational skills, in addition to an
ability to work well independently and in a team environment. Previous
experience in Dreamweaver and web design is required.
If you are interested, please contact Juliana Zalucky, Curatorial Assistant at j.zalucky@utoronto.ca
Thursday, October 11, 2007
Globe and Mail Review: Kelly Mark "Stupid Heaven"
Passing time, wasting time, marking time
In addition to her other accomplishments, Toronto artist Kelly Mark shows us how to kick back, Sarah Milroy writes
SARAH MILROY
From Wednesday's Globe and Mail
September 26, 2007 at 1:56 AM EDT
The red neon sign on the wall reads, “I called shotgun infinity when I was 12.” It's a work from 2006 by Toronto artist Kelly Mark and, like so much of the art she makes – art that is currently gathered in two linked exhibitions at the University of Toronto's Justina M. Barnicke Gallery and Blackwood Gallery – it is about time.
Admittedly, it's the rare child who plans for eternity before the onset of menses, but Mark has always had a heightened awareness of these things. Passing the time, time wasting, marking time, keeping time – these are all themes that play themselves out in her pieces. Behind it all is a defence of the sometimes-not-so-obvious utility of making art. Is this a worthy expenditure of time? What is it for? Is it a job? If so, what are the requirements?
Mark, who turns 40 this year, is a self-described working-class hero who insists on the value of labour many might call worthless: seeing the beauty in a crumpled Kleenex, or the complexity of her pet cat's videotaped investigations of the world; scavenging through hundreds of hours of near-obsolete film and television footage; or observing and cataloguing the ramblings of her own wandering mind.
For skeptics out to bust artists for self-indulgent narcissism, the show might seem to offer a field day. For more sympathetic souls – those of us who appreciate that slowing down and indulging in a little everyday reverie might be a worthwhile act of rebellion against the commercialization and standardization of our minds and souls – it's like a dream come true. In addition to her other accomplishments – revivifying the legacy of conceptual art, say, or waging a wry critique of consumerism – Mark shows us how to kick back.
Take Placed (1999), one of the show's most piquant works, on view at the Blackwood Gallery. It's a series of photographic vignettes from urban life, documenting litter that has been not just tossed away but carefully insinuated by passersby into the urban fabric. A tissue is pushed into the cracks of a red picnic table. A pink phone-message slip is folded upon itself and inserted neatly into a white metal door hinge. A bright orange bottle cap sits primly in the undercarriage of a door handle. Torn between their desire to discard and their socially conditioned abhorrence of littering, or perhaps just seized by an aesthetic impulse requiring release, these free-range anonymous sculptors have engineered mini-interventions in the city. Mark notes these gestures and matches them with her own, crafting little still-life studies that brim with pathos and humour.
Another piece, titled Broken Meters, at the Barnicke Gallery, observes the way in which we city dwellers bargain with authority, documenting an array of handmade notes left on broken parking meters around town. “Out of Order,” scrawls one harried writer, while another works harder to absolve herself: “Jammed w/ $1 inside. 2:10 p.m.” (Perhaps there is a God, and he/she will deliver golden rays of mercy onto this street corner. And maybe pigs will fly.) Then there's the plaintive new Canadian: “She broke no more work.” Mark observes our intimate negotiations with the big-city machine, delivering a sense of tender humanity under siege.
The television has always been a muse for Mark, and a companion in her fructifying indolence. A number of her video works record reflected TV light spilling onto the wall. One such work, at the Blackwood, is a pile of TV sets throbbing with pale pastel light. It turns out they are screening the reflected light thrown by TV porn onto white walls. (Hence the throbbing, pace variable.) A smaller companion piece, at the Barnicke, improvises on this theme. Titled The Kiss (after Brancusi's canonical modernist sculpture of a couple embracing), the piece consists of two small televisions sitting screen to screen on a plinth, their two gently curved glass convexities touching as they exchange rhythmic pulses of light.
The most sustained homage to television, though, is Mark's new installation, titled REM, a two-hour mash-up of film and television clips that operates as a digest of narrative motifs, excerpted from more than 170 sources. (The artist provides sofas for extended viewing.) The work opens with a sequence of studio logos (the winged white horse, the Arctic mountain range jutting with crystals, the roaring lion, the toga-clad goddess with her flaming lantern aloft), followed by a sampling of opening credits, both vintage and contemporary, and proceeds onward from there.
As the piece unfolds, we are immersed in a deftly edited compilation of scenes that are grouped by type – the car chase, the explosion, the interrogation scene, the stair-running getaway, the melancholy moment of self-encounter, the terrified flight through the dark forest – the seams between them joined to produce a fluid quasi-narrative that bristles with irony, humour and insight.
The result is weirdly absorbing; you find yourself immersed in the medium itself, and marvelling, too, at the encyclopedic memory of the artist equipped to command this plethora of detail.
This is “time wasting” elevated to a near-heroic scale, and that's precisely the point. Sometimes in Mark's art, that pose can lead to a kind of conceptual flabbiness; some of the works that curator Barbara Fischer has left out of this show collapse under the weight of their own slacker attitude. The best, though, as we see here, are dry and tart refutations of conventional diligence. In this regard, like the conceptual artists that are her precursors, Mark's is an art of resistance.
In Demonstration, a performance event staged in response to the Power Plant Contemporary Art Gallery's annual glam fundraiser, the Power Ball, in 2003, her laughing accomplices intercept incoming limos holding empty placards aloft, chanting slogans like “Hell no, we don't know!” or “What do we want? Nothing!” Clearly, it's the protesters who are having all the fun. (The performance was captured on video and is being exhibited at both shows' locations.) By wanting nothing, Mark seems to refuse the whole thrust of capitalist striving and materialistic reward.
She resists, too, the inner voices that drive us from mindful immersion in our present moment into anxious worrying and future planning. “I really should …” is a phrase that Mark has turned into neon, printed onto shopping bags and incorporated into an ongoing audio piece, an exhaustive (and exhausting) compilation of imagined self-improvements. “I really should pay them back. I really should put something on that before it gets infected. I really should buy some asparagus. I really should try and improve my vocabulary. I really should get the bills paid. I really should punish all those who defy me. I really should branch out …”
The list spills on and on in an endless litany. But as these obsessive incantations pile up, we come increasingly to recognize the absurdity of all that striving. The piece backfires with a bang. Listening, you realize: I really should stop thinking about all these things I should be doing. I really should accept myself the way I am.
I really should.
In addition to her other accomplishments, Toronto artist Kelly Mark shows us how to kick back, Sarah Milroy writes
SARAH MILROY
From Wednesday's Globe and Mail
September 26, 2007 at 1:56 AM EDT
The red neon sign on the wall reads, “I called shotgun infinity when I was 12.” It's a work from 2006 by Toronto artist Kelly Mark and, like so much of the art she makes – art that is currently gathered in two linked exhibitions at the University of Toronto's Justina M. Barnicke Gallery and Blackwood Gallery – it is about time.
