Author: artoronto

You are invited to Wall to Wall—OFF THE WALL! print sale + party
Opening Reception and Sale: Thursday, December 5, 2013, from 6 p.m.
Gallery 44
401 Richmond Street West, Suite 120

 Steven Beckly, Untitled (Somewhere), 2013, digital c-print, paper size 14″ x 11″, unframed, limited edition, $90, 3 available

Stop by Gallery 44 on Thursday, December 5, grab your favourite piece OFF THE WALL before someone beats you to it, and stay for the party of the season! Doors open at 6. Sale continues to December 14.

With hundreds of collectable artworks at accessible prices, OFF THE WALL lets you build your collection while supporting artists at all stages in their careers. This print sale of photo-based work by Gallery 44 members boasts a diversity of photographic media including gelatin silver prints, chromogenic prints, archival pigment prints, alternative processes, many of which were created in Gallery 44’s production facilities.

Featuring works by: Mina Ao • Tobi Asmoucha • Kim Atkins • Sally Ayre • Neil Barbisan • Michael Barker •Steven Beckly • James Blake • Peter Bogaczewicz • Dean Bradley • Linda Briskin • Stephen Brookbank • Mirna Chacin • Nicole Croiset • Nathan Cyprys • Brandon Davis • Saman Deilamani • Sheryl Dudley • Sharon Erlichman• Adolfo Fernandez • Richelle Forsey • Michael Fraser • Sylvia Galbraith • Carlos Garate • Mary Elizabeth Grace •Shayne Gray • Jonathan Groeneweg • Toni Hafkenscheid • Tim Johnston • Bahar Kamali • Deborah Kanfer •Janet Kimber • Anthony Koutras • Kelly Lamorie • Alexandra Majerus • Virginia Mak • Steve Payne • Adrienne Marcus Raja • Kye Marshall • Christine Marshall-Smith • Duncan McLaren • Sanjay Mehta • Victoria Menelaou •Oliver Pauk & Michael Vickers • Jordan Nahmias • Marilyn Nazar & Brian Piitz • Jerzy Pawlowski • Peggy Taylor Reid • Tom Ridout • Darren Rigo • Branimir Ruzic • Chris Shepherd • Laurence Siegel • Anna Snyder • Jean Paul St. Onge • Barbara Staulus • Edie Steiner • Steve Stober • James Sutherland • Oz John Tekson • Jessica Thalmann • Sarah Tothill • Alex Turner • Louise Vezina • Monica Vichar • Abelardo Villalon • Richard Vincil •Shelley Wildeman • Drew Williamson • Joan Lillian Wilson and more!

OFF THE WALL is a fundraiser for Gallery 44’s award-winning education and exhibition programs. Committed to photography as a multi-faceted and ever-changing art form, Gallery 44 offers exhibition and publication opportunities to national and international artists, education and workshop opportunities, programming to students, youth, and community partners, and affordable production facilities for artists.

Gallery hours: Tuesday to Saturday, 11 – 5 p.m.

Process Gallery November 27 – December 8, 2013
Main Gallery: December 12 – 20, 2013
Gallery 1313
1313 Queen Street West

Gallery 1313 is hosting a Members Exhibition to raise funds for Philippine relief. Work by members of the gallery, all priced under $400, are on sale with 50% of proceeds going to the Red Cross.

The view the work online please click on: http://g1313.org/g1313-members-holiday-exhibition-dec-12-20/

We’ve Got Proof(s): Over 250 Reasons to come to Open Studio on December 5th, 2013
Opening Night Fundraiser & Open House: Thursday, December 5, 6 – 9 p.m.
Sale continues: Friday, December 6 through Saturday, December 21, 2013
Open Studio
401 Richmond Street West, Suite 104

Love Seat, Cheryl Kaplan, 2013, lithograph, 17″ x 16″ image size, $200 unframed

The artwork has been catalogued, and visitors are in for a treat at Open Studio’s annual Artist Proof Sale. With over 250 unique, affordable works of art available by established and emerging artists, you’re bound to find the perfect gift for anyone on your holiday gift list, or perhaps that perfect something to add to your own collection. In case 250 pieces of highly collectable art aren’t enough, there’s plenty more going on at the grand opening of the sale on Thursday, December 5th. During the Open House, visitors will enjoy food, cash bar and festivities, including printmaking demonstrations by special guest artists, John Armstrong and Andy Fabo. Browse our exclusive range of t-shirts, aprons, pins and playing cards all designed by artists. A brand-new range of limited edition, original, handmade artists’ greeting cards will also be launched that night.
 