Admittedly, it's the rare child who plans for eternity before the onset of menses, but Mark has always had a heightened awareness of these things. Passing the time, time wasting, marking time, keeping time – these are all themes that play themselves out in her pieces. Behind it all is a defence of the sometimes-not-so-obvious utility of making art. Is this a worthy expenditure of time? What is it for? Is it a job? If so, what are the requirements?
Mark, who turns 40 this year, is a self-described working-class hero who insists on the value of labour many might call worthless: seeing the beauty in a crumpled Kleenex, or the complexity of her pet cat's videotaped investigations of the world; scavenging through hundreds of hours of near-obsolete film and television footage; or observing and cataloguing the ramblings of her own wandering mind.
For skeptics out to bust artists for self-indulgent narcissism, the show might seem to offer a field day. For more sympathetic souls – those of us who appreciate that slowing down and indulging in a little everyday reverie might be a worthwhile act of rebellion against the commercialization and standardization of our minds and souls – it's like a dream come true. In addition to her other accomplishments – revivifying the legacy of conceptual art, say, or waging a wry critique of consumerism – Mark shows us how to kick back.
Take Placed (1999), one of the show's most piquant works, on view at the Blackwood Gallery. It's a series of photographic vignettes from urban life, documenting litter that has been not just tossed away but carefully insinuated by passersby into the urban fabric. A tissue is pushed into the cracks of a red picnic table. A pink phone-message slip is folded upon itself and inserted neatly into a white metal door hinge. A bright orange bottle cap sits primly in the undercarriage of a door handle. Torn between their desire to discard and their socially conditioned abhorrence of littering, or perhaps just seized by an aesthetic impulse requiring release, these free-range anonymous sculptors have engineered mini-interventions in the city. Mark notes these gestures and matches them with her own, crafting little still-life studies that brim with pathos and humour.
Another piece, titled Broken Meters, at the Barnicke Gallery, observes the way in which we city dwellers bargain with authority, documenting an array of handmade notes left on broken parking meters around town. “Out of Order,” scrawls one harried writer, while another works harder to absolve herself: “Jammed w/ $1 inside. 2:10 p.m.” (Perhaps there is a God, and he/she will deliver golden rays of mercy onto this street corner. And maybe pigs will fly.) Then there's the plaintive new Canadian: “She broke no more work.” Mark observes our intimate negotiations with the big-city machine, delivering a sense of tender humanity under siege.
The television has always been a muse for Mark, and a companion in her fructifying indolence. A number of her video works record reflected TV light spilling onto the wall. One such work, at the Blackwood, is a pile of TV sets throbbing with pale pastel light. It turns out they are screening the reflected light thrown by TV porn onto white walls. (Hence the throbbing, pace variable.) A smaller companion piece, at the Barnicke, improvises on this theme. Titled The Kiss (after Brancusi's canonical modernist sculpture of a couple embracing), the piece consists of two small televisions sitting screen to screen on a plinth, their two gently curved glass convexities touching as they exchange rhythmic pulses of light.
The most sustained homage to television, though, is Mark's new installation, titled REM, a two-hour mash-up of film and television clips that operates as a digest of narrative motifs, excerpted from more than 170 sources. (The artist provides sofas for extended viewing.) The work opens with a sequence of studio logos (the winged white horse, the Arctic mountain range jutting with crystals, the roaring lion, the toga-clad goddess with her flaming lantern aloft), followed by a sampling of opening credits, both vintage and contemporary, and proceeds onward from there.
As the piece unfolds, we are immersed in a deftly edited compilation of scenes that are grouped by type – the car chase, the explosion, the interrogation scene, the stair-running getaway, the melancholy moment of self-encounter, the terrified flight through the dark forest – the seams between them joined to produce a fluid quasi-narrative that bristles with irony, humour and insight.
The result is weirdly absorbing; you find yourself immersed in the medium itself, and marvelling, too, at the encyclopedic memory of the artist equipped to command this plethora of detail.
This is “time wasting” elevated to a near-heroic scale, and that's precisely the point. Sometimes in Mark's art, that pose can lead to a kind of conceptual flabbiness; some of the works that curator Barbara Fischer has left out of this show collapse under the weight of their own slacker attitude. The best, though, as we see here, are dry and tart refutations of conventional diligence. In this regard, like the conceptual artists that are her precursors, Mark's is an art of resistance.
In Demonstration, a performance event staged in response to the Power Plant Contemporary Art Gallery's annual glam fundraiser, the Power Ball, in 2003, her laughing accomplices intercept incoming limos holding empty placards aloft, chanting slogans like “Hell no, we don't know!” or “What do we want? Nothing!” Clearly, it's the protesters who are having all the fun. (The performance was captured on video and is being exhibited at both shows' locations.) By wanting nothing, Mark seems to refuse the whole thrust of capitalist striving and materialistic reward.
She resists, too, the inner voices that drive us from mindful immersion in our present moment into anxious worrying and future planning. “I really should …” is a phrase that Mark has turned into neon, printed onto shopping bags and incorporated into an ongoing audio piece, an exhaustive (and exhausting) compilation of imagined self-improvements. “I really should pay them back. I really should put something on that before it gets infected. I really should buy some asparagus. I really should try and improve my vocabulary. I really should get the bills paid. I really should punish all those who defy me. I really should branch out …”
The list spills on and on in an endless litany. But as these obsessive incantations pile up, we come increasingly to recognize the absurdity of all that striving. The piece backfires with a bang. Listening, you realize: I really should stop thinking about all these things I should be doing. I really should accept myself the way I am.
I really should.
NOW Review: Kelly Mark Stupid Heaven
Kelly Mark's ongoing In & Out Punch Cards project comments on boredom and work.
Art Reviews
Mark pushes paradoxes - Works destroy in order to transform the dull into the interesting
By FRAN SCHECHTER
KELLY MARK at Justina M. Barnicke Gallery (7 Hart House Circle), to October 28. 416-978-8398. Rating: NNN
Kelly Mark: Stupid Heaven is the first of the U of T gallery's planned mid-career surveys of local artists. The conceptual artist's early practice involved collecting, arranging or documenting prosaic found objects and completing seemingly pointless, depersonalized tasks like carrying an object for a year.
Pieces from the 90s include Defiled, a pair of metal files rubbed together until toothless, and drawings from the Until series of identical black circles that each totally used up a single pencil. She cleverly employs the object's function to destroy it and transform it into art.
Mark comments on the act of art-making itself in In And Out, a wall of weekly factory time cards that she punches to mark her studio work time, a project now in its 11th year and slated to continue until the now 40-year-old art worker turns 65.
Recently, she's turned to television in conceptual videos like 30 Minute Stare (just what it sounds like) and pieces like Kiss (two pulsating TVs arranged screen to screen) that focus on the set itself rather than what's on.