The Artist Proof Sale and Open House is an important fundraiser for Open Studio, with fifty per cent of the sale price of each print going directly to the artists and fifty percent to Open Studio, a charitable organization that works to provide affordable access to printmaking facilities, programs and services for artists from across Canada and abroad. Open Studio’s fundraising activities help to support this artist-run centre’s vital artistic programming, including exhibitions, artist talks, tours, demonstrations, hands-on workshops for the public and professional development opportunities for artists, including scholarships and residencies.
 
This is always a popular and busy event, with fierce competition for some works, so come early! The sale continues to Saturday, December 21, 2013. Gallery hours:  Tuesday – Saturday, 12 – 5 p.m.

November 22, 2013, 7 – 11 p.m.
Friday Night Live at the Royal Ontario Museum – Art, Food, Drink and more
Royal Ontario Museum
100 Queen’s Park, Toronto

Photo: Haafiz Karim

Friday Night Live is one of the few events in museums that caters towards a younger crowd. Friday Night Live held annually at the ROM, over the course of a few Fridays, this year between October 26 and December 6. It has everything you would be looking for in a fun night out. Interactive exhibitions coupled with food and lots of drink made for quite the interesting experience. Colorful lighting turned the ROM into somewhat of a mystical adventure, coursing through the exhibitions. I really loved it and I think it is a great idea.

Photo: Haafiz Karim

Every Friday Night Live has a specific theme, from fashion to climate and culture and everything in between. Being my first time attending this event I was quite amazed at how the museum had transformed, with a band playing, hundreds of people dressed up and enjoying art, food and wine.

Photo: Haafiz Karim

I particularly enjoyed the ‘Mesopotamia – Inventing our world’ exhibit, finding it to be quite a modern rendition of a civilization that did indeed change the world as seen through the more than exceptional artifacts.

Mesopotamia – Inventing our world, installation view. Photo: Brian Boyle © ROM, 2013

Mesopotamia – Inventing our world, installation view. Photo: Brian Boyle © ROM, 2013

Aside from that, it would be highly recommended that anyone above the age of 19 make a trip to this event one Friday between now and the finale on December 6th.

Haafiz Karim

The title itself is a little bit strange. Where is here and where is there? Why does anyone want to get from here to there?

A combination of nerve and wit, 2013, 5 panels, mixed media, 102 x 118 inches and sculptures of variable sizes, winterstone

Stepping into the gallery we come face to face with A combination of nerve and wit, a painting of a large dark tunnel that seems ready to swallow us. Above it is a landscape with a bridge and greenery while in the top left corner the image of a bull breaks the peace. But we don’t spend too much time looking at nature as our gaze keeps returning to the tunnel. It is so dark and forbidding but somehow mesmerizing as well. A sculpture of a young hooded girl stands behind a rail and stares into the darkness, maybe trying to decide whether to enter or keep away. The exhibition poster shows a different version of this installation where a boy squats on his skateboard in a suspended moment of indecision. It’s not a question of seeing the “end of the tunnel” at this point as it’s so far away. The boy is all the way at this end and has to decide whether to move into it at all. It is a very scary depiction of starting your adult life and it’s understandable that the young person’s reaction seems rather passive.

A momentary decision of monumental significance, 2013, triptych, oil, acrylic and pastel on canvas, 78 x 66, 72 x 16, 78 x 54 inches, video

The corner piece titled A Momentary Decision of monumental significance has two large red panels and a smaller, blue one, plus a sculpture, a projector and a video. In one panel we see a deer and behind it a bloody carcass that might be its future. In the opposite panel a man is posing as a bourgeois family patriot—someone important. The hunter and the hunted are looking at each other from one panel to the other. The sculpture of a young girl faces the man. Her head is covered by a hoodie and she’s holding some brochures—maybe handouts against animal cruelty. In her other hand is a large flag with a forest bridge projected on it.