TV watchers may be too worn out by the new season to take in all of REM, Mark's new two-and-a-half-hour mashup of narratively related movie and TV scenes that plays in an installation of four living rooms equipped with comfy couches and stalled clocks. The boredom of channel surfing and the sameness of TV content aren't exactly new insights.
Mark makes provocative and sometimes humorous statements on how we structure culture, work and leisure.
But in a world where anything can be art, is it too much, or too late, to ask for art that speaks from and to the soul?
Mark pushes paradoxes - Works destroy in order to transform the dull into the interesting
By FRAN SCHECHTER
KELLY MARK at Justina M. Barnicke Gallery (7 Hart House Circle), to October 28. 416-978-8398. Rating: NNN
Kelly Mark: Stupid Heaven is the first of the U of T gallery's planned mid-career surveys of local artists. The conceptual artist's early practice involved collecting, arranging or documenting prosaic found objects and completing seemingly pointless, depersonalized tasks like carrying an object for a year.
Pieces from the 90s include Defiled, a pair of metal files rubbed together until toothless, and drawings from the Until series of identical black circles that each totally used up a single pencil. She cleverly employs the object's function to destroy it and transform it into art.
Mark comments on the act of art-making itself in In And Out, a wall of weekly factory time cards that she punches to mark her studio work time, a project now in its 11th year and slated to continue until the now 40-year-old art worker turns 65.
Recently, she's turned to television in conceptual videos like 30 Minute Stare (just what it sounds like) and pieces like Kiss (two pulsating TVs arranged screen to screen) that focus on the set itself rather than what's on.
TV watchers may be too worn out by the new season to take in all of REM, Mark's new two-and-a-half-hour mashup of narratively related movie and TV scenes that plays in an installation of four living rooms equipped with comfy couches and stalled clocks. The boredom of channel surfing and the sameness of TV content aren't exactly new insights.
Mark makes provocative and sometimes humorous statements on how we structure culture, work and leisure.
But in a world where anything can be art, is it too much, or too late, to ask for art that speaks from and to the soul?
NOW OCTOBER 4 - 10, 2007 VOL. 27 NO. 5
Monday, September 24, 2007
Blackwood at Nuit Blanche!
Emergency Room Recruiting Centre, Nuit Blanche, September 29, 2007
For this “all-night contemporary art thing” in Toronto, Thierry Geoffroy/Colonel has been invited to install "Emergency Room Recruiting Centre" at the University of Toronto’s Art Centre at St. George Campus, downtown. Between 7 pm and 7 am, Geoffroy will work with recruited artists who are either making art ‘on the spot’ that responds to current political events (local or world-wide) or bringing in artwork that responds to immediate political crises. Employing a manifesto and acting as the artistic director of this intense political art workshop and transitory exhibition, Geoffroy will work with each artist – hour by hour – to create an environment of cultural and political production, which in itself challenges notions of contemporary art. Curated by Séamus Kealy.
For more information contact the Blackwood Gallery: 905 828-3789.
To be a recruited artist, contact Blackwood Gallery Outreach Programmer Suzanne Carte-Blanchenot at Suzanne.Carte-Blanchenot@mississauga.ca
Thierry Geoffroy/Colonel
Thierry Geoffroy/Colonel was born in Nancy, France in 1961. His father was first a captain, then a colonel, in the French Army, and due to his service requirements, the family was stationed in Algeria.
Thierry Geoffroy/Colonel began experimenting with photography and visual arts in his early teens, using representation as an early form of self-inquiry. Between 1978 and 1981, Geoffroy studied Medicine at the University of Nancy. Since 1988, Geoffroy has exhibited and produced interventionist-like projects world-wide, including exhibitions at the Sprengel Museum in Hanover, the Roskilde Museum of Contemporary Art in Denmark, the Nordic Institute for Contemporary Art, Galerie Olaf Stüber in Berlin, and site-specific projects at the 2003 and 2007 Venice Biennale, and his ongoing project Emergency Room, most recently accomplished at PS1 in New York.
Geoffroy has also created many films and several publications, all of which continue his challenge of notions of identity and political representations. Geoffroy, a French émigré, lives in Copenhagen, Denmark, with his wife and three children.
Geoffroy is a recipient of France’s “Chevalier des arts et des lettres”.
Images and further information are available online at:
http://conclusionism.com/heie_ps1/emergencyroom.html
For this “all-night contemporary art thing” in Toronto, Thierry Geoffroy/Colonel has been invited to install "Emergency Room Recruiting Centre" at the University of Toronto’s Art Centre at St. George Campus, downtown. Between 7 pm and 7 am, Geoffroy will work with recruited artists who are either making art ‘on the spot’ that responds to current political events (local or world-wide) or bringing in artwork that responds to immediate political crises. Employing a manifesto and acting as the artistic director of this intense political art workshop and transitory exhibition, Geoffroy will work with each artist – hour by hour – to create an environment of cultural and political production, which in itself challenges notions of contemporary art. Curated by Séamus Kealy.
For more information contact the Blackwood Gallery: 905 828-3789.
To be a recruited artist, contact Blackwood Gallery Outreach Programmer Suzanne Carte-Blanchenot at Suzanne.Carte-Blanchenot@mississauga.ca
Thierry Geoffroy/Colonel
Thierry Geoffroy/Colonel was born in Nancy, France in 1961. His father was first a captain, then a colonel, in the French Army, and due to his service requirements, the family was stationed in Algeria.
Thierry Geoffroy/Colonel began experimenting with photography and visual arts in his early teens, using representation as an early form of self-inquiry. Between 1978 and 1981, Geoffroy studied Medicine at the University of Nancy. Since 1988, Geoffroy has exhibited and produced interventionist-like projects world-wide, including exhibitions at the Sprengel Museum in Hanover, the Roskilde Museum of Contemporary Art in Denmark, the Nordic Institute for Contemporary Art, Galerie Olaf Stüber in Berlin, and site-specific projects at the 2003 and 2007 Venice Biennale, and his ongoing project Emergency Room, most recently accomplished at PS1 in New York.
Geoffroy has also created many films and several publications, all of which continue his challenge of notions of identity and political representations. Geoffroy, a French émigré, lives in Copenhagen, Denmark, with his wife and three children.
Geoffroy is a recipient of France’s “Chevalier des arts et des lettres”.
Images and further information are available online at:
http://conclusionism.com/heie_ps1/emergencyroom.html
Thursday, July 19, 2007
Kids Art Camp: Week 3 - Photography
"Running With Scissors" Kids Art Camp
Week 3: Photography
Week 3: Photography
July 16 - 20
This week our young artists explored the world of photography through the lens of a 35mm camera. They experimented with the effects of light and created unique images with a visit to the computer lab where they learned studio techniques.
There are spaces still available for upcoming classes like Experimental Drawing, Multimedia, Sculpture, Map Making and Environmental Art. Please visit our Thursday May 3rd post for details or contact our Outreach Programmer Suzanne Carte-Blanchenot at 905-896-5507 or suzanne.carte-blanchenot@mississauga.ca for more information or to register.
Kids Art Camp: Week 2 - Animation
"Running with Scissors" Kids Art Camp
Week 2: Animation
July 9 - 13
In the second week of our kids art camp, our young artists created worlds where images walked, talked and even flew! They told stories and designed characters using flip-books, drawings on film, puppets, clay and cut-outs and animation.
There are spaces still available for upcoming classes like
Experimental Drawing, Multimedia, Sculpture,
Map Making and Environmental Art.
Please visit our Thursday May 3rd post for details
or contact our Outreach Programmer Suzanne Carte-Blanchenot
at 905-896-5507
or suzanne.carte-blanchenot@mississauga.ca
for more information or to register.
Experimental Drawing, Multimedia, Sculpture,
Map Making and Environmental Art.
Please visit our Thursday May 3rd post for details
or contact our Outreach Programmer Suzanne Carte-Blanchenot
at 905-896-5507
or suzanne.carte-blanchenot@mississauga.ca
for more information or to register.
Tuesday, July 10, 2007
Running with Scissors
Summer Kids Art Camp
Look at how much fun we're having!
Look at how much fun we're having!
There are spaces still available for upcoming classes like
Photography, Experimental Drawing, Multimedia, Sculpture,
Map Making and Environmental Art.
Please visit our Thursday May 3rd post for details
or contact our Outreach Programmer Suzanne Carte-Blanchenot
at 905-896-5507
for more information or to register.
Tuesday, May 22, 2007
Mark Lewis wins 2007 Gershon Iskowitz Prize
Canadian Mark Lewis, often described as a film artist rather than a filmmaker because of his studied use of motion-picture techniques in his landscape and portrait work, has been awarded the 2007 Gershon Iskowitz Prize by the Art Gallery of Ontario and the Gershon Iskowitz Foundation.
In addition to receiving the $25,000 prize, the London-based artists's work will be exhibited at the AGO next year.
Mark Lewis's video installation Children’s Games, Heygate Estate, 2002 is currently being shown at the Blackwood Gallery as part of the Projections exhibition which runs till June 17th.
Canadian Mark Lewis, often described as a film artist rather than a filmmaker because of his studied use of motion-picture techniques in his landscape and portrait work, has been awarded the 2007 Gershon Iskowitz Prize by the Art Gallery of Ontario and the Gershon Iskowitz Foundation.
In addition to receiving the $25,000 prize, the London-based artists's work will be exhibited at the AGO next year.
Mark Lewis's video installation Children’s Games, Heygate Estate, 2002 is currently being shown at the Blackwood Gallery as part of the Projections exhibition which runs till June 17th.
Wednesday, May 16, 2007
Mississauga Photography Festival
Call to Photography Artists: “A Month of Photography” invites you to participate in the 3rd annual juried photo festival for September 2007. Various exhibition locations are available for selected artists.
Call is open to artists at the emerging or advanced stages of practice. Guest curator Kohila Kurunathan. Contact Fausta Facciponte at orangegirl@sympatico.ca for a submission form.
Call to Photography Artists: “A Month of Photography” invites you to participate in the 3rd annual juried photo festival for September 2007. Various exhibition locations are available for selected artists.
Call is open to artists at the emerging or advanced stages of practice. Guest curator Kohila Kurunathan. Contact Fausta Facciponte at orangegirl@sympatico.ca for a submission form.
Thursday, May 03, 2007
RUNNING WITH SCISSORS*
SUMMER VISUAL ART CAMP
SUMMER VISUAL ART CAMP
WEEKLY HALF-DAY SESSIONS FOR CHILDREN AGED 5 – 12
Working with photography, new media, sculpture and much more this program encourages and fosters new fun ways of thinking about and making art. Children will be given the opportunity to direct their own art production and end up with their very own exhibition in Blackwood Gallery.
SCHEDULES
MORNING SESSIONS 9:00 AM – 12:00 PM
JULY 03 – 06
Found Object Art
Using found materials you will transform everyday objects and junk into works of art. Addressing environmental concerns by reusing salvaged materials, you will unearth the creative potential of ordinary objects.
JULY 09-13
Animation
Create a world of your own where images walk, talk and even fly! Tell stories and design characters using flip-books, drawings on film, puppets, clay and cut-outs and animation.
JULY 16-20
Photography
Explore Mississauga through the lens of a 35mm camera. Experimenting with the effects of light you will create and compose unique images and learn interesting studio techniques.
JULY 23-27
Sculpture
Get your hands dirty by uncovering some wonderful materials and create unique artwork! By using clay, wood, cardboard, plastic and a fantastic array of materials you will explore innovative ways of creating sculptural works.
JULY 30 – AUGUST 03
Map Making
Exploring the landscape surrounding the campus you will look upside-down and all around creating new ways of seeing space. Through story-telling and art making you will experiment with form, line and shapes creating a space of your own.
AUGUST 07 – 10
Multimedia
Become media savvy. This program will expose some of the most contemporary artistic practices including video production, audio art, and digital collage.
AUGUST 13 – 17
Experimental Drawing
Spark your imagination and transform the imaginary into works of art. Develop skills in designing explorations of colour, texture and patterns with pencils, charcoal, pastels and ink.
AUGUST 20 – 24
Environmental Art
Use nature as your playground! By consuming recycling materials the course will build understanding, curiosity, and cool new projects.
AUGUST 27 – 31
Tour de Force
This course will have you creating your own masterpieces. Experimenting with mixed-media you will have challenging opportunities to use a variety of tools and techniques in making unforgettable art.
CLASS FEES AND PAYMENTS
The weekly half-session fee is $80 per child. Class size will be limited to 15 children in each age group. Registration is on a first come first serve basis. Extended care will be offered for an additional fee of $25 each week per child beginning 8:30 am for the morning session and ending at 5:30 pm for the afternoon session. Please indicate on the registration form if required.
MATERIALS are provided for each session. Please ensure that your child wears appropriate clothing.
SNACKS will not be provided. Please supply your child with the proper snacks and water for the summer camp. Note that we cannot allow any peanut product to enter the camp. If your child does have a food allergy please notify the coordinator and provide the information in writing.
INSTRUCTORS all have previous teaching experience in the visual arts and are certified in First Aid and CPR.
DROP OFF AND PICK UP will be located at the Kaneff Centre at the North Entrance by please refer to the map at http://www.utm.utoronto.ca/fileadmin/root/images/UTMcampusmap.pdf The Kaneff Centre is Building #3 and is located at the centre of the campus. Please indicate on the names of the parents or guardians who will be responsible for picking up the child.