Installation image view with the sculpture of girl from A momentary decision of monumental significance, projected image

Can the generation gap between these two figures—between past and future—be bridged, or it is just an illusion like the projected image? Maybe the bridge is there so the deer can avoid a grisly fate.

A combination of cunning, speed and astonishing grace, 2012, oil acrylic and pastel on canvas,  78 x 48 inches

A pack of lions are fighting in the corner of a large painting titled A combination of cunning, speed and astonishing grace. Their sudden movement is in strong contrast to the heavy stillness of the futuristic building towering over them. Most likely the land with its sandy colors originally belonged to the animals even if they seem to be alienated in it now. This composition includes two sculptures of youngsters, one with the face of a lion on the back of its head, and the other, a wolf. Iles mentioned that she often uses animals as metaphors to show the characteristics of a group or to signify what might become of those children as adults. Will these two become fighters for the environment or will they just tear each other apart in social conflicts?

That’s not how we do things here – 02, 2011, oil, acrylic and pastel on canvas, 40 x 48 inches

Sculptures of fragile young figures fill the room and they are often the protagonists of Iles’ paintings as well. She is looking at the social disruption that teenagers face these days and their body language as a clue to figuring out their response. Many of the youngsters wear hoodies to protect their fragile identity. Some of them turn their back to us unready to face the challenges we represent. As Iles says in her artist statement, “The world of youth on the cusp of adolescence is a closed and inaccessible environment of mysterious rituals, customs and codes of behaviour that are unintelligible to outsiders. Sculptural elements have been added which work in tandem with, and react to the paintings, creating a physical void between the subjects and the object of their desire and repulsion. The figures stand tentatively on the cusp of awareness of their potential and the abyss of the adult prerogative.”

That’s not how we do things here – 05, 2012, diptych, oil, acrylic and pastel on canvas, 70 x 140 inches

This exhibition is not for the frail of heart. It is a brave show with a strong message about environmental issues as well as the challenges that every generation faces when replacing the previous one. They want to be better. Hopefully they still have a chance to save our environment and define a morality that supports and respects all. It won’t be easy for them while adults are always saying, That’s not how we do things here – the title of Iles’ previous show.

Iles’ installation is an interactive hybrid of figurative paintings, sculptures and video/projected images that juxtapose the layers of her narrative.

Emese Krunák-Hajagos

Photo: Courtesy of the artist

*Exhibition dates: November 6 – 30, 2013, Red Head Gallery, 401 Richmond Street West. Gallery hours: Wed – Sat 12 – 5 p.m.

On October 30th 2013, the Spoke Club hosted a private event, perhaps one of its kind to have been held in Toronto to this day. Some of Toronto’s arts and culture professionals and enthusiasts gathered to celebrate the launch of the MENA (Middle Eastern and North African) Arts Foundation. A non for profit organization that aims to support Middle Eastern and North African artists to continue their education in Canada from its non-political, non-religious, and non-sectarian standpoint.

Tina Tehranchian addresses the audience on October 30, 2013

Founded by Tina Tehranchian, Shahdad and Joobin Bekhrad, MENA is a family venture with a mandate to support the arts of the Middle East and North Africa through raising scholarship funds for young and talented artists who wish to continue their education at a post-graduate level in Canada. It also acts as a platform for the artists to reach out to new audiences in Canada and beyond. “There are many political and religious issues that have divided the region for years. Unfortunately this divide has been carried over to their communities outside of the region as well. We believe that art is the best medium that could unite these different communities and which can bridge the differences and transcend politics, religion, and other ethnic conflicts. And what better place to start such an organization other than Canada, where so many different communities live together in peace and harmony. ” said Tina during a phone conversation.

Amirhossein Radaie, Untitled, 2013, Cast iron and bronze, 25x25x40 cm

With mediums ranging from cast iron and bronze to oil and print on canvas, the cultural backgrounds of the artists exhibited at the launch event also varied from Iranian, Saudi Arabian, Syrian, and Israeli. But the bronze sculptures of Amirhossein Radaie, an artist from Hamedan (Iran), were clearly the highlight of the night. Depicting golden women dressed in traditional costumes of the Qajar dynasty of Iran (1785-1925) in surreal scenarios, Radaie’s concept is to expose the inability of many of his country folk from determining their own destinies, left to realize them in their imaginations. In fact, during the shipping process from Iran, and only a few days before the event, Radaei’s works were held at Canadian customs due to the restrictions of importing goods imposed on by sanctions. Told by customs that the waiting process may take several weeks, the MENA foundation began to contact those who could possibly help in this situation, and an appreciative Tina said that help did arrive, “We are so grateful to Minister John Baird because his staff really expedited the issuing of the exemption. They loved the idea of MENA Arts Foundation, and we were able to resolve the issues in record time and that shows how supportive our Canadian government is in regards to this type of initiative”.

Hojat Amani, from left: ‘Angel‘, 2010, Inkjet print on canvas, 85 x 125 cm (edition of 5). ‘Angel’, 2010, Inkjet print on canvas, 76 x 100 cm (edition of 5).

During a sit down with father and son Shahdad and Joobin Bekhrad, along with MENA also the founders of the websites Artclvb and Reorient respectively, we asked why there seems to be such a lack of Middle Eastern arts and culture permeating in North America, as compared to the plethora of its residents from the region? “There is a gap between artists of the Middle East represented in North America and Europe because of a lack of exposure. Europe has had such a long history and relationship with the Middle East, not to mention its geographical proximity, while North America is still trying to understand this relationship. Everything is new here, and so a push is needed to expose this art.”, mentioned Shahdad, an architect and civil engineer, who began Artclvb in an effort to create an online platform from whence to sell the artworks of Middle Eastern artists that would otherwise have no access to the West or ways to approach and communicate with galleries and potential clients. What started as a simple gesture for a few friends soon became a focus in Shahdad’s life.

 Saad bin Mohammed, Untitled, 2012, Oil on canvas, 151×206 cm.

Joobin’s interest in the arts and culture of the region, as well as his experience in publishing led to the conception of Reorient Magazine, an online magazine with a new take on the art, music, film, and literature of the Middle East. With contributing writers from all over the world, Reorient gives its readers a portal in which to break away from the traditional or stereotypical story of the region, and on to a contemporary and fresh understanding. “After writing a few articles on the magazine that were not just longer press releases, but that had themes and critical pieces about exhibitions or films or books, that set a precedent and we realized that we couldn’t go back, then the response was really positive.”

Installation view with Amirhossein Radaie, Untitled, 2013, and Hojat Amani, Angel, 2010

With the commercial framework that Artclvb brings to promote artists and the critical and intellectual framework of Reorient, MENA comes in as a foundation aiming not only to promote but also to bring artists from the Middle East and North Africa to Canada. A full circle from a family that has an appreciation and commitment to the arts of the region with no bounds. The future for MENA seems to be bright. “Our vision for MENA is for it to go national, to go beyond Toronto and on to the rest of Canada.”, says Tina, “we want to hold more group exhibitions and auctions of art in the near future, MENA is not just about the arts of the region, its about the culture and different communities as well.”

Co-written and photographed by Saba Askary and Shahrzad Ghorban

Franz Mark, Yellow Cow (Gelbe Kuh), 1911, oil on canvas, 140.5 x 189.2 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection.

The Great Upheaval: Masterpieces from the Guggenheim Collection, 1910-1918
November 30, 2013 – March 2, 2014
Art Gallery Of Ontario

“The Great Upheaval bears witness to how dazzlingly fruitful an eight-year period can be….In the brief interlude before the outbreak of war, original ideas sprang up in such profusion that a single metaphor cannot contain them: they skyrocketed, snowballed, mushroomed, and multiplied” Ariella Budick, Financial Times

The Great Upheaval: Masterpieces from the Guggenheim Collection, 1910-1918 showcases the dynamism, creativity, and innovation of art produced in Europe in the years leading up to and during the First World War. Featuring paintings from the collection of the Solomon R. Guggenheim Museum by artists such as Constantin Brancusi, Marc Chagall, Marcel Duchamp, Vasily Kandinsky, Fernand Leger, Henri Matisse, Amedeo Modigliani, Piet Mondrian and Pablo Picasso, among others, the exhibition chronologically traces the achievements of these tumultuous years as artists experimented with new ways to create art while launching such movements as expressionism, futurism and cubism.