WITHDRAWLS/REFUNDS will be made no later than the start of the second class with $25 automatically withheld for administrative/material costs. Absence from classes does not constitute notice of withdrawl. The University of Toronto Mississauga reserves the right to withdraw any of its offerings.
CONTACT Outreach Programmer Suzanne Carte-Blanchenot at 905-896-5507 or suzanne.carte-blanchenot@mississauga.ca for more information or to register.
University of Toronto at Mississauga
3359 Mississauga Road North
Mississauga ON L5L 1C6
Blackwood Gallery’s Running With Scissors is generously supported by the Ontario Trillium Foundation and the Lessard Family Fund.
*Please note that children will in no way be encouraged or permitted to run with actual scissors in the camp, instead they will be encouraged to be free-spirited and permitted the freedom to radically think about art production.
Working with photography, new media, sculpture and much more this program encourages and fosters new fun ways of thinking about and making art. Children will be given the opportunity to direct their own art production and end up with their very own exhibition in Blackwood Gallery.
SCHEDULES
MORNING SESSIONS 9:00 AM – 12:00 PM
JULY 03 – 06
Found Object Art
Using found materials you will transform everyday objects and junk into works of art. Addressing environmental concerns by reusing salvaged materials, you will unearth the creative potential of ordinary objects.
JULY 09-13
Animation
Create a world of your own where images walk, talk and even fly! Tell stories and design characters using flip-books, drawings on film, puppets, clay and cut-outs and animation.
JULY 16-20
Photography
Explore Mississauga through the lens of a 35mm camera. Experimenting with the effects of light you will create and compose unique images and learn interesting studio techniques.
JULY 23-27
Sculpture
Get your hands dirty by uncovering some wonderful materials and create unique artwork! By using clay, wood, cardboard, plastic and a fantastic array of materials you will explore innovative ways of creating sculptural works.
JULY 30 – AUGUST 03
Map Making
Exploring the landscape surrounding the campus you will look upside-down and all around creating new ways of seeing space. Through story-telling and art making you will experiment with form, line and shapes creating a space of your own.
AUGUST 07 – 10
Multimedia
Become media savvy. This program will expose some of the most contemporary artistic practices including video production, audio art, and digital collage.
AUGUST 13 – 17
Experimental Drawing
Spark your imagination and transform the imaginary into works of art. Develop skills in designing explorations of colour, texture and patterns with pencils, charcoal, pastels and ink.
AUGUST 20 – 24
Environmental Art
Use nature as your playground! By consuming recycling materials the course will build understanding, curiosity, and cool new projects.
AUGUST 27 – 31
Tour de Force
This course will have you creating your own masterpieces. Experimenting with mixed-media you will have challenging opportunities to use a variety of tools and techniques in making unforgettable art.
CLASS FEES AND PAYMENTS
The weekly half-session fee is $80 per child. Class size will be limited to 15 children in each age group. Registration is on a first come first serve basis. Extended care will be offered for an additional fee of $25 each week per child beginning 8:30 am for the morning session and ending at 5:30 pm for the afternoon session. Please indicate on the registration form if required.
MATERIALS are provided for each session. Please ensure that your child wears appropriate clothing.
SNACKS will not be provided. Please supply your child with the proper snacks and water for the summer camp. Note that we cannot allow any peanut product to enter the camp. If your child does have a food allergy please notify the coordinator and provide the information in writing.
INSTRUCTORS all have previous teaching experience in the visual arts and are certified in First Aid and CPR.
DROP OFF AND PICK UP will be located at the Kaneff Centre at the North Entrance by please refer to the map at http://www.utm.utoronto.ca/fileadmin/root/images/UTMcampusmap.pdf The Kaneff Centre is Building #3 and is located at the centre of the campus. Please indicate on the names of the parents or guardians who will be responsible for picking up the child.
WITHDRAWLS/REFUNDS will be made no later than the start of the second class with $25 automatically withheld for administrative/material costs. Absence from classes does not constitute notice of withdrawl. The University of Toronto Mississauga reserves the right to withdraw any of its offerings.
CONTACT Outreach Programmer Suzanne Carte-Blanchenot at 905-896-5507 or suzanne.carte-blanchenot@mississauga.ca for more information or to register.
University of Toronto at Mississauga
3359 Mississauga Road North
Mississauga ON L5L 1C6
Blackwood Gallery’s Running With Scissors is generously supported by the Ontario Trillium Foundation and the Lessard Family Fund.
*Please note that children will in no way be encouraged or permitted to run with actual scissors in the camp, instead they will be encouraged to be free-spirited and permitted the freedom to radically think about art production.
Tuesday, May 01, 2007
David Hoffos wins award at the Images Festival!
Sponsored by NOW Magazine, the grand prize, awarded in recognition of the Best Canadian Media Artwork in the festival: David Hoffos (Lethbridge, Alberta) Scenes From the House Dream: Bachelor's Bluff at the J.M. Barnicke Gallery, Hart House, U of Toronto.
20th Annual Images Festival is North America's premiere media arts festival showcasing extraordinary film & video, gallery installations, live performance and new media.
April 5 - 14, 2007
www.imagesfestival.com
Sponsored by NOW Magazine, the grand prize, awarded in recognition of the Best Canadian Media Artwork in the festival: David Hoffos (Lethbridge, Alberta) Scenes From the House Dream: Bachelor's Bluff at the J.M. Barnicke Gallery, Hart House, U of Toronto.
20th Annual Images Festival is North America's premiere media arts festival showcasing extraordinary film & video, gallery installations, live performance and new media.
April 5 - 14, 2007
www.imagesfestival.com
Tuesday, April 17, 2007
FREE CONTEMPORARY ART BUS TOUR
Sunday, April 29, 2007
11:30 am – 5:00 pm
Sunday, April 29, 2007
11:30 am – 5:00 pm
Tour begins at the University of Toronto Art Centre (University College, 15 King's College Circle) at 11:30 am. Bus departs at 12:00 pm from front entrance at Hart House (7 Hart House Circle) to Doris McCarthy Gallery, The Koffler Gallery, Art Gallery of York University (AGYU) and Blackwood Gallery and returns for a final tour at the Justina M. Barnicke Gallery (Hart House, 7 Hart House Circle) at 5:00 pm.
To reserve a seat please call Allyson Adley at the Art Gallery of York University (AGYU) at 416.736.2100 ext. 88608 by Thursday April 26th. This event is FREE.
Clockwise from mid left:
Anitra Hamilton, Bomb Ride, 2004, functioning coin operated kiddy ride retrofit with a defused bombshell casting. Courtesy of the artist. Produced with assistance from The Chalmers Arts Fellowship; Ed Pien, The Promise of Solitude, (installation detail, 2005). Photo: Ilsoo MacLaurin; Kristan Horton, dr006-s002-04, 2003-06, black and white archival print, 28 x 76 cm, Courtesy of the artist and Jessica Bradley Art + Projects, Toronto.