The exhibition’s focus on the years 1910 to 1918 represents an intense chapter in European and world history, marked by sweeping social change, technological developments and scientific advances. During this time of tremendous creativity and innovation, European cities were evolving, and artists, who were founding groups, staging exhibitions and issuing manifestoes, likewise adapted and responded to 20th-century modernity.

The Great Upheaval spotlights the dynamism of this fertile period — as artists hurtled toward abstraction and the ultimate “great upheaval” of a catastrophic war — while presenting some of the foundational modern masterpieces that shaped the art of future generations.

Art Gallery of Ontario at 317 Dundas Street West, Toronto. Gallery Hours: Tue 10 – 5:30, Wed 10 – 8:30, Thu – Sun 10 – 5:30 p.m.

Opening Reception: November 15, 2013, 7 – 10 p.m.
Paul Petro Contemporary Art
980 Queen Street West

From left to right: Janet Morton, Untitled, 2013, found photographs, and embroidery floss, 10 x 8 inches each and Road Trip, 2012. DVD shot and edited by Nick Montgomery unraveling by Robert Kingsbury

Whimsy and playfulness filled the first and second floors of Paul Petro this past Friday evening.

Both artists, Morton and Bowles, use what is, traditionally, considered as a feminine trade, sewing, embroidery, knitting, and, to a lesser degree, ceramics. However, they are not making any explicit statements regarding feminism, but their work featured in such a personal manner exploring their interests, ideas and trauma. Bowles tackles the latter while Morton deals with the former. Morton’s French title, directly translated as “without speed”, implies her laborious, yet, rewarding process. She explores the curious, and amusing, process of covering and unravelling a variety of objects and found photographs.

Janet Morton, Shiny Heart, 2012, DVD shot and edited by Robery Kingsbury, sound recorded, and edited by Andrew McPherson at Monostereo, tuba by Colin Couch playing variations on Goldberg Variation 25 by J.S.

Janet Morton, Strange Music, 2012, colour photograph, edition of 3, 48 x 32 inches

Janet Morton, Untitled, 2013, found photograph, and embroidery floss, 10 x 8 inches

Janet Morton, Untitled, 2013, found photograph, and embroidery floss, 10 x 8 inches

On the other hand, Amy Bowles, processes her late father’s death through her work and allows the audience into a vulnerable corner of her mind, yet, maintains an air of humor with her Tim Burtonesque hands. These hands, which are detached from the body, playfully hang on the gallery walls, enticing the viewer’s imagination with the desire for the limbs to come to life.

Artist Amy Bowles and Lady of the Dark Tower, 2013, fabric, wire, air dry clay, porcelain moon, 14.5 x 8.5 x 4 inches

Amy Bowles, Lady of the Dark Tower, 2013, (detail), fabric, wire, air dry clay, porcelain moon, 14.5 x 8.5 x 4 inches

Amy Bowles, Chandelier, 2013, fabric, air dry clay, 30 x 18 x 16 inches

 Installation shot of  Amy Bowles,  Silent Hand

Text and photo: Leanne Simaan

*Exhibition dates: November 15 – December 21, 2013, Paul Petro Contemporary Art, 980 Queen Street West, Toronto. Gallery hours: Wed – Sat 11 – 5 p.m.

Opening Reception: November 14, 2013, 7 – 10 p.m.
Gallery 1313
1313 Queen Street West, Toronto

We stopped by Gallery 1313 on November 14th for the opening of a group show by five artists with the theme, “Liminality”, meaning, ‘threshold’. ‘The liminal stage shapes and gives birth to new societal structures, cultural traditions, institutions and customs. Each artist sought to shed light on these malleable moments where we are approaching the precipice of personal and collective change.’

From left to right: Artists Margie Macdonald, Myra-Anne Boyle and Julie Vetro

Megan Morgan’s work dealt with two parallel journeys of Canadian pioneer, Susannah Moodie and slave, Mary Prince. Her photographs of an imagined Moodie and Price as equals are moving and convey a sense of imagined friendship between these two very different women. Morgan is interested in drawing attention to issues of race and identity.

Megan Morgan, Mary and Susanna, 2013

Margie Macdonald’s piece was an installation of a robotic figure crouched down behind a wall of bricks. The figure’s head moves randomly and you feel a real sense of apprehension. Macdonald’s art focuses on borders, real and imagined and the invisibility of minorities and the undocumented.