A survey of projection-based works in the history of contemporary art in Canada 1964-2007
Curator: Barbara Fischer
April 8 – June 17, 2007
UNIVERSITY OF TORONTO ART CENTRE
JUSTINA M. BARNICKE GALLERY
DORIS MCCARTHY GALLERY, UNIVERSITY OF TORONTO SCARBOROUGH
BLACKWOOD GALLERY, UNIVERSITY OF TORONTO
MISSISSAUGA
Projections is the first major exhibition in Canada to focus on the rich history of experimentation with slide, film, and video that characterizes contemporary art from the 1960s to the present. The works in this exhibition exemplify why projection – using light, slides, film, video, and television – has become such a compelling medium.
The exhibition, rather than proposing a chronological reading, features four interrelated parts presented across the four major galleries of the University of Toronto. Each focuses on a specific element of cinematic projection and its conceptual implications, and within each a history unfolds.
At the University of Toronto Art Centre, some works focus our attention exclusively on the experience of light, reflection, and illumination. Others point to the paradoxical nature of the screen, where a text or image is cast to show the colouring or shaping of a variously receptive and resistant surface that takes part in constructing perception. Works presented at the Justina M. Barnicke Gallery more explicitly inhabit the forms of cinema. They newly engage and playfully dissociate the relationships between voice and image, the camera's eye and the viewer's body, and the construction of cinematic spectacle. Finally, works presented at the Blackwood Gallery and the Doris McCarthy Gallery share the projection of travels and journeys into recorded and therefore virtual space, while irreverently undermining the illusions and utopian dimensions of this projected place.
THE KOFFLER GALLERY
Ed Pien: The Promise of Solitude
Curator: Carolyn Bell Farrell
March 8 – April 29, 2007
This solo show offers the first local presentation of Ed Pien’s large-scale installation, The Promise of Solitude (2005), together with a selection of recent works on paper by this Toronto-based artist. Drawing on mythical, historical, psychological and spiritual interpretations, Pien explores the nature of the journey as a metaphor for human experience. Influenced by Asian and Western sources, his imagery conjures a fantastic and disturbing universe, recalling that of Hieronymus Bosch or Francisco Goya. The Promise of Solitude, Ed Pien’s floor-to-ceiling drawing-installation, comprises two oval structures made from transparent and cut-work paper, suspended by airline cables. As the artist comments, The Promise of Solitude “contemplates the possibility of what is offered when one embarks on a journey, both inner and outer. Such journeys require abandoning the familiar in order to achieve possible new encounters and transcendence… The viewer must negotiate a way through the paper-cut labyrinth, and enter into the glowing red structure located within, in order to see ‘out’. The strange beings encountered at the end of these brightly coloured tunnels metaphorically represent a new realm, somewhat frightening, as these creatures are not yet namable. However, this site is a joyous and celebratory place to be." The exhibition is accompanied by a publication with an essay by Toronto visual arts critic Gary Michael Dault.
ART GALLERY OF YORK UNIVERSITY (AGYU)
Anitra Hamilton: A Retrospective on Parade
Kristan Horton: Dr. Strangelove Dr. Strangelove
Curators: Emelie Chhangur and Philip Monk
April 25 – June 24, 2007
Toronto artist Anitra Hamilton’s Retrospective on Parade passes through the AGYU from 25 April to 24 June 2007 with a review of ten years of her work. Seemingly a march of the history of violence portrayed through Hamilton’s ornamentation of mankind’s weapons, this work is not so much anti-war as it is a probing of primal psychological drives. The retrospective marshals a number of the artist’s parade-influenced works, including a twenty by fifty-five foot mural and a newly AGYU commissioned Audio Parade based on Toronto’s St. Patrick’s Day parade. On parade, as well, is the retrospective form of the exhibition, a ceremony we view through the veneer of cultural civility.
Years in the making, Toronto artist Kristan Horton’s doubly legendary Dr. Strangelove Dr. Strangelove targets the AGYU from 25 April to 24 June 2007 with its explosive comic vision. With the obsessive meticulousness of the master himself, Horton has recreated each scene of Stanley Kubrick’s original Dr. Strangelove film with objects at hand in his studio, deflating what is exaggerated in Kubrick’s black comedy. The dialogue of obsessiveness is further emphasized by the fetishized presentation within the installation of the artist book that completes the project, which has been produced for Horton’s AGYU exhibition.
The publication of Dr. Strangelove Dr. Strangelove is generously supported by the Toronto Friends of the Visual Arts.
University of Toronto Art Centre
15 King’s College Circle
Toronto
416.978.1838
www.utoronto.ca/artcentre
Doris McCarthy Gallery
University of Toronto Scarborough
1265 Military Trail, Toronto
416.287.7007
www.utsc.utoronto.ca/dmg
The Koffler Gallery
Koffler Centre for the Arts
4588 Bathurst Street, Toronto
416.636.1880 ext.268
www.kofflerarts.org/gallery.shtml
Art Gallery of York University
Accolade East Building
4700 Keele Street
Toronto
416.736.5169
www.yorku.ca/agyu
Blackwood Gallery
University of Toronto Mississauga
3359 Mississauga Road N., Mississauga
905.828.3789
http://www.blackwoodgallery.ca/
Justina M. Barnicke Gallery
Hart House
University of Toronto
7 Hart House Circle, Toronto
416.978.2453
www.utoronto.ca/gallery/site/jmbgallery.html
To reserve a seat please call Allyson Adley at the Art Gallery of York University (AGYU) at 416.736.2100 ext. 88608 by Thursday April 26th. This event is FREE.
Clockwise from mid left:
Anitra Hamilton, Bomb Ride, 2004, functioning coin operated kiddy ride retrofit with a defused bombshell casting. Courtesy of the artist. Produced with assistance from The Chalmers Arts Fellowship; Ed Pien, The Promise of Solitude, (installation detail, 2005). Photo: Ilsoo MacLaurin; Kristan Horton, dr006-s002-04, 2003-06, black and white archival print, 28 x 76 cm, Courtesy of the artist and Jessica Bradley Art + Projects, Toronto.
A survey of projection-based works in the history of contemporary art in Canada 1964-2007
Curator: Barbara Fischer
April 8 – June 17, 2007
UNIVERSITY OF TORONTO ART CENTRE
JUSTINA M. BARNICKE GALLERY
DORIS MCCARTHY GALLERY, UNIVERSITY OF TORONTO SCARBOROUGH
BLACKWOOD GALLERY, UNIVERSITY OF TORONTO
MISSISSAUGA
Projections is the first major exhibition in Canada to focus on the rich history of experimentation with slide, film, and video that characterizes contemporary art from the 1960s to the present. The works in this exhibition exemplify why projection – using light, slides, film, video, and television – has become such a compelling medium.