Margie Macdonald, In Between, 2013

Julie Vetro’s piece deals with the idea of fear and how this can dictate our choices. A large outhouse installation was housed in its’ own small gallery room. Accompanying video of outdoor sounds, images and photographs of convey a sense of both danger and familiarity.

Julie Vetro, Landscape of Fear, 2013

Bridget Rowe’s paintings depict large, sweeping landscapes of places here in Ontario as well as Dubai and Hong Kong. Rowe has lived in all and illuminates the bridge between the idea of, ‘home’, yet living elsewhere and what this means for relationships.

Bridget Rowe, Stanley Bay, 2013

Myra-Anne Boyle’s large, abstract paintings are a mixture of soft palettes, motion, barely perceived body parts yet also feel cool and warm with motion seemingly interrupted and sluggish. Boyle writes briefly about the paradox of illness as being both the leaving and entering of a new space.

Myra-Anne Boyle, Untitled 1, 2013

The show runs until November 24th at Gallery 1313, 1313 Queen Street West, Toronto. Gallery hours: Wed – Sun 1 – 6 p.m.

Text and photo: Celeste Ringrose

Installation view. Photo: Walter Willems

Opening Reception: November 8, 2013 6 – 9 p.m.
De Luca Fine Art / Gallery
217 Avenue Road, Toronto

I think that the exhibition presently on display at De Luca Fine Art / Gallery is the most interesting art show in the city right now. It is nice to see a strong figurative show among the mainstream of photography based, politically inspired or conceptual, theoretical exhibitions that presently rule the art world. Go figure is featuring three artists from New York City: Chambliss Giobbi, John Grande and Mark Kostabi. As the press preview states, “Go figure sees the sights of the artists as they delve into the human condition through their shared methods of production by appropriation, collage and figurative manipulation. Those sights grasp at each viewer, reflecting their own condition while conveying a meaningful human connection.”

Installation view with Chambliss Giobbi’s work (left) and Marc Kostabi’s painting (back wall). Photo: Walter Willems

Chambliss Giobbi’s fragmented figures are collaged from thousands of photographs he shoots of his models. The newly re-configured figure pictured owes little to the original model; something familiar, but at a distance.

Chambliss Giobbi, Tiny Portrait of Fischer Stevens #6,  2013, collage, bees wax on Masonite, 7 x 5 inches. Courtesy of De Luca Fine Art / Gallery.

Giobbi was the only exhibiting artist who attended the opening.

From left to right: De Luca Fine Art/Gallery Co-director Walter Willems, artist Chambliss Giobbi and De Luca Fine Art/Gallery Director Corrado De Luca. Photo: Alice Tallman 

Toronto artist Tony Calzetta in front of  Chambliss Giobbi, Head of Joe Barnes 3, 2003. Photo: Alice Tallman

Appropriating the world’s lexicon of visual imagery of business logos, movie posters, art, advertizing, fashion, pop culture, etc, John Grande’s photorealistic pieces manipulate all the imagery into one big symbolic mash up.

Installation view with John Grande’s work. Photo: Walter Willems

John Grande, Invaders, 2011, oil on canvas, 52 x 52 inches. Courtesy of De Luca Fine Art / Gallery.

Visitors with John Grande’s paintings. Photo: Alice Tallman

Marc Kostabi’s paintings are out in the “real” world. Vermeer, Mondrian and De Chirico, and contemporaries like Maurizio Cattelan, are appropriated and combined with Kostabi’s ubiquitous featureless figures, portraying basic and intensive human emotions.

Installation view with Marc Kostabi’s work. Photo: Walter Willems

Marc Kostabi, Lift, 2013, oil on canvas, 51 x 39 inches. Courtesy of De Luca Fine Art / Gallery.

Visitor with Marc Kostabi, Lift, 2013. Photo: Alice Tallman

Visitors with Marc Kostabi’s paintings. Photo: Alice Tallman

The exhibition is presented in association with Robert Curcio of curcioprojects. This is Kostabi’s and Giobbi’s first exhibition in Canada.

Photo: Alice Tallman

The exhibition is outstanding with its artistic quality, a must see!

*Exhibition dates: November 8 – 30, 2013, De Luca Fine Art / Gallery, 217 Avenue Road, Toronto. Gallery hours: Wed – Sat 12 – 6 p.m.

November 7, 2013, 8:30 p.m.
as part of AGO’s First Thursdays art party
AGO Walker Court

Walker court was a fitting venue for an exciting award ceremony at the AGO on the evening of November 7, 2013. The large room with it’s vaulted ceiling and arched doorways filled with purple light, anticipation, music and crowds milling about and socializing while waiting for the ceremony. The event was well attended with lots of young people in attendance, with drinks in hand, enjoying themselves.

AGO’s director and CEO Matthew Teitelbaum

CBC Arts reporter Deana Sumanac was the elegant and professional MC for the award ceremony.

CBC Arts reporter Deana Sumanac

The top prize winner of $50,000 was Canadian Erin Shirreff. Her work interweaves photography, video and sculpture to extend and explore the act of looking, asking questions about the often paradoxical relationship between time and space and the image, and the impact of perception on the location of meaning. The three other finalists each received $5000 and an eight week art residency.

Vince Timpano, President and Chief Executive Officer, Aimia, Canada

Vince Timpano, President and Chief Executive Officer, Aimia, Canada, AGO’s director and CEO Matthew Teitelbaum and artist Erin Shirreff

Erin Shirreff didn’t have an acceptance speech prepared because she completely did not expect to win. In her remarks she stated that she had been hesitant about being a part of the contest when she was invited to because she was unsure about the judging process. She was assured, however, that the goal of the contest was to get people to come to the gallery and engage with art, so she decided to be a part of it.

Winner of the competition, artist Erin Shirreff

Shirreff’s large size video installations do allow people to linger and stare at scenes and get lost in the work; looking at images from nature or interesting shapes of sculpture. Her work is more artistic and less journalistic than the other three runners up. It was a relief to this artist and photographer to see art win out over words, because, I believe, people should be able to look at work in a gallery and enjoy it for it’s own sake, without having to know the story behind to understand it. It seems to me that art won over “spin” in this case. I was starting to wonder when I saw the work of the other finalists and listened at the Panel Discussion (September 12, 2013) to chief juror Elizabeth Smith rhapsodize about the story behind Latoya Ruby Fraser’s work and make no mention of the artistic merit of the photos if this was an art photo prize or a photo-journalist prize.

Erin Shirreff, Lake, 2012, video still, silent color video, 44 minute loop

Erin Shirreff, Lake, 2012, video still, silent color video, 44 minute loop

Text and photo: Margaret Irving

David Bowie Is as the sign poster states,”the multisensory exhibition that rocked London with its collision of music, art and fashion.”

Brian Duffy’s photo for the Aladdin Sane album cover in 1973.

This very unique exhibition was organized by the Victoria and Albert Museum, London, UK. The show’s sign featuring David Bowie with the lightening bolt across his face originally was a photograph taken by Brian Duffy for the Aladdin Sane album cover in 1973. Prints of this photo were being sold at the recent Art Toronto in large format size. It’s interesting to see album art being sold as fine art. Many people lament the loss of the record album for its ability to be a creative force, having caused the production of many unique artistic photographs, paintings and drawings, sometimes of enormous complexity and sometimes shocking the public like art is meant to do from time to time.

Original Album Art

David Bowie, Portrait of Mishima, 1977

There are many unexpected images of the people and objects that inspired Bowie’s different stage characters. He decided to create a trend instead of being “trendy” and there are many photos of the people who were inspired by or even copied his style and looks.

Bowie outfits

There were many video installations, some of them huge and very impressive, from being 3D, with mirrors or the addition of costumes and musical instruments belonging to Bowie, the music and style icon. This show is a fan’s delight!

Mirrored video installation of “Starman”. Top of the Pops. BBC Broadcast on July 6, 1972 with Quilted two piece suit designed for the Ziggy Stardust tour and Starman by Freddie Burretti

Text and photo: Margaret Irving

*Exhibition Dates: September 25 – November 27, 2013. Art Gallery of Ontario, 317 Dundas Street West, Toronto. Gallery hours: Tue & Thu – Sun 10 – 5:30, Wed 10 – 8:30 p.m. Extended hours for David Bowie is Friday, November 15 and 22, Monday, November 25 till 8:30. Closing Day Wednesday, November 27, 10  a.m. – midnight.