The exhibition, rather than proposing a chronological reading, features four interrelated parts presented across the four major galleries of the University of Toronto. Each focuses on a specific element of cinematic projection and its conceptual implications, and within each a history unfolds.
At the University of Toronto Art Centre, some works focus our attention exclusively on the experience of light, reflection, and illumination. Others point to the paradoxical nature of the screen, where a text or image is cast to show the colouring or shaping of a variously receptive and resistant surface that takes part in constructing perception. Works presented at the Justina M. Barnicke Gallery more explicitly inhabit the forms of cinema. They newly engage and playfully dissociate the relationships between voice and image, the camera's eye and the viewer's body, and the construction of cinematic spectacle. Finally, works presented at the Blackwood Gallery and the Doris McCarthy Gallery share the projection of travels and journeys into recorded and therefore virtual space, while irreverently undermining the illusions and utopian dimensions of this projected place.
THE KOFFLER GALLERY
Ed Pien: The Promise of Solitude
Curator: Carolyn Bell Farrell
March 8 – April 29, 2007
This solo show offers the first local presentation of Ed Pien’s large-scale installation, The Promise of Solitude (2005), together with a selection of recent works on paper by this Toronto-based artist. Drawing on mythical, historical, psychological and spiritual interpretations, Pien explores the nature of the journey as a metaphor for human experience. Influenced by Asian and Western sources, his imagery conjures a fantastic and disturbing universe, recalling that of Hieronymus Bosch or Francisco Goya. The Promise of Solitude, Ed Pien’s floor-to-ceiling drawing-installation, comprises two oval structures made from transparent and cut-work paper, suspended by airline cables. As the artist comments, The Promise of Solitude “contemplates the possibility of what is offered when one embarks on a journey, both inner and outer. Such journeys require abandoning the familiar in order to achieve possible new encounters and transcendence… The viewer must negotiate a way through the paper-cut labyrinth, and enter into the glowing red structure located within, in order to see ‘out’. The strange beings encountered at the end of these brightly coloured tunnels metaphorically represent a new realm, somewhat frightening, as these creatures are not yet namable. However, this site is a joyous and celebratory place to be." The exhibition is accompanied by a publication with an essay by Toronto visual arts critic Gary Michael Dault.
ART GALLERY OF YORK UNIVERSITY (AGYU)
Anitra Hamilton: A Retrospective on Parade
Kristan Horton: Dr. Strangelove Dr. Strangelove
Curators: Emelie Chhangur and Philip Monk
April 25 – June 24, 2007
Toronto artist Anitra Hamilton’s Retrospective on Parade passes through the AGYU from 25 April to 24 June 2007 with a review of ten years of her work. Seemingly a march of the history of violence portrayed through Hamilton’s ornamentation of mankind’s weapons, this work is not so much anti-war as it is a probing of primal psychological drives. The retrospective marshals a number of the artist’s parade-influenced works, including a twenty by fifty-five foot mural and a newly AGYU commissioned Audio Parade based on Toronto’s St. Patrick’s Day parade. On parade, as well, is the retrospective form of the exhibition, a ceremony we view through the veneer of cultural civility.
Years in the making, Toronto artist Kristan Horton’s doubly legendary Dr. Strangelove Dr. Strangelove targets the AGYU from 25 April to 24 June 2007 with its explosive comic vision. With the obsessive meticulousness of the master himself, Horton has recreated each scene of Stanley Kubrick’s original Dr. Strangelove film with objects at hand in his studio, deflating what is exaggerated in Kubrick’s black comedy. The dialogue of obsessiveness is further emphasized by the fetishized presentation within the installation of the artist book that completes the project, which has been produced for Horton’s AGYU exhibition.
The publication of Dr. Strangelove Dr. Strangelove is generously supported by the Toronto Friends of the Visual Arts.
University of Toronto Art Centre
15 King’s College Circle
Toronto
416.978.1838
www.utoronto.ca/artcentre
Doris McCarthy Gallery
University of Toronto Scarborough
1265 Military Trail, Toronto
416.287.7007
www.utsc.utoronto.ca/dmg
The Koffler Gallery
Koffler Centre for the Arts
4588 Bathurst Street, Toronto
416.636.1880 ext.268
www.kofflerarts.org/gallery.shtml
Art Gallery of York University
Accolade East Building
4700 Keele Street
Toronto
416.736.5169
www.yorku.ca/agyu
Blackwood Gallery
University of Toronto Mississauga
3359 Mississauga Road N., Mississauga
905.828.3789
http://www.blackwoodgallery.ca/
Justina M. Barnicke Gallery
Hart House
University of Toronto
7 Hart House Circle, Toronto
416.978.2453
www.utoronto.ca/gallery/site/jmbgallery.html
On Sunday the Blackwood Gallery will have extended hours: 1-5pm
Thursday, April 12, 2007
Year End Party,
Friday, April 13, 2007
hosted by the Justina M Barnicke Gallery and Hart House
FREE (18+)
Doors 8pm
Great Hall, Hart House
University of Toronto
Casual tours of the PROJECTIONS EXHIBITION at Justina M Barnicke Gallery,
Hart House and UTAC from 5-8pm
Featuring PROJECTION PERFORMANCES by:
Stephanie Comilang, Jeremy Bailey & Zeesy Powers
with Special Musical Guests from Toronto's Indie Music Scene
FREE SHUTTLE BUS LEAVING BLACKWOOD GALLERY
GOING DOWNTOWN TORONTO
Join us at 6:00pm at the Blackwood Gallery
as curator Seamus Kealy tours the Projections exhibition
for a "warm-up" before heading over to the big party at
St. George Campus.
Shuttle Bus returns from Hart House to UTM at 11:00pm
If you have any questions please contact:
Suzanne Carte-Blanchenot at 905-869-5507
or suzanne.carte-blanchenot@mississauga.ca
HOPE TO SEE YOU THERE!
Friday, April 13, 2007
hosted by the Justina M Barnicke Gallery and Hart House
FREE (18+)
Doors 8pm
Great Hall, Hart House
University of Toronto
Casual tours of the PROJECTIONS EXHIBITION at Justina M Barnicke Gallery,
Hart House and UTAC from 5-8pm
Featuring PROJECTION PERFORMANCES by:
Stephanie Comilang, Jeremy Bailey & Zeesy Powers
with Special Musical Guests from Toronto's Indie Music Scene
FREE SHUTTLE BUS LEAVING BLACKWOOD GALLERY
GOING DOWNTOWN TORONTO
Join us at 6:00pm at the Blackwood Gallery
as curator Seamus Kealy tours the Projections exhibition
for a "warm-up" before heading over to the big party at
St. George Campus.
Shuttle Bus returns from Hart House to UTM at 11:00pm
If you have any questions please contact:
Suzanne Carte-Blanchenot at 905-869-5507
or suzanne.carte-blanchenot@mississauga.ca
HOPE TO SEE YOU THERE!
Friday, April 06, 2007
Projections
An exhibition of the development of projection-based installations in the history of contemporary art in Canada (Produced in partnership with the Justina M. Barnicke Gallery, Doris McCarthy Gallery, and the University of Toronto Arts Centre)
April 9 to June 17, 2007
Opening April 8th, 1-4pm
Opening Reception: 4 - 6pm at the University of Toronto Art Centre
TAKE THE BUS!
At 1 pm, free bus departs from Hart House for Blackwood Gallery. There will be an option to return to downtown Toronto at 2:30 pm or to continue to the Doris McCarthy Gallery, returning to Toronto at 4 pm.
At 2 pm, free bus departs from Hart House for Doris McCarthy Gallery. There will be an option to return to downtown Toronto at 3:30 pm or to continue to the Blackwood Gallery, returning to Toronto by 5 pm.
April 9 to June 17, 2007
Opening April 8th, 1-4pm
Opening Reception: 4 - 6pm at the University of Toronto Art Centre
TAKE THE BUS!At 1 pm, free bus departs from Hart House for Blackwood Gallery. There will be an option to return to downtown Toronto at 2:30 pm or to continue to the Doris McCarthy Gallery, returning to Toronto at 4 pm.
At 2 pm, free bus departs from Hart House for Doris McCarthy Gallery. There will be an option to return to downtown Toronto at 3:30 pm or to continue to the Blackwood Gallery, returning to Toronto by 5 pm.
Projections is the first major exhibition in Canada to bring together the rich 4-decade history of projection-based contemporary art. Curated by Barbara Fischer, the exhibition will exemplify and provide insight into why projection-based work -- using light, slides, film, video, and television -- has become such an important and prevalent medium.
Audiences will see cinematic works created in unexpected, surprising and experimental ways: film loops, slide dissolves, double-sided projection, as well as single, triple, and five-channel video projections. There are re-creations of small movie-house environments and visually exciting material that expands perception. A popular work will be Jana Sterbak's Waiting for High Water which is a video projection made of footage from three cameras affixed to a dog that roamed the streets of Venice.
Audiences will see cinematic works created in unexpected, surprising and experimental ways: film loops, slide dissolves, double-sided projection, as well as single, triple, and five-channel video projections. There are re-creations of small movie-house environments and visually exciting material that expands perception. A popular work will be Jana Sterbak's Waiting for High Water which is a video projection made of footage from three cameras affixed to a dog that roamed the streets of Venice.
Several works by internationally recognized artists will be seen in Toronto for the first time, including work by Ian Carr-Harris, Janet Cardiff & George Bures Miller, Geneviève Cadieux, Jana Sterbak, Nathalie Melikian, Judy Radul, Wyn Geleynse, and others. Projection-based work by internationally recognized artists including Michael Snow, Murray Favro, Rodney Graham, John Massey, Rebecca Belmore, Stan Douglas, Krzysztof Wodiczko, David Hoffos, and others are featured. Their seminal work has never been presented together in one exhibition before.
Projections highlights include Murray Favro's early experimental works Still Life (The Table) and Light Bulbs both from 1970; Michael Snow's Two Sides to Every Story from 1974; Stan Douglas’ Overture from 1986; as well as Janet Cardiff and George Bures Miller's The Muriel Lake Incident from 1999. These works use film and sound projection to challenge perceptions, create new possibilities for cinema, and produce new sensory experiences.
Projections highlights include Murray Favro's early experimental works Still Life (The Table) and Light Bulbs both from 1970; Michael Snow's Two Sides to Every Story from 1974; Stan Douglas’ Overture from 1986; as well as Janet Cardiff and George Bures Miller's The Muriel Lake Incident from 1999. These works use film and sound projection to challenge perceptions, create new possibilities for cinema, and produce new sensory experiences.
Projections is one major exhibition in four venues. In order to experience the complete exhibition, people are encouraged to visit all four venues.
At the University of Toronto Art Centre, the screen and light are the themes. The double-sided screen in Michael Snow's work becomes a translucent veil bisecting the space; Rebecca Belmore's screen is a panel of illuminated lightbulbs; Christine Davis’ screen is made of a dense mass of large plastic roses; and Krzysztof Wodiczko's slide projections cast images onto existing architecture (represented by documentary photos). Works that highlight the light of projection are Gar Smith’s Notes on Light based on dozens of sunrises and sunsets; and Kelly Mark's stack of television monitors that do not show an image but instead make the viewer focus on projected coloured light. Works by David Askevold, Ian Carr-Harris, Geneviève Cadieux, Wyn Geleynse, Murray Favro, and John Massey will also be featured at the University of Toronto Art Centre.
The Justina M. Barnicke Gallery at Hart House focuses on the theatre of projection. The mock use of the movie-house format to play with visual perception is seen in works by Rodney Graham, Janet Cardiff & George Bures Miller, David Hoffos, Nathalie Melikian, and Robert Wiens.
The Doris McCarthy Gallery at Scarborough and the Blackwood Gallery in Mississauga share the theme of projected travel. The works project the audience into recorded, and therefore virtual, space, while also undermining that illusion, or taking up the utopian dimension of this in irreverent ways. Works by Stan Douglas, Rodney Graham, Mark Lewis, Jana Sterbak, Nestor Krüger and Judy Radul are featured.
Projections will be open to the public April 8 to June 17, 2007, at the four University of Toronto galleries:
Blackwood Gallery (3359 Mississauga Rd. N., Mississauga. 905-828-3789)
Doris McCarthy Gallery (U of T Scarborough, 1265 Military Trail. 416-287-7007)
University of Toronto Art Centre (15 King's College Circle. 416-978-1838)
Justina M. Barnicke Gallery (Hart House, 7 Hart House Circle. 416-978-8398)
The exhibition is made possible by Manulife Financial and through contributions from Charles Street Video, the Museums Assistance Program of the Department of Canadian Heritage, as well as support from the Canada Council, the Ontario Arts Council, and the Toronto Arts Council.
Projections will be open to the public April 8 to June 17, 2007, at the four University of Toronto galleries:
Blackwood Gallery (3359 Mississauga Rd. N., Mississauga. 905-828-3789)
Doris McCarthy Gallery (U of T Scarborough, 1265 Military Trail. 416-287-7007)
University of Toronto Art Centre (15 King's College Circle. 416-978-1838)
Justina M. Barnicke Gallery (Hart House, 7 Hart House Circle. 416-978-8398)
The exhibition is made possible by Manulife Financial and through contributions from Charles Street Video, the Museums Assistance Program of the Department of Canadian Heritage, as well as support from the Canada Council, the Ontario Arts Council, and the Toronto Arts Council.
For more information please visit: http://www.utoronto.ca/gallery/site/jmbgallery.html
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